The varied richness of invention which continually astonishes us, most of all in the case of Bojardo, turns to ridicule all our school definitions as to the essence of epic poetry. For that age, this form of literature was the most agreeable diversion from archæological studies, and, indeed, the only possible means of re-establishing an independent class of narrative poetry. For the versification of ancient history could only lead to the false tracks which were trodden by Petrarch in his ‘Africa,’ written in Latin hexameters, and a hundred and fifty years later by Trissino in his ‘Italy delivered from the Goths,’ composed in ‘versi sciolti’--a never-ending poem of faultless language and versification, which only makes us doubt whether an unlucky alliance has been most disastrous to history or to poetry.[733] And whither did the example of Dante beguile those who imitated him? The visionary ‘Trionfi’ of Petrarch were the last of the works written under this influence which satisfy our taste. The ‘Amorosa Visione’ of Boccaccio is at bottom no more than an enumeration of historical or fabulous characters, arranged under allegorical categories.[734] Others preface what they have to tell with a baroque imitation of Dante’s first canto, and provide themselves with some allegorical comparison, to take the place of Virgil. Uberti, for example, chose Solinus for his geographical poem--the ‘Dittamondo’--and Giovanni Santi, Plutarch for his encomium on Frederick of Urbino.[735] The only salvation of the time from these false tendencies lay in the new epic poetry which was represented by Pulci and Bojardo. 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 how great was the need of it. It is idle to ask whether that epic ideal which our own day has formed from Homer and the ‘Nibelungenlied’ is or is not realised in these works; an ideal of their own age certainly was. By their endless descriptions of combats, which to us are the most fatiguing part of these poems, they satisfied, as we have already said, a practical interest of which it is hard for us to form a just conception[736]--as hard, indeed, as of the esteem in which a lively and faithful reflection of the passing moment was then held.