I' * 
 
 8 
 
 \,
 
 THE LIBRARY 
 
 OF 
 
 THE UNIVERSITY 
 
 OF CALIFORNIA 
 
 LOS ANGELES 
 
 551 
 
 iii
 
 Luigi Pulci and the Animal 
 
 Kingdom 
 
 BY 
 
 JOHN RAYMOND SHULTERS 
 
 A. B. University of Illinois, 1910 
 A. M. University of Illinois, 1911 
 
 THESIS 
 
 SUBMITTED IN PARTIAL FULFILLMENT OF THE BEQUIBEMENTS FOB THE DEGREE 
 
 OP DOCTOR OF PHILOSOPHY IN ROMANCE LANGUAGES IN THE 
 
 GRADUATE SCHOOL OF THE UNTVEBSITY OF ILLINOIS 
 
 1918 
 
 Baltimore 
 
 J. H. FURST COMPANY 
 
 1920
 
 Luigi Pulci and tne Animal 
 
 Kingdom 
 
 BY 
 
 JOHN RAYMOND SHULTERS 
 
 A. B. University of Illinois, 1910 
 A.M. University of Illinois, 1911 
 
 THESIS 
 
 SUBMITTED IN PAR'nAL FULFILLMENT OF THE BEQTJIBEMENTS FOB THE DEGREE 
 
 OP DOCTOR OF PHILOSOPHY IN ROMANCE LANGUAGES IN THE 
 
 GRADUATE SCHOOL OF THE UNIVEBSITY OF ILLINOIS 
 
 1918 
 
 Baltimore 
 
 J. H. FURST COMPANY 
 
 1920
 
 ^9 
 
 4G3 
 
 TABLE OF CONTENTS 
 
 PAGE 
 
 I. Introduction 1 
 
 II. The Padiglione Episodes 7 
 
 III. Animals not found in the Padiglioni 40 
 
 IV. PuLci's Minor Works 102 
 
 V. Glossary and Index of Animals 107 
 
 VI. Bibliography 113 

 
 BIBLIOGRAPHICxiL ABBREVIATIONS 
 
 Archiv. Archiv fiir das Studium der neueren Sprachen und 
 Literaturen. , 
 
 Arch. Glott. Archivio Glottologico Italiano. 
 
 Aiisg. 11. Abh. Ausgaben und Abhandlungen aus dent Ge- 
 biete der RomaniscJien PhUologie. 
 
 Best. Tosc. II Bestiario Toscano (text, ed. Garver and 
 McKenzie. ) 
 
 Franz. Stud. Franzosische Studien. 
 
 Gio?. Dant. Giornale Dantesco. 
 
 Gior. Stor. Giornale Storico della Letteratura Italiana. 
 
 G-McK. Garver and McKenzie, II Bestiario Toscano. 
 
 G-W. Goldstaub and Wendriner, Ein T osco-Y enezianischer 
 Bestiarius. 
 
 Half. Halfmann, Die Bilder und Vergleiche in Pulci's 
 Morgante. 
 
 Leon. Leonardo da Vinci, Allegoric, in Frammenti etc., ed. 
 Solmi. 
 
 O. Orlando, ed. Hubsclier. 
 
 P. M. L. A. Publications of the Modern Language Associa- 
 iion of America. 
 
 Rein. Reinsch, Das Thierbuch des Normannischen Dichters 
 Guillaume le Clerc. 
 
 Rom. Forscb. Romanische Forschungen. 
 
 St. The Strozzi Manuscript of an unpublished Italian bes- 
 tiary text, a table of whose contents is given in G-W, pp. 82-89. 
 
 Wald. Mayer, Der Waldensische Pliysiologus.
 
