He loves to describe the loathsome incantations of witches.

He shows Falserina prowling among corpses on a battle-field, and injecting the congealed veins of her resuscitated victim with abominable juices.

He crowds the Cave of Jealousy with monsters horrible to sight and sense; depicts the brutality of brigands; paints hideous portraits of eunuchs, deformed hags, unnameable abortions.

He gloats over cruelty, and revels in violence.[194] When Mars appears upon the scene, the orchestra of lutes and cymbals with which we had been lulled to sleep, is exchanged for a Corybantic din of dissonances.

Orgonte, the emblem of pride, outdoes the hyperboles of Rodomonte and the lunes of Tamburlaine.