[Footnote 32:  In manus tuas, Domine.  One likes to know the actual words; at least so it appears to me.]

[Footnote 33:  Serassi, ii. 276.]

[Footnote 34:  “Quem cernis, quisquis es, procera statura virum, luscis oculis, &c. hic Torquatus est.”—­Cappacio, Illustrium Literis Virorum Elogia et Judici, quoted by Serassi, ut sup.  The Latin word luscus, as well as the Italian losco, means, I believe, near-sighted; but it certainly means also a great deal more; and unless the word cernis (thou beholdest) is a mere form of speech implying a foregone conclusion, it shews that the defect was obvious to the spectator.]

[Footnote 35:  “Il Signor Duca non crede ad alcuna mia parola.”
          
                                             Opere, xiv. 161.]

[Footnote 36:  “Fui da bocca di lui medesimo rassicurato, che dal tempo del suo ritegno in sant’Anna, ch’avenne negli anni trentacinque della sua vita e sedici avanti la morte, egli intieramente fu casto:  degli anni primi non mi favello mai di modo ch’ io possa alcuna cosa di certo qui raccontare.”
          
                                          Opere, xxxiii. 235.]

[Footnote 37:  It is to be found in the collected works, ut supra; both of the philosopher and the poet.]

[Footnote 38:  It is an extraordinary instance of a man’s violating, in older life, the better critical principles of his youth,—­that Tasso, in his Discourses on Poetry, should have objected to a passage in Ariosto about sighs and tears, as being a “conceit too lyrical,” (though it was warranted by the subtleties of madness, see present volume, p. 219), and yet afterwards not in the same conceits when wholly without warrant.]

[Footnote 39:  [Greek: 

  Dardanion aut aerchen, eus pais Agchisao,
  Aineias ton hup Agchisae teke di Aphroditae
  Idaes en knaemoisi, thea brotps eunaetheisa
  Ouk oios hama toge duo Antaenoros uie,
  Archilochos t, Akamas te machaes en eidute pasaes.

Iliad, ii. 819.]

It is curious that these five lines should abound as much in a’s Tasso’s first stanza does in o’s.  Similar monotonies are strikingly observable in the nomenclatures of Virgil.  See his most perfect poem, the
  Georgics: 

“Omnia secum
`Armentarius `Afer agit, tectumque, Laremque,
`Armaque, `Amyclaeumque canem, Cressamque pharetram.” 

          
                                                                                                    Lib. iii. 343.

It is clear that Dante never thought of this point.  See his Mangiadore, Sanvittore, Natan, Raban, &c. at the end of the twelfth canto of the Paradiso.  Yet in his time poetry was recitatived to music.  So it was in Petrarch’s, who was a lutenist, and who “tried” his verses, to see how they would go to the instrument.  Yet Petrarch could allow himself to
  write such a quatrain as the following list of rivers