* * * * *

The story tells us nothing further of Tisbina, though there can be no doubt that Boiardo meant to give us the conclusion of her share in it; for the two knights take an active part in the adventures of their new friend Rinaldo.  Perhaps, however, the discontinuance of the poem itself was lucky for the author, as far as this episode was concerned; for it is difficult to conceive in what manner he would have wound it up to the satisfaction of the reader.

[Footnote 1:  The hero and heroine of the famous romance of Tristan de Leonois.]

[Footnote 2:  “Mr. Rose observes, that Medusa may be designed by Boiardo as the ‘type of conscience;’ and he is confirmed in his opinion by the circumstance mentioned in this canto (12, lib. i. stan. 39) of Medusa not being able to contemplate the reflection of her own hideous appearance, though beautiful in the sight of others.  I fully agree with him.”—­PANIZZI, ut sup.  Vol. iii p. 333.]

[Footnote 3:  “Tisbina,” says Panizzi, in a note on this passage, “very wisely acted like Emilia (in Chaucer), who, when she saw she could not marry Arcita, because he was killed, thought of marrying Palemone, rather than ‘be a mayden all hire lyf.’  It is to be observed, that although she regretted very much what had happened, and even fainted away, she did not, however, stand on ceremonies, as the poet says in the next stanza, but yielded immediately, and married Prasildo.  This, at first, I thought to be a somewhat inconsistent; but on consideration I found I was wrong.  Tisbina was wrong; because, having lost Iroldo, she did not know what Prasildo would do; but so soon as the latter offered to fill up the place, she nobly and magnanimously resigned herself to her fate.”—­Ut sup. vol. iii. p. 336.

It might be thought inconsistent in Tisbina, notwithstanding Mr. Panizzi’s pleasantry, to be so willing to take another husband, after having poisoned herself for the first; but she seems intended by the poet to exhibit a character of impulse in contradistinction to permanency of sentiment.  She cannot help shewing pity for Prasildo; she cannot help poisoning herself for her husband; and she cannot help taking his friend, when she has lost him.  Nor must it be forgotten, that the husband was the first to break the tie.  We respect him more than we do her, because he was capable of greater self-denial; but if he himself preferred his friend to his love, we can hardly blame her (custom apart) for following the example.]

SEEING AND BELIEVING.

ARGUMENT

A lady has two suitors, a young and an old one, the latter of whom wins her against her inclinations by practising the artifice of Hippomanes in his race with Atalanta.  Being very jealous, he locks her up in a tower; and the youth, who continued to be her lover, makes a subterraneous passage to it; and pretending to have married her sister, invites the old man to his house, and introduces his own wife to him as the bride.  The husband, deceived, but still jealous, facilitates their departure out of the country, and returns to his tower to find himself deserted.