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Updated: June 19, 2025


Here in the glorious world that only a poor scholar knows how to create for himself he read the classics, made acquaintance with the great Italian poets, and wrote numberless little poems of his own. Though Chaucer was his beloved master, his ambition was not to rival the Canterbury Tales, but rather to express the dream of English chivalry, much as Ariosto had done for Italy in Orlando Furioso.

The Comedy of Errors, founded upon Plautus's Mænechmi. Much Ado About Nothing, a Comedy; for the plot see Ariosto's Orlando Furioso. Love's Labour Lost, a Comedy. Midsummer's Night's Dream, a Comedy. The Merchant of Venice, a Tragi-Comedy. As you Like it, a Comedy. The Taming of a Shrew, a Comedy. All's Well that Ends Well. The Twelfth-Night, or What you Will, a Comedy.

Most of his defects, it is probable, arose from his indefatigable vigour, which earned for him the nickname of Il Furioso. Sebastian del Piombo said that Tintoretto could paint as much in two days as would occupy him two years.

Gottfried himself was probably but little aware of what he was doing; the poem that he was writing probably fell for him into the very same category as the poems of other men; but to us, with our experience of so many different forms of narrative, it must be evident that "Tristan und Isolde" is a new departure, inasmuch as it is not the story of deeds and the people who did them, like the true epic from Homer to the Nibelungen; nor the story of people and the adventures which happened to them, like all romance poetry from "Palemon and Arcite," to the "Orlando Furioso;" but, on the contrary, the story of the psychological relations, the gradual metamorphosis of soul by soul, between two persons.

Milton was the third epic poet. For if the title of epic in its highest sense be refused to the Aneid still less can it be conceded to the Orlando Furioso, the Gerusalemme Liberata, the Lusiad, or the Fairy Queen.

"Ma' " cried Orlando Furioso, from the front door, Mrs. Abbott being very rigid in requiring that all her children should call her 'ma', being so much behind the age as actually not to know that 'mother' had got to be much the genteeler term of the two; "Ma'," roared Orlando Furioso, "suppose there is no news at Mr. Jones's store?"

He refers to her occasionally, especially in a stanza for which she owed the poet little thanks if she foresaw his immortality the eighty-third stanza in the forty-second canto of the Orlando Furioso, in which he places Lucretia's portrait in the temple to woman.

=The Second Stage.= Somewhat later in the history of fiction, as in the history of figure painting, we find instances in which the element of setting is used for a decorative purpose, and is brought into an artistic relation with the elements of action and character. Such a use is made of landscape, for example, in the "Orlando Furioso" of Ariosto and the "Faerie Queene" of Spenser.

Where will you find a worthy companion to the Orlando Furioso? There is none, and this great work is incapable of transalation. The finest and truest panegyric of Ariosto was written by Voltaire when he was sixty. If he had not made this apology for the rash judgement of his youthful days, he would not have enjoyed, in Italy at all events, that immortality which is so justly his due.

We have his own authority also for the muse having "dictated" to him the "unpremeditated song." And let this be an answer to those who would allege the fifty-six various readings of the first line of the "Orlando Furioso." Compositions so produced are to poetry what mosaic is to painting.

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