the charms of the dancer Schwarzwald) had been able even for an instant to drive from his mind and heart the image of the Sionorina Angelica Sedera (here a long procession of adjectives to exalt the beauty, grace, virtue, and intellect of his beloved) i then, in neat hieroglyphics of ink and sentiment, the letter went on to say that Tancredi had felt so conscious of his own unworthiness that he had tried to suffocate his ardor ("long but vain have been the hours during which, amid the clamor of Naples or the austere company of my comrades-in-arms, I have tried to repress my feelings").
"Osaba Fabrizio maitea"-ri, beraz, aditzera ematen zion "beraganako oniritziz eta begirunez beteriko iloba" maitasunik indartsuenaren preso zela hiru hilabete lehenagotik, eta ez "gerrako arriskuek"-alegia, Casertako parkeko paseoek-, ez eta "hiri handi baten edertasunek" ere-alegia, Schwarzwald dantzariaren mimoek-ezin izan ziotela une bakar batez ere buru-bihotzetatik urrundu Angelica Sedara andereñoaren irudia-eta segituan halako adjektibo-prozesio luze bat zihoan, maitearen edertasuna, dohaiak, bertuteak eta adimena goraipatzeko-; gero, tintazko eta sentimenduzko zirrimarra nabarmenen bitartez esaten zen Tancredi bera saiatu zela bere sua itzaltzen, bere doilorkeriaz jabetu zenean "luze bezain alferrekoak izan dira orduak, Napoliko iskanbilaren erdian sartuz edo nire armalagunen austeritatean babestuz neure sentimenduei gogor egiten ahalegindu naizenean".