Italian Poets 2 - Italy - Of Ariosto's four brothers,...
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Italian Poetry: Stories From the Italian Poets: With Lives of the Writer By Leigh Hunt. In Two Volumes. Vol. II.

Index | pg. 62 |Previous Page - Next Page

Of Ariosto's four brothers, ...

Of Ariosto's four brothers, one became a courtier at Naples, another a clergyman, another an envoy to the Emperor Charles the Fifth; and the fourth, who was a cripple and a scholar, lived with Lodovico, and celebrated his memory. His two sons, whose names were Virginio and Gianbattista, and who were illegitimate (the reader is always to bear in mind the more indulgent customs of Italy in matters of this nature, especially in the poet's time), became, the first a canon in the cathedral of Ferrara, and the other an officer in the army. It does not appear that he had any other children.

Ariosto's renown is wholly founded on the _Orlando Furioso_, though he wrote satires, comedies, and a good deal of miscellaneous poetry, all occasionally exhibiting a master-hand. The comedies, however, were unfortunately modelled on those of the ancients; and the constant termination of the verse with trisyllables contributes to render them tedious. What comedies might he not have written, had he given himself up to existing times and manners[42]!

The satires are rather good-natured epistles to his friends, written with a charming ease and straightforwardness, and containing much exquisite sense and interesting autobiography.

On his lyrical poetry he set little value; and his Latin verse is not of the best order. Critics have expressed their surprise at its inferiority to that of contemporaries inferior to him in genius; but the reason lay in the very circumstance. I mean, that his large and liberal inspiration could only find its proper vent in his own language; he could not be content with potting up little delicacies in old-fashioned vessels.

The _Orlando Furioso_ is, literally, a continuation of the _Orlando Innamorato_; so much so, that the story is not thoroughly intelligible without it. This was probably the reason of a circumstance that would be otherwise unaccountable, and that was ridiculously charged against him as a proof of despairing envy by the despairing envy of Sperone; namely, his never having once mentioned the name of his predecessor. If Ariosto had despaired of equalling Boiardo, he must have been hopeless of reaching posterity, in which case his silence must have been useless; and, in any case, it is clear that he looked on himself as the continuator of another's narration. But Boiardo was so popular when he wrote, that the very silence shews he must have thought the mention of his name superfluous. Still it is curious that he never should have alluded to it in the course of the poem. It could not have been from any dislike to the name itself, or the family; for in his Latin poems he has eulogised the hospitality of the house of Boiardo[43].



Index | pg. 62 |Previous Page - Next Page

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