 LUIGI PULCI AND THE ANIMAL KINGDOM 
 
 Introduction 
 
 The most important details of Luigi Pulci's life, in so far aa 
 they are known, have been noted both by writers covering the 
 whole field of Italian literature ^ and by those dealing with the 
 more limited subjects of the Romances of Chivalry or of the 
 individual work of Pulci himself.^ It is necessary to set down 
 here, then, only siich essentials as may serve as a guide in placing 
 his work properly in regard to time and milieu. He was born 
 in Florence in 1432 and spent much of his life at the court of 
 Lorenzo de' Medici, to whom he was attached by many ties of 
 friendship and obligation. His greatest work, the Morgante, is 
 dedicated to Lucrezia Tornabuoni, mother of Lorenzo, who was, 
 it appears, an even more sympathetic patron than her son. The 
 latter part of his life was troubled by debts and family cares, 
 to which were added minor controversies with the religious 
 authority; but through all these difficulties he seems to have 
 maintained a serenity and cheerfulness which kept him from 
 becoming embittered. Even when he expresses the fear of 
 " falling into the mouths of the frati " for some of his utterances 
 about religion, he turns the matter aside with a jest.^ That the 
 character of his work was strongly influenced by his association 
 with the coterie of writers at the court of Lorenzo is apparent 
 from a study of it. As to his place in the development of 
 Italian literature, he stands as a link between the popular and 
 the artistic poets.^ He died at Padua in 1484. 
 
 * V. Gaspary, Storia della letteratura italiana, ii, 251 ; d'Ancona-Bacci, 
 ifanuale, ii, 123. 
 
 * V. Einstein, Luigi Piilci and the Morgante Maggiore, p. 1; Pellegrini, 
 La vita e le opere di Luigi Pulci. 
 
 *v. Morg., xxvni, 42. 
 
 * T. Einstein, op. cit., preface. 
 
 1
 
 2 Luigi Pulci and the Animal Kingdom 
 
 The Morgante, or as it is sometimes called, Morganle 
 Maggiore, has also been discussed bj nmnerous writers since 
 1867, when Kajna published his article. La materia del Mor- 
 gante in un ignoto poema cavalleresco del secolo XV, in 
 Propugnntore, in which he established the origin of the poem. 
 Halfmann, in Die Bilder und Vergleiche in Pulci' s Morgante, 
 Marburg, 1884,^ studied images and comparisons as used by 
 Pulci in embellishing his work, and Hiibscher in Orlando die 
 Vorlage zu Pulci' s Morgante, Marburg, 1886,^ published the 
 text of the Orlando with a discussion of the poem and its rela- 
 tion to the Morgante. These three publications form a base 
 upon which has been built up a fairly large body of study and 
 criticism with, however, some important omissions.'^ The 
 Morgante has been assigned its place in literature, its prede- 
 cessors in chivalric romance have been found, and its literary 
 worth has been appraised — not always justly. But seekers 
 after Pulci's sources have neglected almost entirely one field 
 for study which is prolific in interesting material and useful 
 to students in a quite different field, that of the fables and 
 bestiaries. The poem, practically from beginning to end, teems 
 with references to animals, both real and fabulous, stories about 
 them, fables, comparisons, names and a wealth of material taken 
 from nature itself. These animal references, which have 
 received only passing notice from former writers, form the 
 subject-matter of the present study. 
 
 Eajna, in designating the Orlando as the source of the first 
 twenty-three cantos of the Morgante, furnishes a point of depar- 
 ture for this work, since that portion contains, besides many 
 comparisons, several important fables and two Padiglioni — 
 elaborately decorated tents, covered with pictures of animals. 
 The last-named mode of introducing fable and bestiary material 
 is a source-idea which Pulci expanded to great lengths in two 
 passages of his poem in which he gives long catalogues of 
 beasts.^ The Margutte episode contained in Cantos xviii and 
 
 ^Ausg. u. Abh., xxii. * Aiisg. u. Abh., Lx. 
 
 ' For further references see Bibliography. 
 *Morg., XIV, 44-86; XXV, 307-332.
 
 Luigi Pulci and the Animal Kingdom 3 
 
 XIX has been quite generally conceded to be Pulci' s own ^ and 
 was perhaps the original on which he grafted, first the Orlando 
 and later the Spagim, modifying and enlarging them to suit his 
 purpose. At all events, no trace of it exists in the Orlando 
 and it becomes necessary to seek other sources for its animal 
 episodes. Ilalfmann's work, in so far as it concerned animals, 
 was by its title limited to comparisons and images, without 
 attempt to study sources. Hiibscher mentions some of the 
 beast-stories in the course of his study but does not discuss 
 them further than is necessary for the purposes of his work, 
 Einstein says (p. 44, under the heading ^' Scientific interest ") : 
 " Hie (Pulci) is interested in the facts of natural history and 
 shows a considerable knowledge of birds — at least of their 
 names. In one part (xiv, 56 on) there is a long catalogue of 
 fishes and animals, taken perhaps from some Mediaeval 
 bestiary." ^^ This, with the explanatory notes of some of the 
 more recent editions of the poem,^^ is the sum of what has been 
 done in attempting to study Pulci's use of the animal kingdom 
 in his writings. There has been thus far no systematized exami- 
 nation of this portion of his work, either for the purpose of 
 correlating it with fable and bestiary literature ^" or of calling 
 attention to its literary value, which in many cases is not small. 
 Among the more obvious of Pulci's general sources, after the 
 Orlando and the Spagna, are the Bible, Dante and the classic 
 mythology. He mentions certain authors himself as having 
 been his guides in composing his poem, but since some of these 
 are fictitious ^^ and the influence of others is not noticeable to 
 
