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Those who adopted the cause of the Guelphs were the Buondelmonti, Nerli, Rossi, Frescobaldi, Mozzi, Bardi, Pulci, Gherardini, Foraboschi, Bagnesi, Guidalotti, Sacchetti, Manieri, Lucardesi, Chiaramontesi, Compiobbesi, Cavalcanti, Giandonati, Gianfigliazzi, Scali, Gualterotti, Importuni, Bostichi, Tornaquinci, Vecchietti, Tosinghi, Arrigucci, Agli, Sizi, Adimari, Visdomini, Donati, Passi, della Bella, Ardinghi, Tedaldi, Cerchi.
For what says Luigi Pulci? `Dombruno's sharp-cutting scimitar had the fame of being enchanted; but, says Luigi, `I am rather of opinion that it cut sharp because it was of strongly-tempered steel. Yes, yes; Paternosters may shave clean, but they must be said over a good razor." "See, Nello!" said Macchiavelli, "what doctor is this advancing on his Bucephalus?
Orlando's good-natured giant weeps even for the death of the scoundrel Margutte; and the awful hero himself, at whose death nature is convulsed and the heavens open, begs his dying horse to forgive him if ever he has wronged it. A charm of another sort in Pulci, and yet in most instances, perhaps, owing the best part of its charmingness to its being connected with the same feeling, is his wit.
Ruskin has nearly frightened the lovers of Art; I said that the Summa was to the painters there as good vantage ground as any novel of Sacchetti's. I now say that Luigi Pulci and his kindred so treated the love-lore which was solemn mystery to Guinicelli and Lapo and Fazio, or the young Dante shuddering before his lord of terrible aspect.
"But politics come on after the confetti, Lorenzo, when we can drink wine enough to wash them down; they are too solid to be taken with roast and boiled." "Yes, indeed," said Niccolo Ridolfi. "Our Luigi Pulci would have said this delicate boiled kid must be eaten with an impartial mind.
Italian Literature and its Divisions. 2. The Dialects. 3. The Italian Language. Latin Influence. 2. Early Italian Poetry and Prose. 3. Dante. 4. Petrarch. 5. Boccaccio and other Prose Writers. 6. First Decline of Italian Literature. The Close of the Fifteenth Century; Lorenzo de' Medici. 2. The Origin of the Drama and Romantic Epic; Poliziano, Pulci, Boiardo. 3. Romantic Epic Poetry; Ariosto. 4.
The only salvation of the time from these false tendencies lay in the new epic poetry which was represented by Pulci and Boiardo. The admiration and curiosity with which it was received, and the like of which will perhaps never fall again to the lot of epic poetry to the end of time, is a brilliant proof of how great was the need of it.
The congenial spirits of Pulci and Boiardo may be said to have attained to their height in the person of Ariosto, upon the principle of a transmigration of souls, or after the fashion of that hero in romance, who was heir to the bodily strengths of all whom he conquered.
Pulci has a constant cheerfulness, but not with so much grace and dignity. Foscolo has remarked, that Boiardo's characters even surpass those of Ariosto in truth and variety, and that his Angelica more engages our feelings; to which I will venture to add, that if his style is less strong and complete, it never gives us a sense of elaboration.
Italian poesy, poor lady, stript to the smock, can still look honestly out if she have but two such vestments whole and unclouted as the Commedia and the Orlando. Let us look at some of her spoiled bravery. Take up my Opera Nova and pick over Pulci in his lightest mood. I am minded to try my hand for your amusement. "Let him rejoice who can; for me, I'd grieve.
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