[219] In _Childe Harold_ the digression had been used, not for satire, but for personal reminiscences, eulogy, and philosophical meditation; see Canto I., 91–92, with its tribute to Wingfield, and Canto I., 93, with its promise of another canto to come. [220] _Il Poema Tartaro_, II., 8. [221] _Don Juan_, IX., 62. [222] _Il Poema Tartaro_, IV., 76. [223] _Don Juan_, IX., 81. See also _Don Juan_, IX., 80. [224] _Il Poema Tartaro_, I., 5. [225] See _Il Poema Tartaro_, IV., 54–55, and _Don Juan_, IX., 82. [226] See _Il Poema Tartaro_, V., 32 ff., and _Don Juan_, X., 39. [227] See _Il Poema Tartaro_, VIII., 85, and _Don Juan_, VII., 14–15. [228] See _Il Poema Tartaro_, III., 81, and _Don Juan_, III., 20; X., 69. [229] _Il Poema Tartaro_, VI., 98. [230] _Don Juan_, VII., 18. [231] _Il Poema Tartaro_, VIII., 12. [232] _Ibid._, III., 68. [233] _Ibid._, IV., 69. [234] _Il Poema Tartaro_, VI., 47. [235] _Ibid._, XII., 79. [236] _Letters_, iv., 217. [237] _Letters_, iv., 407. [238] In structure, the _Morgante Maggiore_, is made up of the _rifacimenti_ of two earlier works: one, the _Orlando_, rather commonplace and monotonous in tone, was the basis of the first twenty-three cantos; the other, _La Spagna_, in prose, loftier and more stately, gave a foundation for the last five cantos. [239] _Don Juan_, IV., 6. [240] It is probable that Byron had read Merivale’s poem, _Orlando in Roncesvalles_ (1814), for in the advertisement to his translation of Pulci he refers to “the serious poems on Roncesvalles in the same language [English]--and particularly the excellent one of Mr. Merivale.” Merivale’s work, based though it is upon the _Morgante_, is without humor, and could have given Byron nothing of the spirit of Pulci. [241] _Letters_, iv., 402. [242] _Letters_, iv., 407. [243] Cantos III. and IV. of _Don Juan_ were written in the winter of 1819–1820, while Byron was at work on his translation of the _Morgante_; hence it is certain that the influence of Pulci may be looked for at least as early as Canto III. It is probable, moreover, that Byron became acquainted with Pulci’s work before, or soon after, the beginning of _Don Juan_ in September, 1818. [244] _Don Juan_, X., 87. [245] _Don Juan_, VII., 55. [246] _Morgante Maggiore_, XIV., 7. [247] _Ibid._, III., 51. [248] _Ibid._, XI., 21. [249] _Don Juan_, II., 92. [250] _Morgante Maggiore_, XVIII., 117. [251] _Ibid._, XVIII., 144. [252] _Don Juan_, XII., 50. [253] _Morgante Maggiore_, XXIV., 83. [254] _Don Juan_, XII., 88. [255] _Morgante Maggiore_, XXVIII., 138–9. [256] _Don Juan_, XV., 19. [257] _Ibid._, V., 159. [258] Other examples occur in the _Morgante Maggiore_, I., 4; II., 1; XIV., 1; XVI., 1; XXI., 1; XXIV., 1; XXVIII., 1. [259] _Don Juan_, X., 4. [260] _Morgante Maggiore_, I., 8. [261] _Morgante Maggiore_, XXV., 283. [262] _Ibid._, XXVIII., 35. [263] _Don Juan_, XV., 20.