 •v. Truffi, Di una prohdbile fonte del Margutte, p. 200, where he makes 
 it fairly certain that Luigi Pulci got the germ of this character from the 
 Sosia of Luca's Driadeo d^Amore which goes back to Plautus' Amphitryon. 
 
 '"He fails to note that the description of the padiglione begins in 44 and 
 the catalogue of names in 47 : he also ignores completely the long list 
 beginning in xxv, 311. 
 
 " Sermolli, Firenze, 1855 (the edition cited in this study); Camerini, 
 Sermolli ed altri, Milano, 1878; Volpi, Firenze, 1914. 
 
 ^ Goldstaub and Wendriner in Ein Tosco-Venez'ianischer Bestiarius, note 
 occasionally uses by Pulci of bestiary material. 
 
 "Arnaldo, xxvrn, 26, Ormanno, xxviii, 50 and Lattanzio, xxviii, 53.
 
 4 Luigi Pulci and the Animal Kingdom 
 
 any extent, one must conclude that his citation of authorities 
 is a species of literary camouflage which he uses principally 
 for humorous purposes. ^^ There is one author, however, whom 
 he mentions, whose influence is directly apparent in the descrip- 
 tion of some of the animals. This is Cecco d'Ascoli, whose 
 Acerha contains several bestiary chapters. In Morgante xxiv, 
 112, Pulci says: 
 
 Ancor resta nel cuor qualche scintilla, 
 Di riveder le tanto incantate acque, 
 Dove gia FAscolan Cecco mi piacque. 
 
 In some cases Pulci's creatures are described bv traits which 
 appear in the A cerba and are not to be found in other works to 
 which he had access. It is probable that he was familiar with 
 the Tesoro of Brunetto Latini and also with some version of the 
 Bestiario Toscano, of which numerous manuscripts existed in 
 his time.^^ Pliny's Natural History furnishes the basis for 
 some of the fabulous creatures.^^ In addition to these literary 
 sources, Pulci used the field of ligature itself, from which he 
 drew long lists of the more familiar creatures to decorate the 
 walls of Luciana's Padiglione. His acquaintance with the 
 animal kingdom grew, doubtless, out of the hunts and fishing 
 excursions of the Court and he must have exercised an im- 
 mense observation and have felt a certain attraction towards 
 the beasts and birds of his native forests. 
 
 The literary worth of the beast episodes lies almost always 
 in their humorous quality. Sometimes, it is true, as in the case 
 of the death of Orlando's faithful horse, Vegliantino, and his 
 
 "Cf. Einstein, p. 44. 
 
 ^^v. Garver-jMcKenzie, p. Iff. Also McKenzie, Unpublished Manuscripts 
 of Italian Bestiaries. 
 
 " The Allegoric of Leonardo da Vinci, which have many animal traits in 
 common with the Morgante, were written too late to be considered as a 
 possible source. Solmi's edition of his writings {Leonardo da Vinci: 
 Frammenti Letterari e Filosofici) , gives (p. xvii) in the author's own words 
 the date, 1508. v. McKenzie, Per la storia dei hestiarii itaUavi, p. 358. 
 He shows that Leonardo used the Fiore di virtu for the first 35 animals 
 and the Acerha for a second group.
 
