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."
LORD BYRON's Translation of Canto I. of Pulci.
The scope of the poem is then, in true epic fashion, summed up in a few lines[87]:—
"Twelve paladins had Charles in court, of whom
The wisest and most famous was Orlando;
Him traitor Gan conducted to the tomb
In Roncesvalles, as the villain plann'd too,
While the horn rang so loud, and knell'd the doom
Of their sad rout, though he did all knight can do;
And Dante in his comedy has given
To him a happy seat with Charles in heaven."
—Id. ibid.
The poet then introduces the immediate object of the poem. On Christmas day Charlemagne held his court, and the emperor was over-glad to see all his noble Paladins around him. His favour shown towards Orlando excited the spleen of Gano, who openly attacked him as too presumptuous and powerful. Orlando overhearing his words, and perceiving Charlemagne's ready credulity, drew his sword in a rage, and would have killed the slanderer, had not Ulivieri interposed. On this Orlando quits Paris, full of grief and rage, and goes forth to wander over the world in search of adventures. His first enterprise is undertaken in behalf of a convent, besieged by three giants, who amused themselves by throwing fragments of rock and trees torn up by the roots, into the courts and garden of the monastery, which kept the poor monks in perpetual alarm. Notwithstanding their dissuasions, Orlando conceives this to be an adventure worthy of him: he goes out against the pagan and monstrous assailants. He kills two in single combat, and then goes to seek the fiercest and mightiest of the three, Morgante. This ferocious giant has retired, meanwhile, to a cavern of his own fashioning, and was dreaming uneasily of a serpent who came to slay him, which was only defeated by his having recourse to the name of the Christian Saviour. This disposed him to submission and conversion, and Orlando, delighted with these good dispositions, embraces and baptizes him. The monks are very grateful for their deliverance, and desirous to keep their preserver; but Orlando, tired of idleness, takes a kind and affectionate leave of the abbot, whom he discovers to be a cousin of his own, and departs with his convert in search of adventures.
Meanwhile, Rinaldo, enraged at his cousin's departure, and the partiality displayed by the emperor for the traitor Gano, leaves the court with Ulivieri and Dudone in search of the wanderer. They meet with a variety of adventures, and join him at last in the court of king Caradoro, whom they aid in his war with king Manfredonio, who demanded, at the sword's point, the beautiful Meridiana, daughter of Caradoro, as his wife. Manfredonio is defeated. The verses that describe his final departure, at the persuasion of Meridiana, and the force of love which caused him to submit to her decree of banishment, forms one of the prettiest episodes of the Morgante. Meridiana falls in love with Ulivieri, who had delivered her: he converts her to Christianity; but this does not prevent him from following the example of the pious Æneas, and deserting her a short time after.
Gano was not content with the dispersion and exile of the Paladins: he sent messengers to Caradoro and Manfredonio, telling who the wanderers were, and inciting these monarchs to destroy them. Besides this, he invited Erminione, a Saracen king of Denmark, to attack France while unprotected by its bravest warriors. The king succeeds so well, that, besieging Paris, he took prisoner all the remaining Paladins; and poor Charlemagne, who cuts a sorry figure throughout the Morgante, sighs for the return of Orlando and Rinaldo. Gano triumphed, and offered one of the enemy's generals to deliver up Montalbano to him by treachery; Lionfante nobly refuses, and feels inclined to put the traitor to death; he is saved by the intercession of the family of Chiaramonte, who feared that if things were pushed to an extremity with him, his followers would revolt, and endanger the empire.