The controversy whether Ariosto or Tasso’s poem is the greater epic, as it was one of the most obstinately interminable ever raised by academic pedantry, is also one of the idlest. They belong to different departments of art; it would be as reasonable to compare a picture with a statue. The question, nevertheless, which of the men was the greater poet, does admit of profitable discussion, though it may be difficult to establish any but a subjective criterion. If endowment with the poetical temperament is to be taken as the test, the palm certainly belongs to Tasso, whose actions, thoughts, and misfortunes are invariably those of a poet, and whose inward music is constantly finding expression in lyrical verse. Ariosto’s comparatively few lyrics generally wear a less spontaneous aspect than Tasso’s; the incidents of his life rather bespeak the man of affairs than the man of books; and if his _Orlando_ had perished, we should hardly have surmised how great a poet had been lost in him. If, on the other hand, the palm should be bestowed for mastery of art, it seems rather due to Ariosto, who handles his theme with more vigour, and has it more thoroughly under control. He is not obliged, like Tasso, to embellish his poem with episodes which, by their superior attractiveness, almost eclipse the main action: the few passages of the kind in the _Orlando_ are strictly subordinate, and not among its principal ornaments. The chief artistic blots upon his poem could not well have been avoided. So completely, though unjustly, has he overshadowed his predecessor Boiardo, that we are apt to forget that his work is an example, unique in literature, of the successful continuation of another’s. The adulation of the house of Este was an inheritance from his precursor; it is only to be regretted that, contrary to the example of Boiardo and the subsequent practice of Tasso, he should have given it disproportionate prominence. The incurable defect of the action of the _Furioso_ is also a legacy from the _Innamorato_. Ruggiero, the real hero of Ariosto’s part of the poem, wins the hand of Bradamante, and becomes the ancestor of the house of Este, by apostasy. The poem finds him a pagan, and leaves him a Christian. All that ingenuity can effect is employed to extenuate his desertion; nevertheless, the sympathies of every reader must be with the Saracen Rodomonte when he appears in the last canto to tax Ruggiero with his change of sides, and necessarily (for otherwise what would have become of the house of Este?) is slain for his loyalty, to the scandal of poetical justice.