fects produced by him, result out of an accumulation of circumstances, which, though they may appear of little value taken separately, are to be esteemed important as conducing, each in its place, to the main object of the poet. In this particularity he bears a striking resemblance to Defoe. The Furioso moreover often pleases as a whole, where it offends in parts, and, notwithstanding many defects, is perhaps the poetical work which is oftenest reperused with pleasure. Among the many things which have probably contributed to this, may be remarked Ariosto’s frequent sacrifice of force to truth; which (to take a short instance) I should say was illustrated by Pinabel’s narration of the loss of his lady, in the second canto, where some may be inclined to think that the poet overtalks himself, and many might wish to see the infusion of a spirit, which would perhaps be out of harmony with the circumstances. He is often also studious of what the artists call a repose, and upon which a translator should be most cautious never to intrude. These
