INTRODUCTION TO THE MORGANTE MAGGIORE. THE translation of the tedious Morgante of Pulci was chiefly executed at Ravenna in 1820, and was first published in "The Liberal." Such was the care bestowed by Lord Byron upon the task, that he only accomplished two stanzas a night, which was his principal time for composition, and such was his opinion of his success, that he always maintained that there was no such translation in the English language, and never would be such another. He appears to have thought that its merit consisted in the verbum pro verbo closeness of the version, rendered doubly difficult by the character of the poem, which, besides being humorous, is full of vulgar Florentine idioms, abrupt transitions, ungrammatical constructions, and sententious obscurity. Thus the translation was an exercise of skill in the art, and can only be estimated by continuous reference to the original Italian, where the exigencies, moreover, of rhyme, are far less felt than in English, and which Pulci often satisfied by yielding sense up to sound. The immense labour of mastering these accumulated obstacles explains Lord Byron's over-estimate of the piece. "Why," he says to Mr. Murray, in 1821, "don't you publish my Pulci,-the best thing I ever wrote ?" But, unless forced up from its natural level, it is impossible for a stream to rise higher than its source, and the translation, from its very fidelity, was as much below "Childe Harold and "Don Juan" as Pulci was an inferior poet to Lord Byron. The first edition of the original Morgante was published at Venice in 1481. The characters are derived from some chivalrous romances of the thirteenth century. A question much mooted is whether Pulci designed a burlesque, or a serious poem-Ugo Foscolo maintaining that the air of ridicule arose from the contrast between the absurdity of the materials and the effort of the author to render them sublime; while Sismondi contends that the belief in the marvellous being much diminished, the adventures which formerly were heard with gravity could not be reproduced without a mixture of mockery. Hallam agrees with the latter, and thinks that Pulci meant to scoff at the heroes whom duller poets held up to admiration. If he really intended to ennoble his subject he was at least unsuccessful, and had strange ideas of dignity. There has been equal difference of opinion upon the parts of the poem which touch on religion. Ugo Foscolo considers Pulci a devout Catholic who laughed at particular dogmas and divines; Sismondi doubts whether to charge him with gross bigotry or profane derision; and Hallam thinks that, under pretence of ridiculing the intermixture of theology with romance, he had an intention of exposing religion to contempt. Whatever might have been his theoretical creed, he shows by his mode of treating sacred topics that he was entirely destitute of reverence. Lord Byron was asked to allow some suppressions, to which he responded, that Pulci must answer for his own impiety. IL MORGANTE MAGGIORE. CANTO PRIMO. I. In principio era il Verbo appresso a Dio; II. E tu Vergine, figlia, e madre, e sposa III. Era nel tempo, quando Filomena THE MORGANTE MAGGIORE. CANTO THE FIRST. I. In the beginning was the Word next God; 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. II. And thou, oh 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. III. 'Twas in the season when sad Philomel His car (but temper'd by his sire's command) Was given, and on the horizon's verge just now Appear'd, so that Tithonus scratch'd his brow: IV. Quand'io varai la mia barchetta, prima V. Diceva già Lionardo Aretino, Che s'egli avesse avuto scrittor degno, VI. Guardisi ancora a san Liberatore VII. Ma il mondo cieco e ignorante non prezza IV. When I prepared my bark first to obey, V. Leonardo Aretino said already, That if, like Pepin, Charles had had a writer Of genius quick, and diligently steady, No hero would in history look brighter; He in the cabinet being always ready, And in the field a most victorious fighter, Who for the church and Christian faith had wrought, Certes, far more than yet is said or thought. VI. You still may see at St. Liberatore, The abbey, no great way from Manopell, Erected in the Abruzzi to his glory, Because of the great battle in which fell A pagan king, according to the story, And felon people whom Charles sent to hell: And there are bones so many, and so many, Near them Giusaffa's would seem few, if any. VII. But the world, blind and ignorant, don't prize Whate'er thou hast acquired from then till now, |