special creation, and the object of his chief predilection among his characters, other portions of the poem are couched in so lofty a strain, that he has been supposed to have had assistance from no less a philosopher than Ficino and no less a poet than Politian. Sarcastic sallies at the expense of the popular theology alternate with set passages of fervent orthodoxy. To us the Morgante appears a symbol of the intellectual anarchy then prevalent among the most intelligent Italians, among whom the religious sentiment survived, while its external vesture had become mere mythology; who had neither, like Benivieni, fallen under the influence of Savonarola, nor were disqualified by lack of classical culture from participating in the humanistic revival. Pulci's opinions are probably expressed by Astaroth, a devil introduced to aid the paladins and talk divinity, and whose discourse contains a marvellous foreshadowing of the discovery of America.
There can, nevertheless, be no question that the frivolous and mocking element in the Morgante is the source of its celebrity and literary importance. It is the first really great modern example of burlesque poetry, and there are few literatures without traces of its influence. In our own, it was the father of Frere's Whistlecraft, which was the father of Beppo and the Vision of Judgment, the first stanza of which latter poem inverts an idea of Pulci's; and Byron accompanied these masterpieces by a translation of Pulci's first canto, upon which he himself set a special value. It has been contended that Shakespeare was acquainted with Pulci, and certainly Panizzi's portrait of the vindictive traitor Gano in the Morgante might almost serve for one of Iago, while Orlando's unsuspecting magnanimity resembles Othello's. Panizzi
