Orlando and his friends hearing in the course of their wanderings of the danger of Charlemagne, returned with a large army to deliver him. Gano wants to persuade the emperor that these allies are enemies in disguise; but the strength and valour of the most renowned Paladins are not to be mistaken. The magic arts of Malagigi the enchanter persuade Lionfante of the truth of the Christian religion: he is converted, and the war comes to an end, to the great discontent of the indefatigable Gano, who instantly begins to stir up another, informing Caradoro of the seduction of Meridiana, who sends a giant ambassador to complain to Charlemagne. The ambassador behaves with extreme impertinence, and is killed by Morgante.
Rinaldo, who is rather quarrelsome, has a dispute with Ulivieri, on which, at the instigation of Gano, he is banished; and he and Astolfo become bandits. Astolfo is taken by treachery, and sentenced to be hanged. Poor fellow! Astolfo, who is always good-humoured and courageous, is a kind of scape-goat, for ever in humiliating and dangerous situations. He is now worse off than ever; but while ascending the gallows, and while the halter is fitting, a tumult is made to save him, and Charlemagne, overpowered, to preserve his life and kingdom, pardons him and Rinaldo, and banishes Gano. But this was only done to gain time. The emperor hates the race of Chiaramonte in his heart; and Ricciardetto, the youngest brother of the house, being taken prisoner while Rinaldo is absent, Charlemagne resolves to hang him. The Paladins were highly indignant, and Orlando left the court; but Ricciardetto was saved by his brother Rinaldo, who drove the emperor from his throne, and forcing him to take refuge in one of Gano's castles, took possession of the sovereignty himself; till, hearing that Orlando was imprisoned and sentenced to die by a pagan king of Persia, he restores the emperor to his throne, causes Gano to be banished, and sets out to deliver his cousin, accompanied by Ulivieri and Ricciardetto. He succeeds in his attempt by means of Antea, the daughter of the king of Babylon, who falls in love with him. It is impossible to follow all the intricacies of the adventures and the wars that ensue, the interest of which is derived from the detail and expression, both lost in a brief abstract. Antea, while she continues to be devotedly attached to Rinaldo, is, on some treacherous suggestion of Gano, induced to enter France, and takes possession of the castle of Montalbano. Rinaldo is sent by her father against the old man of the mountain, whom he takes prisoner and converts to Christianity: and Orlando, who is engaged in fighting and conquering whole armies, hurries to deliver Ricciardetto and Ulivieri, who are going to be hanged by Antea's father.
Morgante had been left behind in France, but sets out to rejoin Orlando, and in his way to Babylon falls in with Margutte. Margutte is a singular invention, a caprice of the poet. Pulci resolved to paint a fellow without conscience, religion, humanity, or care for aught but the grossest indulgences of the senses. Lord Byron has imitated a part of his confession of faith in one of his poems:—
"I know not," quoth the fellow, "who or what
He is, nor whence he came,—and little care;
But this I know, that this roast capon's fat,
And that good wine ne'er wash'd down better fare."
Don Juan, canto III. v. 4.
"My name is Margutte," says this strange being; "I was desirous of becoming a giant, but half way I repented, so that I am only ten feet high. I neither believe in black nor blue, but in capon, whether it be boiled or roast, and I have faith sometimes in butter and other good things; but above all, I put my trust in good wine. I believe in tarts and tartlets—the one is the mother, the other is the son;"—and he continues in a style of blasphemy more shocking to our protestant ears than those of the most pious catholics, who, as has been mentioned, are apt to allude in very familiar terms to the mysterious and almighty Beings, whom they do not the less on this account adore, and propitiate with prayer.
Margutte's adventures are conducted with a kind of straightforward wickedness which amuses from its very excess: at an inn, after eating up all that is to be got,—his appetite is enormous,—and robbing the host, he sets fire to the house, and departs with Morgante, rejoicing greatly in his success, and carrying off every thing he could lay his hands upon. They go travelling on, and meet with various adventures. Morgante is infinitely amused by his companion, but preserves a gentleness, a generosity, and kindness of heart, which contrasts agreeably with the other's unmeasured sensuality. At last, one morning, Morgante, to play him a trick, draws off Margutte's boots while he is asleep, and hides them; Margutte looks for them, and at length perceives an ape, who is putting them on and drawing them off; the sight of the animal thus engaged so tickles Margutte's fancy, that he laughs till he bursts. Morgante weeps over him, and buries him in a grotto. The whole episode of Margutte is distinct from the rest of the work. Pulci allows that it is not to be found in any of the old songs. Dr. Panizzi supposes, that under the name of Margutte is concealed some individual well known to Pulci and his friends, but at variance with them; and therefore made an object of sarcasm and ridicule.
We must hurry on to the conclusion of this poem, for the incidents are so multiplied and various, that it would occupy many pages to give an account of them. Poor Morgante dies—the gentle Christian giant, the defender of ladies, and fast friend of Orlando. He is on board a vessel which is wrecked, and he is saved on the back of a whale, but on landing is bitten by a crab on the heel: he ridicules the wound; but it proves fatal, and poor Morgante dies. Gano, a traitor to the end, is sent to Saragossa to treat with Marsiglio, who having been lately defeated, is to pay tribute to Charlemagne. He there schemes the destruction of Orlando, who, is to come slenderly accompanied to Roncesvalles to receive the tribute. The traitor arranges with the king that he shall advance accompanied by 600,000 men; who, divided into three armies, shall successively attack the Paladin and his few troops. One of the best passages of Pulci is the scene in which the treacherous attack of Roncesvalles is determined on between Marsiglio and Gano. After a solemn dinner they walked into the park, and sat down by a fountain in a solitary place. With the hesitation and confusion of traitors they are discussing the mode of destroying the famous Paladin, when heaven gives signs of anger by various and terrifying prodigies. Marsiglio's seat is upset; a laurel near is struck by a thunderbolt; the sun is obscured; a violent storm and earthquake fill them with alarm; then a fire breaks out above their heads, and the waters of the fountain overflowing are turned to burning blood; while the animals of the park attack each other. Gano is struck by the fall of a large fruit from a carob tree, (the tree on which Judas Iscariot is said to have hanged himself); his hair stands on end, and terror possesses his heart; but revenge is too burning within him to be quenched by fear, and the plot is proceeded in notwithstanding these frightful events. Orlando comes to Roncesvalles with a small force, rather a retinue than an army, to rereceive the gifts and submission of Marsiglio. The king is not neglectful of his part; his innumerable armies, one after the other, attack Orlando. The Paladin and his friends perform prodigies of valour; but, like waves of the sea, their enemies come on irresistible from their number. Orlando sees all die around him, and his soul is pierced with grief; yet not till he feels himself dying will he sound the mighty horn which is to give Charlemagne notice of his peril. The emperor hears the faint echo borne on the winds three distinct times, and he and all around him feel certain that treason is at work and Orlando in danger. They turn pale with terror, and hasten to the sad spot, where they find the noble warrior dead. Rinaldo is near him. Rinaldo, at the moment that the slaughter of Roncesvalles was preparing, was far away in Asia. Malagigi his cousin puts a devil named Astoroth into a horse, which is to bring him to his cousin's aid in a few hours. This journey of Rinaldo and the evil spirit forms a curious episode. They converse together on their way concerning things divine and infernal. On coming to this passage, the reader is struck by the lofty tone the poet assumes: there is a mingled disdain, dignity, and regret in the fallen angel, that moves at once compassion and respect: he is thus described[88]:—
"This was a demon fell, named Astorot;
No airy sprite, nor wanton fairy he;
His home was down in the infernal grot.
And he was wise and fierce prodigiously."