The work of modern criticism does not restrict itself to the clearing away of these idle and unnecessary enquiries, but also includes a varied and thorough investigation into the poetry of Ariosto, whose every aspect we may claim to have illuminated in turn, and to have given all the solutions as to the true character of the problem that can be suggested. And it almost seems now that anyone who wishes to form an idea upon the subject needs but select from the various existing solutions, that one which shows itself to be clearly superior to all others, owing to its being supported by the most valid arguments, after he has possessed himself of the critical literature relating to Ariosto. It seems impossible to suggest a new solution, and as though the argument were one of those of which it may be said that "there is no hope of finding anything new in connection with it." And this is very nearly true, but only very nearly, for a non-superficial examination of those various solutions leads to the result that none of them is valid in the way it is presented, that is to say, with the arguments that support it. It is therefore advisable to indicate some of these arguments, which have already been given, and to deduce from them other consequences, though we may not succeed in framing others which shall shine with amazing novelty. But upon consideration, this will be nothing less than providing a new solution, just because the problem has been differently presented and differently argued: a novelty of that serious sort which is a step forward upon what has already been observed and acquired, not that sort of extravagant novelty agreeable to false originality and to sterile subtlety. There are two fundamental types of reply to the question as to the character of Ariosto's poetry; of these the more important is the first, either because, as will be seen, really here near to the truth, or because supported with the supreme authority of De Sanctis. Prior to De Sanctis, it is only to be vaguely discerned as suggested by the eighteenth century writer, Sulzer, and more clearly in the German aesthetic writer, Vischer; it was afterwards repeated, prevailed and was accepted, among others by Carducci. According to De Sanctis and to his precursors and followers, in the _Furioso_ Ariosto has no subjective content to express, no sentimental or passionate motive, no idea become sentiment or passion, but pursues the sole end of art, singing for singing's sake, representing for representation's sake, elaborating pure form, and satisfying the one end of realising his own dreams.