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Esso nauigò tanto auanti, che venne in luogo, doue erano grandissimi freddi, et in gradi 60. di latitudine trouò vn fiume carico di neue, dalla quale gli dette il nome, chiamandolo Rio Neuado, gli bastò l’animo di passar piu auanti.

I have not yet quite got over my last violent attack, and am weak and flimsy. I have now drank the waters but three days; so that, without a miracle, I cannot yet expect much alteration, and I do not in the least expect a miracle. If they proved 'les eaux de Jouvence' to me, that would be a miracle indeed; but, as the late Pope Lambertini said, 'Fra noi, gli miracoli sono passati girt un pezzo'.

The allusion is to the Pygmalion who was Dido's brother, and who murdered her husband, the priest Sichæus, for his riches. This beautiful and affecting image is followed in the original by one of the most fantastical conceits of the time. "Chi nel viso de gli uomini legge o m o, Bene avria quivi conosciuto l'emme."

Vivesti qual guerrier cristiano e santo, E come bel sei morto: ei godi, e pasci In Dio gli occhi bramosi, o felice alma, Ed hai del ben oprar corona e palma.”

His "Orlando," it is true, is a medley of lies and truths sacred and profane wars, loves, enchantments, giants, madheroes, and adventurous damsels, but then, he gives it you very fairly for what it is, and does not pretend to put it upon you for the true 'epopee', or epic poem. He says: "Le Donne, i Cavalier, l'arme, gli amori Le cortesie, l'audaci imprese, io canto."

Opus 13 is a "Sonnet," based, after the plan of Liszt, upon a lyric of Petrarch's, a beautiful translation from his "Gli occhi di ch'io parlai si caldamente." It is full of passion, and shows a fine variety in the handling of persistent repetition. Opus 18 couples two sonatinas.

O Buondelmonte, quanto mal fuggisti Le nozze sue per gli altrui conforti! Molti sarebber lieti, che son tristi, Se Dio t' avesse conceduto ad Ema La prima volta ch' a citta venisti. Ma conveniasi a quella pietra scema Che guarda il ponte, che Fiorenza fesse Vittima nella sua pace postrema.

It is also possible that Alexander's ambition may have urged him to dissolve the marriage to the end that she might be free to be used again as a pawn in his far-reaching game. 1 "Che non gli faceva buona compagnia." Certainly some terrible panic must have urged him, and this rather lends colour to the story told by Almerici in the Memorie di Pesaro.

How important, then, that genius should be called in here to the aid of virtue, and the fascinations of the highest species of excellence employed to elevate, where so many causes exist to degrade the soul! "Cosi all egro fanciul' porgiamo aspersi, Di soave licor gli orli del Vaso; Succhi amari, ingannato intanto ei beve, Et dall' inganno suo vita riceve."

His "Orlando," it is true, is a medley of lies and truths sacred and profane wars, loves, enchantments, giants, madheroes, and adventurous damsels, but then, he gives it you very fairly for what it is, and does not pretend to put it upon you for the true 'epopee', or epic poem. He says: "Le Donne, i Cavalier, l'arme, gli amori Le cortesie, l'audaci imprese, io canto."