Io non ho core e lo mio cor n'ha dui....

With all this effort no one is convinced of Falserina's emotion, and her long-winded oration reads like a schoolboy's exercise upon some line of the fourth Aeneid.

Yet if we allow the sense of rhythmical melody to intervene between our intellectual perception and Marino's language, we shall still be able to translate these outpourings into something which upon the operatic stage would keep its value.

False rhetoric and the inability to stop when enough and more than enough has been said upon any theme to be developed, are the incurable defects of Marino.

His profuse _fioriture_ compared with the simpler descant of Ariosto or Tasso remind us of Rossini's florid roulades beside the grace of Pergolese's or the majesty of Marcello's song.
The peculiar quality of bad taste which is known in Italy as _Marinismo_, consisted in a perpetual straining after effect by antitheses, conceits, plans on words degenerating into equivocation, and such-like rhetorical grimaces.