 Luigi Pulci and the Animal Kingdom 5 
 
 master's lament over him/^ the animal plays a part in a serious 
 scene; but in a large majority of cases it is used to excite the 
 laughter of the reader. Pulci's humor sometimes descends to 
 buffoonery, but in general he possesses a drollness of expression 
 and a quaintness of style which present the creatures in the most 
 ludicrous fashion possible. Take, for example, Rinaldo's 
 attack upon the dragon, iv^ 63 : 
 
 Parea che I'aria e la terra s'accenda, 
 
 Rinaldo aveva spugna con aceto, 
 
 E tutti, perche il fiato non gli offenda: ^^ 
 
 E disse: O animal poco discrete, 
 
 Che pensi tu, che no' siam tua merenda, 
 
 Poi che tu vieni in qua contra divieto ? 
 
 or the incident of Morgante and Margutte finding the sleeping 
 elephant leaning against a tree in the forest, xix, 74 ff. 
 
 lo veggo quivi appoggiato, Morgante, 
 A un albero un certo compagnone, 
 Che par che dorma, e non muove le piante : 
 Di questo non faresti tu un boccone. 
 Morgante guarda : egli era un liof ante, 
 Che si dormiva a sua consolazione ; 
 Ch'era gia sera, e appoggiato stava. 
 Come si dice, e col grifo russava. 
 
 Pulci here renders ridiculous the story told as fact in the 
 bestiaries. In other instances he relates actions which appear 
 ridiculous in the light of modern knowledge of natural history, 
 but which were believed seriously in his time, as in th^-case of 
 the beaver or of the ibis (q. v. pp. 20, 34). Margntte's di^ath, 
 caused by excessive laughter at the antics of a monkey engaged ' 
 in putting on and taking off his boots, is perhaps the best 
 example of an episode in which an animal is used for humorous 
 
 "xxvn, 101 ff. 
 
 '* Apparently an early form of gas-mask.
 
 6 Luigi Pulci and the Animal Kingdom 
 
 effect (xix_, 147 ff.) ; this also is taken from a serious discus- 
 sion, that of a method for catching monkeys. ^^ 
 
 In working over the materials which he used as sources Pulci 
 took the greatest liberties, not only in regard to volume but 
 also in regard to content. In the case of the Orlaiido as a 
 whole he expanded it greatly, inserted fable and bestiary mate- 
 rial and put new life into the dry, uninteresting romance which 
 it was as he found it. The Margutte story also was interpolated 
 in the midst of the account of the knights' adventures. The 
 fables which he found readv to hand in the Orlando he did not 
 change in any essential features, but he re-worded them and 
 changed their form -° to suit the demands of his own poem. 
 Those which he took from other sources he treated in much 
 the same way, with a quite general adherence to the story as 
 he found it.-'^ The bestiary material, however, shows that 
 Pulci used much freedom in shifting characteristics from one 
 creature to another and in adding others of his own invention: 
 in some cases it is probable that he invented the creatures 
 themselves. The serpent-group, in particular, shows many of 
 these shifts of characteristics which mark sometimes differences 
 among the sources themselves, sometimes Pulci's own fancy. 
 The detailed study which occupies the succeeding chapters will 
 serve to bring out these differences and to establish, as far as 
 possible, Pulci's sources and the amount of original material 
 which he contributed. 
 
 I*3'ature, as the Italy of Pulci's time showed it to him, 
 furnished him with material for some of the most fatiguing 
 passages of his poem — those in which he lists animals, birds, 
 fishes, serpents, apparently for the mere purpose of showing 
 his knowledge of natural history. These unfortunate stanzas 
 do show not onlv that, but also a considerable amount of 
 mechanical ingenuity in grouping the names in conformity to 
 
 "v. bertuccia, p. 47. 
 
 ^"v. for example the "Ant and horse's skull," ii, 55, and the "Cock and 
 fox," rx, 19. 
 
 ^ V. the " Fox and wolf in well," p. 100.
 
 Luigi Pulci and the Animal Kingdom 7 
 
 rhyme and metre. Fortunately this doubtful sort of inspiration 
 was not the only one which Pulci found in the forest and its 
 creatures : wherever he needed an apt simile or sought a vigorous 
 comparison he turned most commonly to the animal kingdom 
 for it. All the familiar and trite comparisons are to be found 
 in the greatest profusion — the lion as a symbol for strength, 
 the swallow for speed, the pig for filth, and a multitude of 
 others, to which are added many of Pulci's own invention. All 
 in all, his recognition of the animal kingdom as a fruitful source 
 of literary embellishment is an interesting and notable feature 
 of his work. 
 
