or the dignified imagination of Milton, to all of whom he is far inferior
in sustained excellence,--but because he is like very Nature herself.
Whether great, small, serious, pleasureable, or even indifferent, he
still has the life, ease, and beauty of the operations of the daily
planet. Even where he seems dull and common-place, his brightness and
originality at other times make it look like a good-natured condescension
to our own common habits of thought and discourse; as though he did it
but on purpose to leave nothing unsaid that could bring him within the
category of ourselves. His charming manner intimates that, instead of
taking thought, he chooses to take pleasure with us, and compare old
notes; and we are delighted that he does us so much honour, and makes, as
it were, Ariostos of us all. He is Shakspearian in going all lengths with
Nature as he found her, not blinking the fact of evil, yet finding a
"soul of goodness" in it, and, at the same time, never compromising the
worth of noble and generous qualities. His young and handsome Medoro is a
pitiless slayer of his enemies; but they were his master's enemies, and
he would have lost his life, even to preserve his dead body. His Orlando,
for all his wisdom and greatness, runs mad for love of a coquette, who
triumphs over warriors and kings, only to fall in love herself with an
obscure lad. His kings laugh with all their hearts, like common people;
his mourners weep like such unaffected children of sorrow, that they must
needs "swallow some of their tears."[45] His heroes, on the arrival of
intelligence that excites them, leap out of bed and write letters before
they dress, from natural impatience, thinking nothing of their "dignity."
When Astolfo blows the magic horn which drives every body out of the
castle of Atlantes, "not a mouse" stays behind;--not, as Hoole and such
critics think, because the poet is here writing ludicrously, but because
he uses the same image seriously, to give an idea of desolation, as
Shakspeare in _Hamlet_ does to give that of silence, when "not a mouse is
stirring." Instead of being mere comic writing, such incidents are in the