It was my intention to have translated the first mentioned work, exactly upon the model adopted by Tressan in his version of the French romances, a scheme afterwards executed with so much better success, by my late excellent friend, Mr. George Ellis, in his English work of the same description. A further consideration of the subject, however, induced me to imitate them only in their general plan of illustrating6 a compendious7 prose translation by extracts, without seeking to add poignancy8 to this, by what might give a false idea of the tone of my original. I recollected9 that I stood in a very different predicament from that of either of these authors; that, to compare my work with the one, which is most likely to be familiar to my readers, the ‘Specimens10 of early English Romances,’ the originals are composed in a spirit of gravity which can hardly be confused with the gay style of the translator, and therefore nobody can be misled by the vein11 of pleasantry which runs through Mr. Ellis’s work, and which is sure to be exclusively ascribed to the author of the Rifacimento. This, however, would possibly not be the case with me, as the Innamorato is in a great measure a humourous work, of which I might give a false impression, by infusing into it a different species of wit, from that which distinguishes it; a consideration which induced me to adopt the scheme I have pursued in the following sheets. This project is to give a mere12 ground-plan of the Gothic edifice13 of Boiardo, upon a small scale, accompanied with some elevations14 and sections of the chambers15; which I have sought to colour after jny original: or, (to speak more plainly,) the reader is to look for the mere story in my prose abridgement, while he may form some notion of its tone and style, from the stanzas16 with which it is interspersed17.
The story indeed, which seems most likely to interest the English reader, is that which took a strong possession of the imagination of Milton, who refers with more apparent enthusiasm to the Innamorato, than to the Furioso, and whose apparent preference is justifiable18, if a richer stream of invention, and more consummate19 art in its distribution, are legitimate20 titles to admiration21.
In this latter qualification more especially, Boiardo, however inferior as a poet, must be considered as a superior artist to Ariosto; and weaving as complicated a web as his successor, it is curious to observe how much he excels him as a story-teller. The tales, indeed, of Ariosto, (and the want of connexion among these is, in my eyes, his most essential defect) are so many loose episodes, which may be compared to parallel streams, flowing towards one reservoir, but through separate and independent channels. Those of Boiardo, on the contrary, are like waters, that, however they may diverge22, preserve their relation to the parent river, to which their accession always seems necessary, and with which they reunite, previous to its discharging its contents into their common resting-place. A short example may serve to illustrate23 what I have laid down. A damsel in the Innamorato relates to Rinaldo the adventures of two worthies24 named Iroldo and Prasildo, a narration25 which is interrupted, and which, though good in itself, at first appears to be an insulated episode. Rinaldo, however, afterwards falls in with Iroldo and his friend; and this history, thus resumed, unites itself naturally with that of the paladin. It is thus that all the stories are dove-tailed one into the other, and form a mosaic26, as striking from the nice union of its parts, as from the brilliancy of its colours.
Boiardo’s art, though here indeed he cannot be said to excel Ariosto, is as conspicuous27 also in the direction of the strange under-current of allegory which pervades28 his poem, as it is in the distribution of his stream of story; while the sort of esoteric doctrines29 conveyed by it, gives a mysterious interest even to what we imperfectly comprehend.
Such indeed is the case with many of the fables30 of the Odyssey32, and even of the Iliad; where the allegory, moreover, is always subservient33 to poetry, and poetry is never made subservient to allegory. This remarkable34 piece of judgment35 in the Greek poet has, I think, been well imitated both by Boiardo and Ariosto, and it is the neglect of this principle which has made allegory so often offensive in the Faery Queene of Spenser. The obtrusive36 nature of this has been well compared by Mr. George Ellis, in his Specimens of the early English poets, to a ghost in day-light. It is, moreover, destructive to all character; for Spenser’s heroes being mere abstract personifications of some virtue37 or vice38, we almost always know what they are to do, though their actions are often unnatural39, if considered as the actions of human beings. Hence it is that we are never entertained with pictures of manners in the Faery Queen, while these form one of the great charms of the poems with which I am contrasting it.
It may however be said with justice, that we are to ascribe this more picturesque40 effect of allegory, rather to the spirit of the age than to that of the fabulist. For it is perhaps true that all early fable31 is purely41 allegorical; that this is by degrees mixed up with other circumstances, and it is in this mixed character that it is most conducive42 to poetical43 effect. But in a later age and later process of refinement44, when there is a greater tendency to abstract, allegory is stript of her adventitious45 ornaments46, and is at last forced upon us in poetry, painting, and sculpture, unveiled, or unencompassed by that sort of pleasing halo which is necessary to give her effect.
But whether we are to ascribe Boiardo’s success in this particular to the character of his age, or to his own superior judgment, there is, I think, no doubt about the fact, and there is, I think, as little difficulty in conceding to my author, upon other grounds, the praise of skill in executing the singular work of which he was the architect.
