The poem of "Morgante Maggiore" has excited much discussion, as to whether it is intended to be considered a burlesque or serious poem. There is little of what is absolutely tragic; but much that is romantic and interesting, mingled, as in the tragedies of Shakspeare, with comedy. It is true that Pulci, while he relates wonders, does so in a language so colloquial, as to detract from the dignity of his heroes and the majesty of the adventures recounted; but in this he rather imitates than travesties real life, and especially the life of the chivalrous ages, during which there was so strange a mixture of the grand and the ridiculous. While reading the poem, it seems difficult to understand the foundation of the dispute, of whether it be impious, and whether it be burlesque: it is at once evident that the serious parts are intended to be elevated and tragic. Dr. Panizzi's essay is clear and decisive on this point; and with him we may quote Ugo Foscolo, who says, that "the comic humour of the Italian narrative poems arises from the contrast between the constant endeavours of the writers to adhere to the forms and subjects of the popular story-tellers, and the efforts made, at the same time, by the genius of those writers, to render these materials interesting and sublime." Yet, doubtless. Pulci, as well as other writers of romantic narrative poems, introduces comedy, or, rather, farce, designedly. Tasso alone, in his "Gerusalemme," adhered to classic forms, and preserved the elevation of epic majesty, unmingled with wit and ridicule. The origin of the romantic tales of Charlemagne and his Paladins, made so popular by Ariosto, and celebrated by Pulci, Boiardo, and other poets, has been much treated of. Earlier than these were "The Adventures of the Knights of the Round Table of King Arthur." French authors have asserted that these also are founded on stories of Charlemagne; but Dr. Panizzi asserts them to be of Welsh origin: he quotes Marie de France, who declares that she translated several _fabliaux_ from British originals; and Chaucer, who, in the "Franklin's Tale," says-- "These olde gentil Bretons in hir dayes Of diverse adventures maden layes, Rimeyed in hir firste Breton tongue; Which layes with hir instruments they songe, Or elles redden him for hir pleasure."