Luigi Pulci is the most celebrated of the brothers. It was at the
instigation of Lucrezia Tornabuoni, mother of Lorenzo de' Medici, who
has been before mentioned for her talents and love of literature, that
he wrote the "Morgante Maggiore;" and Bernardo Tasso, father of the
great poet, relates that he read the cantos, as they were written, at
the table of Lorenzo.[85] Nothing is known of the latter part of Luigi
Pulci's life. Alessandro Zilioli, in his inedited "Memoirs of Italian
Poets," cited by Apostolo Zeno, narrates that Pulci died in a state of
penury at Padua, and that, from the impiety of his writings, he was
denied the rites of Christian burial; but he is the only writer who
mentions this, and no great faith can be reposed in him.
The poem of "Morgante Maggiore" has excited much discussion, as to
whether it is intended to be considered a burlesque or serious poem.
There is little of what is absolutely tragic; but much that is romantic
and interesting, mingled, as in the tragedies of Shakspeare, with
comedy. It is true that Pulci, while he relates wonders, does so in a
language so colloquial, as to detract from the dignity of his heroes and
the majesty of the adventures recounted; but in this he rather imitates
than travesties real life, and especially the life of the chivalrous
ages, during which there was so strange a mixture of the grand and the
ridiculous. While reading the poem, it seems difficult to understand the
foundation of the dispute, of whether it be impious, and whether it be
burlesque: it is at once evident that the serious parts are intended to
be elevated and tragic. Dr. Panizzi's essay is clear and decisive on
this point; and with him we may quote Ugo Foscolo, who says, that "the
comic humour of the Italian narrative poems arises from the contrast
between the constant endeavours of the writers to adhere to the forms
and subjects of the popular story-tellers, and the efforts made, at the
same time, by the genius of those writers, to render these materials
interesting and sublime." Yet, doubtless. Pulci, as well as other
writers of romantic narrative poems, introduces comedy, or, rather,
farce, designedly. Tasso alone, in his "Gerusalemme," adhered to classic
forms, and preserved the elevation of epic majesty, unmingled with wit
and ridicule.
The origin of the romantic tales of Charlemagne and his Paladins, made
so popular by Ariosto, and celebrated by Pulci, Boiardo, and other
poets, has been much treated of. Earlier than these were "The Adventures
of the Knights of the Round Table of King Arthur." French authors have
asserted that these also are founded on stories of Charlemagne; but Dr.
Panizzi asserts them to be of Welsh origin: he quotes Marie de France,
who declares that she translated several _fabliaux_ from British
originals; and Chaucer, who, in the "Franklin's Tale," says--
"These olde gentil Bretons in hir dayes
Of diverse adventures maden layes,
Rimeyed in hir firste Breton tongue;
Which layes with hir instruments they songe,
Or elles redden him for hir pleasure."
The long narrative romances of Amadis of Gaul and Palmerin of England
(which the curate saved out of the general burning of Don Quixote's
library) are supposed to be founded on various old lays and tales put
together in regular narration. In the same way, the adventures of the
French knights may be supposed to be founded on songs and romances
composed to celebrate favourite heroes. The authority perpetually quoted
by them all is archbishop Turpin. This romance is supposed to have been
written during the time of the first crusade: pope Calistus II. quotes
it in a bull dated 1122, and pronounces it to be genuine. From this, as
from one source, the Italians drew, or pretended to draw, the various
adventures of their heroes. In all their poems these are the same, and
their peculiar characters are preserved; yet many of these personages
are not even mentioned by Turpin: the events of his book are the wars of
Charlemagne in Spain against the Saracens, and the defeat of the
Paladins at Roncesvalles, through the treachery of Gano.
Milone, a distant relative of Charlemagne, and Bertha, the emperor's
sister, were the parents of Orlando. His childhood was spent in
obscurity and hardships, owing to the banishment of Milone and his wife
when their marriage was discovered. He was clothed by the charity of
four young friends, who brought cloth to cover him: two bought white,
and two red; whence Orlando adopted his coat of arms, del quartiere.
Charlemagne saw him on his road to Rome, Orlando introducing himself to
his imperial uncle's notice by stealing a plate of meat for his mother.
On this he was recognised; castles and lands were bestowed on him, he
became the prop of the throne, and married Alda, or Aldabella, who was
also connected with the royal family.
The personage who ranks next to him in celebrity is his cousin Rinaldo
of Montalbano. Montalbano, or Montauban, is a city on the banks of the
Tarn, near its junction with the Garonne. It is said to have been built
in 1144, after the date of archbishop Turpin's book, who makes no
mention of it or its lord. It is a stronghold; and, even now, an old
fortress, in the most ancient part of it, is called le Chateau de
Renaud. Aymon, duke of Dordona, had four sons; the eldest was Rinaldo,
who, having, in a transport of rage, killed Charlemagne's nephew
Berthelot with a blow of a chess-board, was, with all his family, except
his father, banished and outlawed. They betook themselves to the forests
and the lives of banditti; and, proceeding to Gasgony, Yon, king of
Bordeaux, gave his sister Clarice in marriage to Rinaldo, and permitted
him to build the castle of Montauban. After several disasters, he went
to the Holy Land, and, on his return, made peace with the emperor. The
machinery of these poems is chiefly conducted, in the first place, by
the treachery of Gano of Mayence, who is perpetually trusted by
Charlemagne, and perpetually betrays him, turning his malice principally
against the celebrated warriors of his court, while they are protected
by Rinaldo's cousin Malagigi, or Maugis, son of Beuves, or Buovo, of
Aygremont. Malagigi was brought up by the fairy Orianda, and became a
great enchanter. To vary the serious characters of the drama, Astolfo,
the English cousin of Orlando, being equally descended with him from
Charles Martel, is introduced. Astolfo is a boaster: he is perpetually
undertaking great feats, which he is unable to perform; but he is
generous, and brave to foolhardiness, courteous, gay, and singularly
handsome.
The family of the heroes of romance has been the more dilated upon, as
it serves as an introduction to all the poems. But to return to Pulci,
who is immediately before us.
His poem wants the elevation, the elegance, and idealism of Boiardo and
Ariosto; but it is not on that account merely burlesque: it has been
supposed to be impious, on account of each chapter being addressed to
the Divinity, or, more frequently, to the Virgin. But in those days men
were on a much more familiar footing than now with the objects of their
worship; and, even at present, in purely catholic countries,--in Italy,
for example,--the most sacred names are alluded to in a way which sounds
like blasphemy to our ears, but which makes an integral part of their
religion. There is but one passage in the "Morgante," hereafter to be
noticed, which really savours of unbelief. Thus, as seriously, or, at
least, with as little feeling of blasphemy, as an alderman says grace
before a turtle feast. Pulci begins his poem[86]:--
"In the beginning was the Word next God;
God was the Word, the Word no less was he:
This was in the beginning, to my mode
Of thinking, and without him nought could be.
Therefore, just Lord! from out thy high abode,
Benign and pious, bid an angel flee,
One only, to be my companion, who
Shall help my famous, worthy, old song through.
"And thou, O Virgin! daughter, mother, bride
Of the same Lord, who gave to you each key
Of heaven and hell, and every thing beside,
The day thy Gabriel said, 'All hail!' to thee;
Since to thy servants pity's ne'er denied,
With flowing rhymes, a pleasant style and free;
Be to my verses then benignly kind,
And to the end illuminate my mind."