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Have we not long since proved to demonstration
The Girl. What does he want then at our ball?
Faust. Oh! he
The Girl. Then leave off teazing us so.
Broct. I tell you spirits, to your faces now,
Before my last step in the living dance
Meph. At last he will sit down in some foul puddle;
(To Faust, who has seceded from the dance.) Why do you let that fair girl pass from you,
, Who sung so sweetly to you in the dance ?
Faust. A red mouse in the middle of her singing
Meph. That was all right, my friend.
Faust. Then saw I
Faust. Seest thou not a pale
Meph. Let it be-pass on-
Faust. Oh, too true!
Which no beloved hand has closed, alas!
Meph. It is all magic, poor deluded fool!
Faust. Oh, what delight! what woe! I cannot turn
Meph. Aye, she can carry
Attendant. Quite a new piece, the last of seven, for 'tis The custom now to represent that number. 'Tis written by a Dilettante, and The actors who perform are Dilettanti; Excuse me, gentlemen; but I must vanish. I am a Dilettante curtain-lifter.
ARIOSTO'S EPISODE OF CLORIDAN,
MEDORO, AND ANGELICA.
It is no great boast to say, that this is perhaps the first time an English reader has had any thing like a specimen given him of the Orlando Furioso. Harrington, the old translator, wrote with a crab-stick, and Hoole with a rule. (The rhyme is lucky for him, and perhaps for our gentilities; for he provokes one of some sort.) The characteristics of Ariosto’s style are great animal spirits, great ease and flow of versification, and great fondness for natural and strait-forward expressions, particularly in scenes of humour and tenderness. What approaches Harrington makes to these with his sapless crutches, or Hoole with his conventional stilts, let those discover who can. Harrington has perhaps twenty good stanzas in his whole work; and he is to be preferred to Hoole, because he has at all events an air of greater good faith in what he does. Hoole is a mere bundle of common-places. He understood nothing of his author but the story. He sometimes apologizes for the difficulty he feels in “ raising the style,” and when he comes to a passage more than usually familiar, thinks that the most “tolerable" way of rendering it is by doing away all its movement and vivacity.
“ Most tolerable” it is certainly, and “not to be endured.” Yet a friend once quoted to us one good line out of Hoole.
Hoole. " It was something," he said, “ about
“ Neptune's white herds lowing o'er the deep."