Now, what sympathy can be felt in such unequal conflicts? No more, verily, than with the fate and fortunes of the elephants and castles, the kings, queens, bishops, knights, and commonalty on a chess-board, in a game between an adept and a novice, which is up in a few moments, neither exalting the winner nor disparaging the loser, nor affecting life, limb, character, or feeling in regard to one of the puppets employed in the play. Of the same class are all the combats between invulnerable heroes, and those who wield weapons of enchantment: the irresistible spear of Bradamante, that unhorsed every antagonist whom it touched; the magic horn of Astolpho, that routed armies with a blast; Ruggiero's veiled shield, the dazzling splendour of which, when suddenly disclosed, struck with blindness and astonishment all eyes that beheld it. Of the latter, the author himself grows weary or ashamed, and makes his hero so too; though, with remarkable dexterity, he turns into a glorious act of heroic virtue, the voluntary riddance of it by the indignant Ruggiero, who throws it into a hidden well, in a nameless forest in an undiscovered land, after having won too cheap a victory by its accidental exposure. In these two instances (and many others might be quoted), Ariosto laughs at his own extravagances, with as much pleasantry as Cervantes himself at those of others: and it may, perhaps, be affirmed that he does it with more tact and good sense, for it must be acknowledged that few outrages upon nature in the tales of chivalry, which the Spaniard justly ridicules, are felt by the reader to be more improbable than the crazy imitations of them by the knight of La Mancha, whose pranks could only be attempted by one absolutely insane, and therefore were as little a fair mark for satire as for censure. Ariosto has this advantage over Cervantes,--that whatever is great, glorious, or admirable in romance, he can seriously set forth in all the pomp and eloquence of verse of the highest species; while whatever is mean, farcical, or monstrous, he can exhibit in strains of facetiousness, at once as grave and as poignant as those in which the celebrated assault on the windmills, the rout of the sheep, or the gross sensuality of Sancho Panza, are given, without descending into caricature; though no small portion of his whole poem belongs to the grotesque, and happily the plan admits of every variety of style from Homer to Lucian.