 II 
 
 The Padiglione Episodes 
 
 Of the 360 animals mentioned by Pulci, 315 ^ are to be 
 found in the padiglione erected by Luciana, daughter of Mar- 
 silio, in honor of Rinaldo (xiv^ 44-86) and in the commentary 
 of it made by Astarotte (xxv, 307-332). Elaborately decorated 
 and embellished tents were common in the Old French 
 Romances ~ and the Italian writers took over the idea in their 
 poeons. Pulci found the model for his padiglione in the Orlando 
 (xxviiij, 9 ?-15).^ Earlier in the poem there is a short descrip- 
 tion of the padiglione of the giant Marcovaldo (O. xxiii^ 39- 
 XXIV, 2), which names several common animals — ^' orsi, volpi, 
 lupi e toro," etc., and concludes the list with '' Altri animali, 
 non saprei dir quanti." Pulci, in the corresponding passage 
 (xii, 42 ff.), records the incident of Orlando's combat with the 
 
 ^ These totals include names for male, female and young of the same 
 species and, in some cases, different names for the same animal. 
 
 ' Eajna, Fonti delVOrlando Furioso, p. 378. " Gli autori di vere e pro- 
 prie chansons de geste mettono il piede, ma non sguazzano in queste acque." 
 Among the most notable padiglioni which he cites are those of the Ogier, 
 the Rom<in de ThMes and the Renart le Contrefait in Old French and the 
 Aspramonte, the Rinaldo and the Danese in Italian. Smaller groups are 
 found in Ciriffo, iv, 25, Lorenzo's Selve, p. 36 and the Driadeo, i, 105. 
 
 ' There is a lacuna in the MS. which makes it impossible to say exactly 
 where the description of the padiglione begins.
 
 8 Luigi Pulci and the Animal Kingdom 
 
 Saracens over liis curiosity in regard to the padiglione, but does 
 not describe the animals depicted on it — a curious omission on 
 his part, considering the immense elaboration which he gives 
 to the padiglione of Luciana later on. This is the first 
 padiglione incident of the Morgante, unimportant for the 
 sources of Pulci's animal episodes, since the only trait he copies 
 is the fact that the material is cuoio di serpente. 
 
 The second, by far the most important, is the padiglione of 
 Luciana, mentioned at the beginning of this chapter. In brief, 
 its history is as follows : Rinaldo, while at Siragozza, tames a 
 wild horse which has been terrorizing and killing the people of 
 the surrounding country: by this feat he wins the love and 
 gratitude of Luciana, daughter of King Marsilio. Later 
 Rinaldo, on a journey to the Orient, summons Luciana to 
 accompany him ; and on her arrival she brings with her the 
 magnificent tent described in xiv, 44-86, as a gift to Rinaldo. 
 Stanzas 2-13 of O. xxviii ■* are missing in the manuscript, but 
 Rajna ^ indicates that this padiglione is practically identical 
 with one attributed to a certain Michele da Siena and found 
 copied intact, or nearly so, in various works. ^ The version 
 given at the end of El cantare di Fierabraccia et Ulivieri,'^ 
 judging from O. xxviir, 14-15, is practically the same as that 
 of the Orlando. This padiglione is divided into four parts 
 representing the four elements: i Air, ii Earth, iii Water, iv 
 Fire. In each section appear the animals appropriate to the 
 element, except that the salamander is not found in Fire, 
 though Pulci places it there in his version. He also transposes 
 the sections, which appear in the Morgante in the following 
 order: i Fire, ii Air, iii Water, iv Earth. The whole episode 
 is a good example of the way in whioh he enlarges upon his 
 model and fills out his poem from his sources. The Padilion 
 del Be Fierahraccia consists of 8 stanzas and mentions 49 
 
 * V. p. 7, note 3. 
 
 ** Fonti deirOrlando Furioso, p. 379. 
 
 • lUd. 
 
 'Ed. Stengl: Avjifi. u. Abh., n, 185.
 
 Luigi Pulci and the Animal Kingdom 9 
 
 creatures : in the Morgante the description occupies 42 stanzas 
 and mentions 223 creatures. How many of these were taken 
 from O. is approximately shown in the following table: 
 
 I. Fire. (Morg. xiv, 44-45), None. The salamander does 
 not appear in O. 
 II. Air. (46-63). 3. Astor, moscardo, sparvier. (Found in 
 Earth division of Fierabraccia.) 
 