This extraordinary man was Matteo Maria Boiardo, count of Scandiano, and a native of Reggio in the Modenese, who flourished in the beginning of the sixteenth century. These are circumstances the more worthy47 of mention, as some of them tend to explain what may seem most strange in the composition of the Innamorato; such as the provincial48 character of the diction, and more especially that careless and almost contemptuous tone between jest and earnest, which distinguishes his poem. It is doubtless on this account that Ugo Foscolo observes, in an ingenious critique on the Italian romantic poets, in the Quarterly Review,2 that he tells his story in the tone of a feudal49 baron50; thus applying to him more justly what M. de Balzac has objected to another; of whom he says, “qu’il s’est comporte dans son poe’me comme un prince dans ses etats. C’est en vertu de cette souverainte qu’il ne reconnoit point les lois, et qu’il se met au dessus du droit commun.”
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1 distinguished | |
adj.卓越的,杰出的,著名的 | |
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2 eminent | |
adj.显赫的,杰出的,有名的,优良的 | |
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3 auxiliary | |
adj.辅助的,备用的 | |
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4 undertaking | |
n.保证,许诺,事业 | |
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5 prologue | |
n.开场白,序言;开端,序幕 | |
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6 illustrating | |
给…加插图( illustrate的现在分词 ); 说明; 表明; (用示例、图画等)说明 | |
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7 compendious | |
adj.简要的,精简的 | |
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8 poignancy | |
n.辛酸事,尖锐 | |
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9 recollected | |
adj.冷静的;镇定的;被回忆起的;沉思默想的v.记起,想起( recollect的过去式和过去分词 ) | |
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10 specimens | |
n.样品( specimen的名词复数 );范例;(化验的)抽样;某种类型的人 | |
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11 vein | |
n.血管,静脉;叶脉,纹理;情绪;vt.使成脉络 | |
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12 mere | |
adj.纯粹的;仅仅,只不过 | |
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13 edifice | |
n.宏伟的建筑物(如宫殿,教室) | |
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14 elevations | |
(水平或数量)提高( elevation的名词复数 ); 高地; 海拔; 提升 | |
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15 chambers | |
n.房间( chamber的名词复数 );(议会的)议院;卧室;会议厅 | |
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16 stanzas | |
节,段( stanza的名词复数 ) | |
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17 interspersed | |
adj.[医]散开的;点缀的v.intersperse的过去式和过去分词 | |
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18 justifiable | |
adj.有理由的,无可非议的 | |
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19 consummate | |
adj.完美的;v.成婚;使完美 [反]baffle | |
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20 legitimate | |
adj.合法的,合理的,合乎逻辑的;v.使合法 | |
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21 admiration | |
n.钦佩,赞美,羡慕 | |
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22 diverge | |
v.分叉,分歧,离题,使...岔开,使转向 | |
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23 illustrate | |
v.举例说明,阐明;图解,加插图 | |
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24 worthies | |
应得某事物( worthy的名词复数 ); 值得做某事; 可尊敬的; 有(某人或事物)的典型特征 | |
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25 narration | |
n.讲述,叙述;故事;记叙体 | |
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26 mosaic | |
n./adj.镶嵌细工的,镶嵌工艺品的,嵌花式的 | |
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27 conspicuous | |
adj.明眼的,惹人注目的;炫耀的,摆阔气的 | |
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28 pervades | |
v.遍及,弥漫( pervade的第三人称单数 ) | |
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29 doctrines | |
n.教条( doctrine的名词复数 );教义;学说;(政府政策的)正式声明 | |
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30 fables | |
n.寓言( fable的名词复数 );神话,传说 | |
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31 fable | |
n.寓言;童话;神话 | |
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32 odyssey | |
n.长途冒险旅行;一连串的冒险 | |
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33 subservient | |
adj.卑屈的,阿谀的 | |
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34 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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35 judgment | |
n.审判;判断力,识别力,看法,意见 | |
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36 obtrusive | |
adj.显眼的;冒失的 | |
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37 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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38 vice | |
n.坏事;恶习;[pl.]台钳,老虎钳;adj.副的 | |
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39 unnatural | |
adj.不自然的;反常的 | |
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40 picturesque | |
adj.美丽如画的,(语言)生动的,绘声绘色的 | |
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41 purely | |
adv.纯粹地,完全地 | |
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42 conducive | |
adj.有益的,有助的 | |
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43 poetical | |
adj.似诗人的;诗一般的;韵文的;富有诗意的 | |
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44 refinement | |
n.文雅;高尚;精美;精制;精炼 | |
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45 adventitious | |
adj.偶然的 | |
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46 ornaments | |
n.装饰( ornament的名词复数 );点缀;装饰品;首饰v.装饰,点缀,美化( ornament的第三人称单数 ) | |
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47 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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48 provincial | |
adj.省的,地方的;n.外省人,乡下人 | |
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49 feudal | |
adj.封建的,封地的,领地的 | |
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50 baron | |
n.男爵;(商业界等)巨头,大王 | |
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