"Boileau is often too lengthy; I admire Horace, but as for Ariosto, with
his forty long cantos, there is too much of him."

"It is fifty-one cantos, M. de Voltaire."

The great man was silent, but Madame Denis was equal to the occasion.

"Come, come," said she, "let us hear the thirty-six stanzas which earned
the author the title of divine, and which are to make us tremble."

I then began, in an assured voice, but not in that monotonous tone
adopted by the Italians, with which the French so justly reproach us. The
French would be the best reciters if they were not constrained by the
rhyme, for they say what they feel better than any other people. They
have neither the passionate monotonous tone of my fellow-countrymen, nor
the sentimentality of the Germans, nor the fatiguing mannerisms of the
English; to every period they give its proper expression, but the
recurrence of the same sounds partly spoils their recitation. I recited
the fine verses of Ariosto, as if it had been rhythmic prose, animating
it by the sound of my voice and the movements of my eyes, and by
modulating my intonation according to the sentiments with which I wished
to inspire my audience. They saw how hardly I could restrain my tears,
and every eye was wet; but when I came to the stanza,

"Poiche allargare il freno al dolor puote,
Che resta solo senza altrui rispetto,
Giu dagli occhi rigando per le gote
Sparge un fiume de lacrime sul petto,"

my tears coursed down my cheeks to such an extent that everyone began to