so, to obtain Bayardo, Rinaldo's horse, and Durindana, Orlando's sword; the siege of Albracca, by Agrican, king of Tartary, and other enemies of Galaphron and Angelica; and the invasion of France by Agrimant, emperour of Africa, and Marsilius, king of Spain. This long work evidenced great powers of invention,even superiour to what the divine Ariosto afterwards displayed in the Orlando Furioso. Indeed such was his excellence, that he has received the dignified praise of the great Cervantes; for the curious reader may recollect, that when the curate and the barber were examining the books in the library of Don Quixote, the former proposed to lighten the punishment of the romance of Montalvan, and the lies of Turpin, expressly because they contain part of the invention of the renowned poet Matteo Boiardo." แ The imagination of Boiardo was prolifick, but the style was harsh and barbarous, and the versification uncouth, constrained, and inharmonious. Yet it was read and admired by the Italians for the variety of incident and the liveliness of manner, which characterised it. Boiardo's successors therefore endeavoured to improve it by finishing the work, and by adding the charms of grace and melody to the attractions of invention and pleasing narrative. Agostino continued it in three books, which were not however favourably received. Dominichi, a cotemporary of Berni, made some attempts to give purity of language to it, but which were soon forgotten in the splendour which succeeded; for about half a century after the death of Boiardo, appeared the Rifacimento, of the Orlando Inamorato by Francesco Berni. This so greatly improved the original, that Boiardo's work is almost unknown. The new creator or modeller gave sweetness of versification to the luxuri ant fancy of the old poem. He entirely recast the work. He inserted comick sentiments and allusions; he interspersed some stanzas by himself; and the cantos received from him various changes in the beginnings, which were introduced by some natural moral reflections. Yet the corrections and additions of Berni did not always add to the value of the original; and by one of his stanzas in particular, quoted by Hoole, the reputation of Ariosto suffered in the opinion of father Bouhours, who attributed to Ariosto a ridiculous absurdity, which is only to be found in the poetry of Berni, added to the work of Boiardo. The Orlando Inamorato has been translated into French paraphrastic prose by Le Sage, but it has never been incorporated into the English language. On this subject Hoole thus speaks in the preface to the translation of Orlando Furioso, "Indeed, though it is a work highly entertaining in Berni's dress, it would scarcely admit of a translation into English verse, the narrative descending to such familiar images and expressions, as would by no means suit the genius of our language and poetry." On this head, Hoole deserves to be con✩ sidered with attention; he had · read with care the Italian epick poets, and in his translation of Ariosto and Tasso, which have been very favourably received by the publick, he has exhibited great. maturity of judgment and elegance of taste. Yet we know not, that the authority of Hoole is decisive; if the images in Berni are familiar, they might possibly be modelled into elegance; if the expressions. are low, they might easily be ele vated into dignity. Hoole might have been deterred from transla tion, because he had done his duty and was fatigued with the task; other scholars may have been frightened from the undertaking, because it must have been tedious, or because they did not choose to fail, where even success might not have been rewarded. The author of the work before us also gives it as his opinion, that the whole work is not susceptible of an English dress, but thinks that selections might be made suitable for translation and the publick taste. It is certainly true, that the Orlando Inamorato has no pretensions to critical unity, and therefore the parts are not necessarily dependent on each other; but the stories and adventures may have such a connection by reference and allusion, that it might be difficult to find a single tale, which would not require much previous knowledge to make it completely intelligible.. In such cases long notes would be necessary, and they would sometimes by their tediousness invite to sleep, and by their obscurity might often demand new explanation. If the translator should undertake to a bridge, he must rely on his own judgment for the discriminating powers, and how is the reader to know, that in these qualities he is superiour to the original? In an abridgement we are always sure that what we find is also in the original, but we are not sure that there is not something in the original which ought to be found in the abridgement. Our author also partly says with Hoole, that "the images are often low and disgusting, the style frequently mean and vulgar, and that the retorts of the heroes appear to partake more of the low buffoonery and coarse invective of Lazzaroni, than the courtly style of chivalry." These charges we have endeavoured to parry be fore, with regard to translation. Boiardo cannot be defended, but his translator need not propagate his offences against taste by being nicely metaphrastical. What is licentious, he may generalize or avoid; what is absurd,he need not translate; what is disgusting, he may render indifferent by