As for the once formidable question concerning the comparative merits of this poet and Ariosto, which anticipated the modern quarrels of the classical and romantic schools, some idea of the treatment which Tasso experienced may be conceived by supposing all that used to be sarcastic and bitter in the periodical party-criticism among ourselves some thirty years back, collected into one huge vial of wrath, and poured upon the new poet's head. Even the great Galileo, who was a man of wit, bred up in the pure Tuscan school of Berni and Casa, and who was an idolator of Ariosto, wrote, when he was young, a "review" of the _Jerusalem Delivered_, which it is painful to read, it is so unjust and contemptuous.[37] But now that the only final arbiter, posterity, has accepted both the poets, the dispute is surely the easiest thing in the world to settle; not, indeed, with prejudices of creeds or temperaments, but before any judges thoroughly sympathising with the two claimants. Its solution is the principle of the greater including the less. For Ariosto errs only by having an unbounded circle to move in. His sympathies are unlimited; and those who think him inferior to Tasso, only do so in consequence of their own want of sympathy with the vivacities that degrade him in their eyes. Ariosto can be as grave and exalted as Tasso when he pleases, and he could do a hundred things which Tasso never attempted. He is as different in this respect as Shakspeare from Milton. He had far more knowledge of mankind than Tasso, and he was superior in point of taste. But it is painful to make disadvantageous comparisons of one great poet with another. Let us be thankful for Tasso's enchanted gardens, without being forced to vindicate the universal world of his predecessor. Suffice it to bear in mind, that the grave poet himself agreed with the rest of the Italians in calling the Ferrarese the "divine Ariosto;" a title which has never been popularly given to his rival.
The _Jerusalem Delivered_ is the history of a Crusade, related with poetic license. The Infidels are assisted by unlawful arts; and the libertinism that brought scandal on the Christians, is converted into youthful susceptibility, led away by enchantment. The author proposed to combine the ancient epic poets with Ariosto, or a simple plot, and uniformly dignified style, with romantic varieties of adventure, and the luxuriance of fairy-land. He did what he proposed to do, but with a judgment inferior to Virgil's; nay, in point of the interdependence of the adventures, to Ariosto, and with far less general vigour. The mixture of affectation with his dignity is so frequent, that, whether Boileau's famous line about Tasso's tinsel and Virgil's gold did or did not mean to imply that the _Jerusalem_ was nothing but tinsel, and the _Æneid_ all gold, it is certain that the tinsel is so interwoven with the gold, as to render it more of a rule than an exception, and put a provoking distance between Tasso's epic pretensions and those of the greatest masters of the art. People who take for granted the conceits because of the "wildness" of Ariosto, and the good taste because of the "regularity" of Tasso, just assume the reverse of the fact. It is a rare thing to find a conceit in Ariosto; and, where it does exist, it is most likely defensible on some Shakspearian ground of subtle propriety. Open Tasso in almost any part, particularly the love-scenes, and it is marvellous if, before long, you do not see the conceits vexatiously interfering with the beauties.