The society of Ariosto was courted by the learned and the polite; not for his wit and intelligence only, but for the privilege of hearing his latest compositions, as they came warm from his mind, or were gradually wrought to perfection by that patient labour for which he was distinguished, and to which he is indebted for as much of his glory as to the creative energy of his genius itself. For when he had originated, by force of invention, his most admired performances, he never ceased to improve them afterwards by touches innumerable, exquisite, and undiscerned by ordinary eyes, till the art which effected the changes at length disappeared in its own consummation, and those seemed to be the first thoughts in the first words, which were really the last transmigrations of the former through the latter. No poet of any age has more inseparably identified his conceptions with his language than Ariosto; in fact, his ideas themselves are so vernacular, that they can scarcely be made to speak any other than their native tongue; they defy translation. Nothing, indeed, can be easier than to render the literal meaning in dictionary terms; yet nothing less resembling the original in all that constitutes its prime excellence--grace, freedom, and simplicity--can be imagined than these. Of the "Orlando Furioso" there are three English versions: that by sir John Harrington, in the reign of queen Elizabeth, is coarse, careless, and unfaithful; that of Hoole, about fifty years ago, tame, diffuse, and prosaic; the recent one by W. S. Rose, esq., elegant, spirited, and probably as true to the text as any readable paraphrase can be under the difficulties aforementioned.