niceness of expression, or palatable by easy alteration. If his changes are great, he should mention them in a short note; if his suppressions are important, he should express his reasons with firmness and de licacy. Upon the whole, we are inclined to believe that a complete translation of the Orlando Inamorato would be desirable on its own account; and we are confirmed in the opinion, because it is necessary for the perfect comprehension of the tales in Orlando Furioso. No translation has appeared in GreatBritain, and we should be proud, if the American nation, in grati tude for the pleasure it has received from Hoole, should present to the English a suitable and complete. translation of an Italian poet, who has furnished similes to Milton, and materials to Ariosto. The publication under review is. called "The Enchanted Lake," & is translated from the 2d book of the Orlando Inamorato of Berni. In the preface a short account is given of the Italian author and his great work. We proceed to give an analysis of the story of the production before us. Previously, however, we wish to criticise the author's opinion on the derivation of the word "burlesque," as expressed in a note in the preface. Our author says, that the English word, burlesque, derives its appellation from Berni, who first employed and perfected it, it being originally called Berniscan, and by corruption Burlescan, whence burlesque in English. We believe that the author is incorrect, for burlesque is regularly from burlesco in Italian, and by Johnson is derived from burlare, to joke, and has really for its root burla, a joke. Bernesco is indeed a species of burlesco, but only a species, which derives its name from Berni; it is not so coarse in its style, as ordinary burlesque, but is more chas tened, or, as the French say, soigné. These Italian words, ending in esco, agreeably to the idiom of the language signify after the manner of; thus pittoresco is, after the manner of a painter; grotesco, after the manner of a grotto; bernesco, after the manner of Berni; and burlesco, after the manner of a joke. If any authority were wanting to show the incorrectness of the author's opinion on this etymological curiosity, it might be derived from Baillet, who quotes Mr. Naudet as saying, "l'Orlando de Berni recut l'approbation & les applaudissi"mens de ceux du Pays, de sorte • qu'on a eru lui faire honneur de donner son nom à une des es' péces du genre Burlesque, qui est en usage chez les Italiens, qu'on appelle Berniesque á cause de lui.' The story of the work is as follows: Orlando, having destroyed the enchanted gardens of Falerina, queen of Orgagna, and killed or enchained the monsters, which guarded it, proceeds with Falerina to release the prisoners, who had been confined in some of her distant dungeons. During this journey they came to a bridge, built over a deep, dark lake. On a meadow was built a large, strong tower, which was the residence of a bold, murderous robber, Arridano. He was the terrible agent of the fairy Morgana, and used to seize any illustrious persons who were Vol. III. No. 8. 3G passing that way, strip them of their armour, and throw them into the lake, and after sinking to the bottom they became prisoners to Morgana. Falerina entreated Orlando not to encounter Arridano, who wore enchanted armour, and was assisted by the powerful fairy. Morgana. Orlando, moved by her prayers and tears, hesitated to proceed, till he observed hanging on a cypress the arms of the renowned Rinaldo, who had been made a prisoner by the robber. He immediately advanced with impetuosity to the meadow. Falerina deserts him. He fights a most violent battle with Arridano, who at length seizes Orlando, and plunges with him into the lake. They arrive at the bottom of the lake, where was a most beautiful· plain, and Arridano, attempting here to strip Orlando of his ar mour, whom he thought completely conquered, was compelled to. renew the battle, and is finally killed, after a long and terrible encounter. Orlando, after a strange and ad-, venturous journey through enchanted ground, came to a small bridge, beyond which extended a plain, enriched with all the treasures of Morgana. He endeavoured in vain to pass the bridge several times, and is prevented by its alternate destruction and renewal by its guardian figure in iron armour. Orlando finally swims to the otherside, and after some interesting adventures proceeds towards the prison, where Morgana had confined Dudon, Rinaldo, Brandimarte, &c. and at length comes near a fountain; There on the herbage green extended lay, Wrapp'd in soft slumber's folds th'enchanting Fay. Beyond a chrystal mound, Orian-do observes his captive friends, whom he cannot approach; andis advised by a damsel to endeavour to obtain from Morgana the key of the gate, which alone admits an entrance into the enchanted garden. Orlando follows the advice, and approaches the fairy, who flies from the place, and Orlando pur stres. A violent storm arises, but the hero continues the pursuit. He is met by the hag Repentance, who was decreed by fate to be his companion and tormentor; and while he flies after the fairy, this wild, haggard being follows and scourges him with a whip. Orlando, though in violent anger, is obliged to submit. He continues to chase Morgana, and at length catches and holds her by a golden lock of hair, and this was the signal of success. After some advice from the