For pain which fits my sin, dark fumes now stain.
Stanza xliii. line 5.
Harrington observes, that Lydia’s punishment was an imitation of that to which one of the later Roman emperors condemned a courtier who had taken bribes, and deceived the giver by empty promises: “Fumo pereat qui fumum vendidit.”
Believe, you not without high mystery steer, &c.
Stanza lv. line 7.
It is impossible for the reader who is most incredulous as to allegory not to suspect a mystic meaning in many parts of this canto, in the lines, where we are told that the smoke had not alone outwardly stained Astolpho, but had searched even beneath his clothes in his long search for a fountain in order to cleanse himself preparatory to his journey to Paradise—in his desire to reach heaven—his contempt of earth—and finally his accomplishment of his object through intensity of aspiration. But something more on this head will be found in the following note.
He of our Lord so loved, the blessed John, &c.
Stanza lviii. line 1.
This introduction of St. John, which to us must appear so indecent and extravagant, will probably be attributed by many to the character of the nation, or to that of the religion, to which Ariosto belonged. For myself, I ascribe it simply to the character of his age, and my reason for so doing is, that Harrington, an Englishman and a protestant, in commenting upon this passage, expresses neither scandal nor surprise; and indeed would seem to have considered it as an edifying allegory. I extract his observations, not only in confirmation of what I have stated, but because his interpretation of the significance
