Page:Orlando Furioso (Rose) v3 1825.djvu/244

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NOTES TO CANTO XVII.

An example of such passionate action, which may appear unnatural to many, was in modern times furnished by the late king and queen of Naples, under circumstances of less excitement, who, when restored by Lord Nelson, ran about their palace at Naples, kissing and embracing the doors.

4. 

Are you not those that erst with me did stand
Gainst Agolant in Aspramont? In you
Is vigour note so spent, (he said) the band,
Who him, Troyano, and Almontes slew.

Stanza xiv. lines 3, 4, 5, 6.

These are all events described iu the romances anterior to the Innamorato, and many of which are referred to in that poem.

5. 

Then the high-street gay signs of triumph wore,
Covered with showy cloths of different dye,
Which deck the walls, while sylvan leaves in store,
And scented herbs upon the pavement lie.

Stanza xx. lines 1, 2, 3, 4.

Every one who has been on the continent, and indeed every one who is conversant with old paintings, may acquire a general idea of such a picture; but it is necessary to have been in Italy to form to oneself a perfect notion of the details of these scenes, in which Ariosto seems so particularly to delight. So studiously elegant are the townspeople of some parts of the Italian peninsula, that at an annual festival held at a burgh near Rome, where the pavement, as in Damascus, is strewed with foliage, beautiful centre-pieces for this green ground are composed with leaves of rich flowers on thin deal planks, and inserted in it at such intervals as to produce the effect of figured carpeting. Ariosto paints these scenes in the true spirit of an Italian.