hag, who then leaves him, and a request from the fairy, he obtains the key of the prison garden, and hastens to release the knights. After a long journey through the roads and scenes of enchantment, the captives, having obtained their armour, pursued their way in different directions. After the long account we have given of the whole poem of Boiardo, and the analysis of the episode under review, we have hardly room for minute criticism. The poetry only extends to forty pages, and twenty-seven pages, in small print, are occupied in notes and additional notes, except the two last, which contain a small glossary. This most extraordinary fact is decisive evidence of the difficulty we have before stated, with regard to translations of selections. It covers this plan with insuperable difficulties, and seems fully to show the necessity of a translation, where the parts may be Fendered intelligible by easy reference to other passages after the manner of Hoole. Of the versifi cation it is not easy to give the general character. Some of the lines are remarkably feeble and prosaick, others have strength and dignity. The two following, in page 5, are weakly turned and twisted: For thee my heart with pity glows sincere, And what shall we say to this line: The speech of the robber Arridano, in p. 11, is probably mean enough in the original, yet it cannot easily be lower than the following: **། He cried, Thy toil is here but labour vain, Such blows might serve to frighten flies away, But for this one a hundred I'll repay.” Our author is sometimes as much at a loss for chiming words, who had only two bells and a small as a ringer would be for a jingle, one in his steeple; thus, pages 14, 16, 17, 18, 21: Amidst th' innumerous gems a wond'rous stone Far o'er the rest in dazzling lustre shone. Form'd all of gold, and o'er them thickly strown Pearls, rubies, diamonds, intermingled shone. From whose proud top a bright translucent stone A carbuncle of wond'rous beauty shone. At length to thought recurr'd the precious stone That like enkindled fire bright-blazing shore. › And form'd a mirrour of transparent stone From whence the garden bright reflected shone. Some of the rhymes are extremely defective. Since the days of Pope the ear has become so familiar to easy harmonious versification, that what was once offered as a luxury is now demanded as a right; as the tea of China, which was once a curiosity, is now become a necessary of life; yet in this poem the ear is annoyed with "toil" rhyming with "mile" ; "sped" is forced to associate with "freed," and "are stubbornly yokes with "prefer." Surely these broken bells, thus jangling, might describes the battle between Orlan do and Arridano; He said, and hurl'd ́on high the pond'rous mace, 11 have been exchanged for the pleasant symphony, which Cowper heard undulating from the village. We have seldom found in any poetry two lines more harsh and heavy than the following. The author was not contented with ruggedness of alliteration, but in the The mountain echo'd and the meadow shook. last verse has added the "slow length" of a useless unbending Alexandrine : Whose force had shook a mountain to its base Now 'twixt the twain a fiercer strife arose, Whose boughs at once the bursting bud unfold, Gleam gay with flowers and glow with vegetable gold. Towards the close of the work we meet with two lines, which have not more dignity and poetry, than the celebrated prose line of ten syllables in Boswell's Johnson : He laid his knife and fork across his plate.' The lines are these, flat, mean, and monosyllabick: In him is all my bliss, for him I sue, We have pointed out a sufficiency of faults to gratify the acrimony of the critick, and more than a sufficiency for the kind friends of the author; yet we might mention others, which deserve severe reprehension; but though the reviewer might say with Tacitus, "Mihi Otho, Galba, Vitellius, nec beneficio nec injuriâ cogniti," yet we hear that the author, Mr. Alsop, is beloved and esteemed by his numerous friends, who know him well, which is high praise "as the world goes"; and we readily acknowledge that his ambition is laudable, and his undertaking arduous and uncommon. We are willing to bestow every commendation on great endeavours and suitable exertions, and we therefore with pleasure assure our readers, that the following extract is not the only one, which combines ease and strength, variety and musick. It tries Each varied stratagem that skill supplies. This is vigorous and poetical, and we would not make a single deduction from the praise, did not our duty compel us to observe,that the translation of a battle between heroes cannot now deserve the highest commendation. The corbats in Homer, Tasso, and Ariosto have been so excellently versified by Pope and Hoole, that their successors have little more to do, than to combine the various beauties of their words and sentences. We say nothing of Virgil, for though Dryden has injected into his version all the vigour, of which the battles in the Eneid were susceptible, yet in this part of epick grandeur, the Roman bard is evidently inferiour to theGrecian and Italian poets, We beg leave to entertain our readers with one more extract, which displays a storm, and to remark generally, that Mr. Alsop has succeeded better in translating passages, descriptive of the exertion of great power, than those, which paint the beauties of scenery and person: |