That courtiers make and worship; old enough
Defiance with defiance to encounter.
"Antonio.—Ay, where the tinkling lute and tinkling speech
Decide the combat, Tasso is a hero.
"Tasso.—I were to blame to boast a sword unknown
As yet to war, but I can trust to it.
"Antonio.—Trust rather to indulgence."
We are in the high way, it is plain, to a duel. Tasso insists upon an appeal to the sword. The secretary of state contents himself with objecting the privilege or sanctity of the place, they being within the precincts of the royal residence. At the height of this debate, Alphonso enters. Here, again, the minister has a most palpable advantage over the poet. He insists upon the one point of view in which he has the clear right, and will not diverge from it; Tasso has challenged him, has done his utmost to provoke a duel within the walls of the palace; and is, therefore, amenable to the law. The Duke can do no other than decide against the poet, whom he dismisses to his apartment with the injunction that he is there to consider himself, for the present, a prisoner.
In the three subsequent acts, there is still less of action; and we may as well relate at once what there remains of plot to be told, and then proceed with our extracts. Through the mediation of the princess and her friend, this quarrel is in part adjusted, and Tasso is released from imprisonment. But his spirit is wounded, and he determines to quit the court of Ferrara. He obtains permission to travel to Rome. At this juncture he meets with the princess. His impression has been that she also is alienated from him; her conversation removes and quite reverses this impression; in a moment of ungovernable tenderness he is about to embrace her; she repulses him and retires. The duke, who makes his appearance just at this moment, and who has been a witness to the conclusion of this interview, orders Tasso into confinement, expressing at the same time his conviction that the poet has lost his senses. He is given into the charge of Antonio, and thus ends the drama.
Glancing back over the three last acts, whose action we have summed up so briefly, we might select many beautiful passages for translation; we content ourselves with the following.
The princess and Leonora Sanvitale are conversing. There has been question of the departure of Tasso.