In accordance with the medieval temper, the victory of the Christian and the final reconciliation among the combatants was attended by the baptism of the defeated Islamites, and the Improvisatori, who preceded Pulci in the treatment of these subjects, must have made free use of this stock incident.It was Pulci's object to parody his predecessors, particularly the worst among them, and this he does by the invocations of God, Christ, and the Madonna, with which each canto begins; and still more clearly by the sudden conversions and baptisms, the utter senselessness of which must have struck every reader or hearer.This ridicule leads him further to the confession of his faith in the relative goodness of all religions, which faith, notwithstanding his profession of orthodoxy, rests on an essentially theistic basis.In another point, too, he departs widely from mediaeval conceptions.The alternatives in past centuries were: Christian, or else Pagan and Mohammedan; orthodox believer or heretic.Pulci draws a picture of the Giant Margutte who, disregarding each and every religion, jovially confesses to every form of vice and sensuality, and only reserves to himself the merit of having never broken faith.Perhaps the poet intended to make something of this--in his way--honest monster, possibly to have led him into virtuous paths by Morgante, but he soon got tired of his own creation, and in the next canto brought him to a comic end.Margutte has been brought forward as a proof of Pulci's frivolity; but he is needed to complete the picture of the poetry of the fifteenth century.It was natural that it should somewhere present in grotesque proportions the figure of an untamed egotism, insensible to all established rule, and yet with a remnant of honorable feeling left.In other poems sentiments are put into the mouths of giants, fiends, infidels, and Mohammedans which no Christian knight would venture to utter.
第149章 MORALITY AND RELIGION(22)（1 / 3）