 III. Water. (64-71). 8. Almone (salmone),halena, dalfino, 
 muggin, pesce cane, sere^ia, storione, tonno. 
 
 IV. Earth. (72-86). 25. Bertuccia, cammella, cavallo, 
 cervio, cinghial, coniglio, dragone, ermellino', faina, gatto 
 mamm^one, leofante, leopardo, liocorno, lione, lontra, 
 lonza, lupo, orso, pantera, scoiatto, serpente, spinoso, 
 tasso, vaio, volpe. Of the 223 of Morg. xiv, 44-86, only 
 about 36 are taken from the corresponding passage of O.^ 
 
 Of the animals mentioned above as common to both poems, 
 the following are merely mentioned by name: {s)almone, astor, 
 bertuccia, faina, gatto mammone, lione, muggin, pantera, pesce 
 cane, scoiatto, sparvier, spinoso, storione. This mere cataloguing 
 of names is characteristic of this as well as of other parts of 
 Pulci's work, especially of the third padiglione episode. These 
 long lists of names detract from the literary value of the poem, 
 but they are interesting for the study of sources. 
 
 A second gToup comprises those animals of the Morgante 
 described by appearance, actions or other well-known traits: 
 
 (xiv^ 77) La cammfiella 
 
 Che con lo scrigno mansueta e doma 
 
 Lasciava ginocchion porsi la soma. 
 (78) Molto sentacchio pareva il cinghiale. 
 (78) Evvi il coniglio, e scherza a suo piacere. 
 (80) E'l pulito ermellino 
 
 Che parea tutto bianco e puro e netto. 
 
 *0. has pesce Colombo, dentisso, unghio marino, passera, viughone, which 
 do not appear in the Morgante; the Padilion del Re Fierabraccia has 
 thosori, bracchi, seguci, presa.
 
 10 Luigi Pulci and the Animal Kingdom 
 
 (73) II liofante parea molto grande 
 Calloso e nero e dinanzi d'lm pezzo, 
 E come quegii orecchi larghi spande, 
 E stende il grifo lungo, cb'egli ha vezzo 
 Pigliar con esso tutte le vivande. 
 
 E nol potea toccar se non iin ghezzo ; ^ 
 Fuor dell a booca gli iiscivan due zanne, 
 Ch'eron d'avorio, e lunghe ben sei spanne. 
 
 (79) Evvi la lontra, e va cercando il pesce, 
 Ed or sott'acqua ed or sopra riesce. 
 
 (81) La lonza maculata.^^ 
 
 (76) E'l lupo fuor del bosco svergognato 
 
 Gridato dalla gente e da' can morso. 
 (76) Tiitto bizzarro e pien di furia I'orso. 
 (78) Quivi era il tasso porco e'l tasso cane,^^ 
 
 Che si dormien per le lor biiche o tane. 
 (67) E tonni si vedien pigliare a sehiere. 
 
 (80) Eravi il vaio^ e stavasi soletto. 
 (78) La volpe maliziosa era a vedere. 
 
 A third group contains animals in describing which Pulci 
 refers to characteristics not contained in O. 
 
 (64) Quivi si vede scoprir la halena, 
 E far talvolta navili affondare. 
 
 (74) Evvi il caval famoso sanza freno. 
 
 This may be the wild horse of xiii^ 51, which is mentioned as 
 sfrenato and which, after having killed Gisberto, son of King 
 Marsilio, is tamed by Rinaldo. A similar tale is found in 
 Uggieri il Danese ^~ where Orlando tames a wild horse for 
 Corbante. 
 
 *A black man; an Oriental or African, native of its habitat. 
 "€f. Inferno, I, 31-33. 
 
 "Two varieties of the same species: the Tramater Dictionary says "e il 
 tasso porco ^ buon a mangiare." 
 
 "v. Rajna, Rom. iv, 425; Hiibscher, Orlando, If 98, end.
 
 Luigi Pulci and the Animal Kingdom 11 
 
 (76) E'l cervio che'l pastor ehe canta aspetta 
 Infin che I'altro intanto lo sactta. 
 
 Reinsch ^^ says: " Der Hirsch in Wirkliehkeit Mnsik migemein 
 liebt iind dem Klange einer Flote odor eincs Waldhorns 
 aiifmerksam hordiend nachfolgi." This trait is pictured in 
 the French translation of the Orus Apollo^ a curious work 
 purporting to give the interpretation of Egyptian hieroglyphics, 
 where the stag is shown listening to the music made by its 
 pursuers while preparing to kill it. It also occurs in the 
 bestiaries of Guillaume le Clerc and Hugo de St. Victor. 
 
