It would be incorrect however to attribute the satirical allusions in the poetry wholly to the influence of the classical revival; for the romantic epic in which they occur is the offshoot of the old prose romance of mediæval chivalry, which had in earlier ages amused the courts of princes by directing its banter against ecclesiastical persons and institutions.(303) But the tone of the poetry is now changed. The satire is directed against religion itself, not merely against the abuse of it, or the eccentricities of its adherents. Free thought is not merely political dissatisfaction, but religious unbelief. And with the alteration of the tone agrees also the increasing disposition to carry satire into the domain of the supernatural; which thus witnesses to the widespread unbelief in the hearers for whom it was designed. Italian critics have doubted indeed whether these epics are designed to convey a caricature, or pass beyond lawful satire:(304) yet even when allowance is made for the fact that they are an historic reproduction, and for the fund presented for humour by ecclesiastical peculiarities, it seems impossible to overlook the covert satire intended on church beliefs.(305) The intermixture of a comic element would not alone prove this. The miracle plays of the middle ages admitted comedy without intending irreverence;(306) and a gentle humour pervades many of the Autos of Calderon, which were acted on solemn festivals.(307) But there exists in the manner in which the supernatural element is managed by such poets as Pulci, Bello, and Ariosto, such evident purpose to bring into ridicule the existence of belief, that its parallel can only be found in the banter used by their imitator Byron, in his Vision of Judgment, and implies indifference both in author and reader; the expression of contempt, not of anger.(308)