The winter set in early. December began with intense frost. Mr. Falconer, one afternoon, entering the inner drawing-room, found Miss Gryll alone. She was reading, and on the entrance of her visitor, laid down her book. He hoped he had not interrupted her in an agreeable occupation. 'To observe romantic method,' we shall give what passed between them with the Christian names of the speakers.
Morgana. I am only reading what I have often read before, Orlando Innamorato; and I was at the moment occupied with a passage about the enchantress from whom my name was borrowed. You are aware that enchantresses are in great favour here.
Algernon. Circe and Gryllus, and your name, sufficiently show that. And not your name only, but——I should like to see the passage, and should be still better pleased if you would read it to me.
Morgana. It is where Orlando, who had left Morgana sleeping by the fountain, returns to seek the enchanted key, by which alone he can liberate his friends.
Il Conte, che d' intrare havea gran voglia,
Subitamente al fonte ritornava:
Quivi trovô Morgana, che con gioglia
Danzava intorno, e danzando cantava.
Ne pui leggier si move al vento foglia
Come ella sanza sosta si voltava,
Mirando hora a la terra ed hora al sole;
Ed al suo canto usa va tal parole:
'Qualonque cerca al mondo haver thesoro,
Over diletto, o segue onore e stato,
Ponga la mano a questa chioma d' oro,
Ch' io porto in fronte, e quel fara beato.
Ma quando ha il destro a far cotal lavoro,
Non prenda indugio, che 'l tempo passato
Più non ritorna, e non si trova mai;
Ed io mi volto, e lui lascio con guai.'
Cosi cantava d' intorno girando
La bella Fata a quella fresca fonte;
Ma come gionto vide il Conte Orlando,
Subitamente rivoltô la fronte:
Il prato e la fontana abbandonando,
Prese il viaggio suo verso d* un monte,
Quai chiudea la Valletta picciolina:
Quivi fuggendo Morgana cammina.{1}
1 Bojardo: 1. ii. c. 8. Ed. Vinegia; 1544.
With earnest wish to pass the enchanted gate,
Orlando to the fount again advanced,
And found Morgana, all with joy elate,
Dancing around, and singing as she danced.
As lightly moved and twirled the lovely Fate
As to the breeze the lightest foliage glanced,
With looks alternate to the earth and sky,
She thus gave out her words of witchery:
'Let him, who seeks unbounded wealth to hold,
Or joy, or honour, or terrestrial state,
Seize with his hand this lock of purest gold,
That crowns my brow, and blest shall be his fate.
But when time serves, behoves him to be bold,
Nor even a moment's pause interpolate:
The chance, once lost, he never finds again:
I turn, and leave him to lament in vain.'
Thus sang the lovely Fate in bowery shade
Circling in joy around the crystal fount;
But when within the solitary glade
Glittered the armour of the approaching Count,
She sprang upon her feet, as one dismayed,
And took her way towards a lofty mount
That rose the valley's narrow length to bound:
Thither Morgana sped along the ground.
I have translated Fata, Fate. It is usually translated
Fairy. But the idea differs essentially from ours of a
fairy. Amongst other things there is no Fato, no Oberon to
the Titania. It does not, indeed, correspond with our usual
idea of Fate, but it is more easily distinguished as a
class; for our old acquaintances the Fates are an
inseparable three. The Italian Fata is independent of her
sisters. They are enchantresses; but they differ from other
enchantresses in being immortal. They are beautiful, loo,
and their beauty is immortal: always in Bojardo. He would
not have turned Alcina into an old woman, as Ariosto did;
which I must always consider a dreadful blemish on the many
charms of the Orlando Furioso.
Algernon. I remember the passage well. The beautiful Fata, dancing and singing by the fountain, presents a delightful picture.
Morgana. Then, you know, Orlando, who had missed his opportunity of seizing the golden forelock while she was sleeping, pursues her a long while in vain through rocky deserts, La Penitenza following him with a scourge. The same idea was afterwards happily worked out by Machiavelli in his Capitolo del Occasion.
Algernon. You are fond of Italian literature? You read the language beautifully. I observe you have read from the original poem, and not from Bemi's rifacciamento.
Morgana. I prefer the original. It is more simple, and more in earnest. Bemi's playfulness is very pleasant, and his exordiums are charming; and in many instances he has improved the poetry. Still, I think he has less than the original of what are to me the great charms of poetry, truth and simplicity. Even the greater antiquity of style has its peculiar appropriateness to the subject. And Bojardo seems to have more faith in his narrative than Berni. I go on with him with ready credulity, where Berni's pleasantry interposes a doubt.
Algernon. You think that in narratives, however wild and romantic, the poet should write as if he fully believed in the truth of his own story.