Note 5 — Chapter IX

Ariosto's method of introducing flattery is simple. He makes Merlin utter predictions from his tomb, Melissa prophesy to Bradamante and Atlante to Ruggiero; or he displays magic frescoes, statues, and embroideries, where the future splendors of the Este family are figured; or, again, in the exordia of his cantos he directly addresses his patrons. Omitting lesser passages, we may reckon fifteen principal panegyrics of the Este house: canto iii. 16 to end, the fabulous pedigree; viii. 62, 63, praise of Ippolito; xiii. 57 and on, praises of the women of the family; xiv. beginning, the battle of Ravenna and Alfonso; xv. 2, 29, Alfonso's defeat of the Venetians; xviii. 1, 2, Alfonso's justice; xxxv. 4-9, prophecy of Ippolito; xxxvi. 1-9, Ippolito and the Venetians; xl. 1-5, defeat of the Venetians again; xli. 1-3, general adulation; xli. 62-67, pedigree again; xlii. 3, Alfonso wounded; xlii. 83-92, women of the family again; xliii. 54-62, praises of Ferrara; xlvii. 85-97, life of Ippolito. The most extravagant flatteries are lavished upon Ippolito and Lucrezia Borgia. When we remember who and what these Este princes were—how brutal in his cruelty Alfonso, how coarse and selfish and sensual Ippolito, how doubtful in her life Lucrezia—we cannot but feel these panegyrics to be sickening in their impudence.