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A proof of the great popularity of the tale of Sir Tristram is the fact that the Italian poets, Boiardo and Ariosto, have founded upon it the idea of the two enchanted fountains, which produced the opposite effects of love and hatred.
Their style, like the style of Boiardo in poetry, of Botticelli in painting, is specific to Italy in the middle of the fifteenth century.
All the world have felt this to be a true picture of first love. The inscription may be said to be that of every other pair of lovers that ever existed, who knew how to write their names. How musical, too, are the words "Angelica and Medoro!" Boiardo invented the one; Ariosto found the match for it. One has no end to the pleasure of repeating them.
The principal Italian poets who have sung the adventures of the peers of Charlemagne are Pulci, Boiardo, and Ariosto. The characters of Orlando, Rinaldo, Astolpho, Gano, and others, are the same in all, though the adventures attributed to them are different. Boiardo tells us of the loves of Orlando, Ariosto of his disappointment and consequent madness, Pulci of his death.
Besides the Orlando Innamorato, Boiardo wrote a variety of prose works, a comedy in verse on the subject of Timon, lyrics of great elegance, with a vein of natural feeling running through them, and Latin poetry of a like sort, not, indeed, as classical in its style as that of Politian and the other subsequent revivers of the ancient manner, but perhaps not the less interesting on that account; for it is difficult to conceive a thorough copyist in style expressing his own thorough feelings.
Some of the greatest names of Italy, such as Petrarch, Boiardo, Ariosto, the wonderful prodigy Olympia Morata, and the celebrated poetess Vittoria Colonna the friend of Michael Angelo were connected with this brilliant court. The well-known French poet Clement Marot fled to it to escape persecution in his native country.
The Teseide determined the form in which Pulci, Boiardo, Bello, Ariosto, Tasso, and, with a slight modification, our own Spenser were to write, but its readers are now few, and are not likely ever again to be numerous.
He wrote, or began to write, the comedy of the Cassaria; probably meditated some poem in the style of Boiardo, then in the height of his fame; and he cultivated the Latin language, and intended to learn Greek, but delayed, and unfortunately missed it in consequence of losing his tutor.
In each of these tales,"The Chanson de Roland" and "The Quatre Fils Aymon," there is contained a picture of its respective hero, which sums up, as it were, the whole noble character of the book; and which, the picture of the dying Roland and the picture of the dying Renaud, I would fain bring before you before speaking of the other Roland and the other Renaud, the Orlando of Ariosto and the Rinaldo of Boiardo.
The heroes of Boiardo and of Ariosto are always bold and gallant and glittering, the spirit of romance is in them; a giant Sancho Panza like Morgante, redolent of sausage and cheese, would never be admitted into the society of a Ferrarese Orlando.
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