The Orlando Innamorato. Matteo Maria Boiardo

thee."

       Then with some merry story backed the say;

       Swallowed a mouthful and turned round in bed;

       And so, by starts, talked, turned, and slept, and fed.

      54.

       And so the time these careless comrades cheated,

       And still, without a change, ate, drank, and slept

       Nor by the calendar their seasons meeted,

       Nor register of days or sennights kept:

       No dial told the passing hours, which fleeted,

       Nor bell was heard; nor servant overstept

       The threshold (so the pair proclaimed their will)

       To bring them tale or tidings, good or ill.

      55.

       Above all other curses, pen and ink

       Were by the Tuscan held in hate and scorn;

       Who, worse than any loathsome sight or stink.

       Detested pen and paper, ink and horn:

       So deeply did a deadly venom sink.

       So festered in his flesh a rankling thorn;

       While, night and day, with heart and garments rent.

       Seven weary years the wretch in writing spent.

      56.

       Of all their ways to baffle time and tide,

       This seems the strangest of their waking dreams:

       Couched on their back, the two the rafters eyed,

       And taxed their drowsy wits to count the beams;

       'Tis thus they mark at leisure, which is wide.

       Which short, or which of due proportion seems;

       And which worm-eaten are, and which are sound,

       And if the total sum is odd or round.*

      * I have already given a loose translation of this part of Berni's account of himself in the Court of Beasts.

      Having in the preceding part of this introduction, given some account of the mode in which I have executed my task as a translator, it may be expected that I should give some information respecting my labours as an editor. To speak frankly, I have none to give: having annexed no commentary, or, at least, nothing worthy of being called a commentary, to this work. Some readers may, perhaps, think I have in this neglected my duty, and reproach me with not having pointed out the sources from which many of the fictions in the Innamorato are borrowed, or at least the points of resemblance which may be found between many of these and other ancient stories. It appeared, however, to me, that my readers were as likely as myself to be conversant with incidents to be found in the Spectator, Persian Tales, Arabian Nights, and Bibliothèque Orientale. Others who will, perhaps, thank me for sparing them such a display of common-place knowledge may, however, think I have erred in having done nothing to illustrate the allegory of the Innamorato. If I have not, the omission has arisen from a conviction of the inutility of such an attempt. I have read much that has been written upon the allegory of the Furioso, yet never met with any explanation of it, which I considered as satisfactory to myself, though I was persuaded that the commentators were right. Holding obscurity to be one source of the sublime in this branch of imagination, though I will not venture to extend the position further, it appears to me that the reader always best fills up an indistinct outline, according to his own fancy, and is more likely to derive pleasure from doing so, than from a solution which usually presents him with something very different from what he had preconceived. It is this consideration which has restrained me from doing more than throwing out a few ideas which suggested themselves on some parts of Boiardo's allegory, and no wish to avoid any trouble which I might have thought satisfactorily bestowed on it. Still less have I been influenced by any fear of that ridicule which is so readily discharged upon Italian commentators, or those who report their lucubrations; for I can safely say, that I should have pursued the research to which I have alluded, if I had thought I could have done so with any satisfaction to myself, though I had met with no better recompence than that of being compared to the ass who carried off the dead body of the sphynx, after her enigma had been unriddled, and she herself slain by Œdipus.

      THE ORLANDO INNAMORATO. BOOK I. ARGUMENT.

      Gradasso, king of Sericane, meditates the invasion of France, in order to obtain Bayardo and Durindana. In the mean time Charlemagne is holding a court plenar at Paris; where the appearance of Angelica excites much confusion amid the assembled knights. She returns towards her own kingdom, pursued by Orlando and Rinaldo. Rinaldo having, however, drunk of the waters of Disdain, while she has unfortunately tasted those of Love, is seized with loathing for the damsel, and is, in his turn, followed in vain by her, whom he before pursued. He is now sent by Charlemagne in defence of Marsilius, king of Spain, whose territories were invaded by Gradasso, in his progress towards France. He is here separated from his army by a device of Malagigi, his own brother, who is become the tool of Angelica, and his troops, left without their leader, return home. Marsilius, in consequence of this desertion, buys peace of Gradasso, by assisting him in his invasion of France. Here Charlemagne and his paladins are made prisoners in a thorough rout of the Christian army. Gradasso, however, offers him peace and liberty for himself and followers, on the delivery of Bayardo, who had been brought back from Spain by the French troops, and on his promise to send him Durindana as soon as it is in his power. Charlemagne of course consents, and sends to Paris for the horse. This is, however, refused by Astolpho, who had taken upon himself the government of the city, and who sends a defiance to Gradasso. They meet, and the Indian king is unhorsed, who, in compliance with the conditions of a previous agreement, frees his prisoners and returns to Sericana. Astolpho, too, dissatisfied with the conduct of Charlemagne, departs from France. He now enrolls himself amongst the defenders of Angelica, besieged by Agrican in Albracca, in which warfare he is made prisoner; Orlando, with other puissant knights, takes the same side, and slays Agrican in single combat. On the other part, Rinaldo (whose hatred to Angelica equals his former love) joins the camp of the besiegers, and a desperate battle is fought between him and Orlando. Angelica, however, still enamoured of Rinaldo, separates them and dispatches Orlando upon a perilous quest. Many other adventures are achieved by these and other knights, and many episodes are connected with the two principal actions of the book, viz. the invasion of France, and the war before Albracca.

      BOOK I.

      The story says that there reigned formerly in parts beyond India, a mighty monarch, who was moreover so valiant and powerful in war that no one could stand against him; he was named Gradasso; he had the face and heart of a dragon, and was in stature a giant. But, as it often happens to the greatest and to the richest, to long for what they cannot have, and thus to lose what they already possess, this king could not rest content without Durindana the sword of Orlando, and Bayardo the horse of Rinaldo. To obtain which, he determined to war upon France, and for this expedition chose one hundred and fifty thousand horsemen.

      But the author suspends the further mention of this monarch, of whom we shall soon again hear, to speak of Charlemagne, who had ordered magnificent jousts, and summoned thither all and singular his barons. And to this court plenar, besides his paladins, and greater and lesser vassals of the crown, were bid all strangers, baptized or infidel, then sojourning at Paris. Amongst the guests were the giant Grandonio, Ferrau, the king Balugantes, a relation of Charlemagne, Isolier and Serpentin, who were companions, and many others.

      And now was the day when the great festival was to begin with a sumptuous banquet, made by Charlemagne, who assisted at it in his royal robes, and entertained, between Christians and Pagans, twenty-two thousand and thirty guests.

      The tables, spread right and left, were ordered with due discrimination. At the first were seated the kings of Christendom, an English, a Lombard, and a Breton to wit, Otho, Desiderius, and Salamon: and next these all others, according to their dignity and the esteem in which they were held. At the second table were placed the dukes and marquisses;