Je premier un héros qui n'a jamait fait volontairement du bien à personne, et No. XIV. qui, pour une querelle particuliere, a souhaité de voir perir tout ce qu'il connoissoit d'hommes au monde."*

In the other passage alluded to, Terrasson contrasts Homer's mode of composition with that of Virgil. After remarking the striking manner in which the latter poet has painted the courage and exploits of Eneas, his agitation on beholding the fall of Troy, and his alarms and terror while bearing Anchises from the flames, Terrasson adds, "Si Homere avoit eu cela a traiter, il auroit representé d'abord tous les exploits d'Enée, depoüillés de la plupart des sentimens dont ils sont revêtus dans Virgile, mais chargez, en recompense, d'une centaine de comparaisons: lorsqu'il en auroit été a l'article de la fuite, il auroit dit qu'au bruit de ceux qui sembloient les poursuivre dans l'obscurité Jupiter avoit versé la terreur dans l'ame d'Enée comme il le dit d'Ajax, lib. xi. Anchise de dessus les epaules de son fils, en le sentant chanceler, lui auroit reproché, comme on le reproche au brave Agamemnon, qu'il est un lâche, qui n'a jamais paru à la tête des troupes, ni tiré l'epée une seule fois en toute sa vie, et qui maintenant n'a pas la force de fuir dans le besoin." +

No. XV.-P. 218.

GALILEO'S PREFERENCE OF ARIOSTO TO TASSo.

Galileo's Considerations are not printed in any edition of his works, and the No. XV. MS. was thought to have been lost when it was discovered by Serassi. I have only seen a quotation from them given by this author, in which the philosopher compares the style of Tasso to a picture formed of inlaid work; that of Ariosto to a painting in oil. The taste of Galileo, which was very delicate in painting and music, does not seem to have been so refined on the subject of poetry; and Redi laments his blindness to the energy, elegance, and majesty of the Jerusalem Delivered. These qualities of Tasso's poem have their ori

No. XV.

gin in a considerable degree in the character of his style; and in fact this is the only circumstance in which the votaries of Ariosto will now allow his rival to have the preference.*

In a letter of Galileo to Francis Rinuccini, who had asked his reasons for preferring Ariosto to Tasso, the Italian philosopher thus expresses himself: "I would willingly obey you, and the undertaking would be practicable, if I had not lost, I know not how, my copy of Tasso. In this, having from leaf to leaf of the printed pages caused a blank one to be inserted, I had in the course of many months, and I might say of some years, marked all the parallel thoughts of the two authors, subjoining the reasons that led me to prefer the one to the other, and which were on the part of Ariosto at once more strong and numerous. It appeared to me, for instance, that the flight of Angelica is more florid and richly painted. than that of Erminia; that Rodomont in Paris, without measure surpasses Rinaldo in Jerusalem; that between the discord in the camp of Agramant, and that in the camp of Godfrey, there is a proportion such as exists between immensity and the least quantity. That the love of Tancred towards Clorinda, and between the same knight and Erminia, is a most barren thing in proportion to the love of Ruggiero and Bradamante, embellished by all the noble events which can happen to two lovers; that is, with lofty and heroic deeds, reciprocally passing between them. In these passages of Ariosto there are exhibited the devouring passion of jealousy, lamentations, promises of faith mutually given and confirmed, fits of anger conceived and afterwards appeased by a mournful expostulation uttered in a single word! What most dry sterility is that of Armida, a most powerful enchantress, when she wants to retain with herself her dear Rinaldo! What, on the contrary, is the abundance of all allurements, of all diversions, of all delights, with which Alcina entertains Ruggiero!" Some of these propositions are sufficiently remarkable; but when Galileo proceeds to prefer the character-drawing of the personages of Ariosto, he appears to have adopted all the blind prejudices of the Florentine Academy of Crusca, whose fury was then at its height. "Then, (continues he,) the observation of manners is truly wonderful in Ariosto. What, and how many, and how different

*Tiraboschi, Storia, &c. vol. iii. p. 253, Ed. Mathias.

are the turns which represent Marfisa rash, and careless of every one; how No. XV. well is represented the boldness and generosity of Mandricard! how many the proofs of Ruggiero's prowess, gentleness, and greatness of soul! What shall we say of the faith, constancy, and chastity of Olympia, Isabella, and Drusilla? or, on the contrary, of Origille and Gabrina's perfidy and treachery, or of Doralice's fickleness? The more I should say, the more I would remember; but only to sketch them, and not to come to examples from step to step, could give no satisfaction to myself, and much less to you."

It has been well remarked by Johnson, in his life of Dryden, that "it is not by comparing line with line that the merit of great works is to be estimated; but by their general effects, and ultimate results." It was, therefore, not sufficient for Galileo to mark down all the parallel passages of the two poets, and thence draw a comparison: as thus all the beauties of design in Tasso, (in which he is supreme,) would be utterly lost. For example, even if it were allowed that the pastimes with which Alcina entertains Ruggiero, are more diversified than those with which Armida amuses Rinaldo; yet what a difference betwixt these episodes! Alcina is a vile old abominable hag, (Orlando Fur. c. VII. 73.) all whose charms are fictitious; against whom her lover was put on his guard; and who finds it necessary to relieve the languor of his appetite by feasts, balls, and the chace. Armida is a young and beautiful virgin, who is truly enamoured of Rinaldo; full of sentiment, they spend their hours in those repetitions of love, which are not repetitions to the heart; and their retirement, far from mankind, to the Fortunate Isles, has a certain romantic charm which it is impossible to describe.

Perhaps, however, it was to be expected that Galileo should prefer Ariosto to Tasso, as, after being fatigued with mathematical labours, the amusing whims of the romantic bard were a much better delassement than the dignified epic of his rival. The same preference I have observed in an illustrious philosopher, who resembles Galileo in uniting the love of literature with scientific genius; and who, like him, is not more distinguished by the profoundness of his investigations, than by the wonderful elegance with which they are revealed. *

Spenser, who is indebted to Armida's garden for his Bowre of Bliss, has translated the above two stanzas, in which it is asserted, that all the ornaments, however artificial, appeared natural; but as his taste was much less pure than that of Tasso, he no sooner does this, than he describes an artificial fountain, and a kind of bason in its neighbourhood, in which ǹe places the two naked damzelles described by the Italian poet.-See Faerie Queene, Book II. can. 12.

No. XVI.