Apart, but not separated from, nor alien to, nor indifferent: and in respect to this we must resume and develop the analysis already begun by setting readers on their guard against the easy misunderstanding of the "destruction," which we have already spoken of as brought about by the tone and the irony of Ariosto. This must not be looked upon as total destruction and annihilation, but as destruction in the philosophic sense of the word, which is also conservation. Were this otherwise, what could be the function of the varied material or emotional content, which we have examined in the poem? Are the stars stuck into the sky like pin-heads in a pin-cushion (Don Ferrante would sarcastically enquire)? The eloquence of other's but not Ariosto's poetry, arises from a total indifference of sentiment and an absence of content: theirs is the rouge on the corpse, not the rosy cloud that enfolds and adorns the living. Such eloquence produces soft and superficially musical versification of the _Adone,_ not the octave of the _Furioso;_ and to quote Giraldi Cinzio once more, the lover of Ariosto (who gave the advice to readers not to confuse the "facility" of the _Furioso_ with verses "of sweet sound but no feeling"), the eight hundred "stanzas," by one of the composers of that time, which Giraldi once had to read, "which seemed to be collections made among the flowery gardens of poetry, so full were they of beauty from stanza to stanza, but put together, were vain things, seeming, so far as sense is concerned, to have been born of the soil of childishness," because their author was "intent only upon the pleasure that comes from the splendour and choice of words, and had altogether neglected the dignity and assistance afforded by sensibility."