[235] Ibid., XII., 79.
[236] Letters, iv., 217.
[237] Letters, iv., 407.
[238] In structure, the Morgante Maggiore, is made up of the rifacimenti of two earlier works: one, the Orlando, rather commonplace and monotonous in tone, was the basis of the first twenty-three cantos; the other, La Spagna, in prose, loftier and more stately, gave a foundation for the last five cantos.
[239] Don Juan, IV., 6.
[240] It is probable that Byron had read Merivale’s poem, Orlando in Roncesvalles (1814), for in the advertisement to his translation of Pulci he refers to “the serious poems on Roncesvalles in the same language [English]—and particularly the excellent one of Mr. Merivale.” Merivale’s work, based though it is upon the Morgante, is without humor, and could have given Byron nothing of the spirit of Pulci.
[241] Letters, iv., 402.
[242] Letters, iv., 407.
[243] Cantos III. and IV. of Don Juan were written in the winter of 1819–1820, while Byron was at work on his translation of the Morgante; hence it is certain that the influence of Pulci may be looked for at least as early as Canto III. It is probable, moreover, that Byron became acquainted with Pulci’s work before, or soon after, the beginning of Don Juan in September, 1818.
[244] Don Juan, X., 87.