 (G4) II delfin v'e che mostrava la schiena, 
 E par ch'a' marinai con questo insegni. 
 
 Sermolli, Ed. Morgante, p. 300, note 64, points out that this is 
 an imitation of Inferno xxii^ 19-21. Cf. Tes. p. 110, " E cog-nos- 
 cono lo mal tempo quando dee essere. E quaudo i marinari 
 veggiono cio, si si anteveggiono della fortuna." 
 
 (81) E'l drago ch'avea morto il liofante 
 E nel cadergli addosso quella fera 
 Aveva ucciso lui, come ignorante, 
 Ohe del futuro accorto gia non s'era. 
 
 The unconscious revenge of the elephant in falling on the 
 dragon and killing it is told by Cecco d'Ascoli,^"^ De Dracone 
 and in the Allegorie of Leonardo da Vinci ^^ No. 47, Drago, 
 
 and 'No. 57, Leo f ante. 
 
 (75) II leopardo pareva sdegnato 
 
 Perch'e' non prese in tre salti la preda. 
 
 The leopard is found in few bestiaries : the Best. Tosc. mentions 
 this characteristic, but in describing the lonza (No. 74) ; ^"^ 
 
 " Le Bestiaire Divin des Guillaume le Clerc: Altfr. Bibl. xiv, 136. 
 ^* Aceria, ed. Rosario, Lib. iii, cap 32. 
 ^^ Edited in Frammenti lettcrari e filisopci by E. Solmi. 
 "G-McK., p. 97, and McKenzie, The Problem of the Lonza, p. 24. 
 
 2
 
 12 Luigi Pulci and the Animal Kingdom 
 
 the Acerha, No. 40, and the Lihro de li Exempli'^'^ also have 
 copied this trait from the Latin bestiaries.^^ 
 
 (75) E'l liocorno e in grembo addormentato 
 D'lma fanciiilla, e par ch'egli conceda 
 Esser da qiiesta tocco e pettinato; 
 Ma non si fidi all'acqua e non gli creda 
 Se non vi mette il corno prima drento, 
 E se quel suda sta a vedere attento. 
 
 This method of taking the unicorn is found in most of the 
 bestiaries: Best. Tosc. No. 20: Tes. p. 266: Leon. No. 26 and 
 others. The second trait is unknown to bestiary literature. 
 There are two similar passages in the poems of two of Pulci's 
 contemporaries, one in his brother Luca's Driadeo d'Amore 
 and the other in the Selve d' Amove of his patron Lorenzo. In 
 the Driadeo (iv, 56 ff.) Diana turns Severe into a unicorn: 
 after the transformation his first act is to run to the water to 
 look at himself. Later, pierced by an arrow shot by the lady 
 he has loved, he is turned into a river. Lorenzo's two lines are 
 much nearer the Pulci version; they are as follows: 
 
 Ne gli animali al fonte han pazienza 
 Che'l liocorno facci la credenza.^^ 
 
 Their source for the story is obscure. 
 
 (52) Quivi si pasce di sogni il moscardo 
 
 Perch'e' non e come il fratel gagliardo. 
 
 (81) Evvi il serpente superlo, arrogante, 
 
 iChe fiammeggiava fuoco per la bocca, 
 E col suo fiato attosca cio che tocca. 
 
 The Serbian Bestiary (Rein. p. 178), under Aspida, describes 
 this snake as belching fire when pursued."*^ 
 
 " Ed. Ulrich, No. 23. 
 
 " V. G-W., p. 203, note. Bartholomeiis Anglicus, De Prop. Rerum. 
 
 "v. Selve d'Amore in Poemi, p. 37. 
 
 "v. Tes. p. 137; Leon., Allegoric nos. 10, 74.
 
 Luigi Pulci and the Animal Kingdom 13 
 
 (64) E dolcemente cantar la sirena 
 
 Che i naviganti ha fatti addonnentare. 
 
 Tes., p. 115, " Facevano perire le nave": Leon., No. 13, 
 " Addormenta i marinari": Best. Tosc, Xo. 16, " Odendo 
 I'omo questa voce si si adormenta, e quando ella lo vede ador- 
 mentato si li vieni sopra e uccidelo." Fiore di Virtu, xiv, 
 " Fa addorraentare le persone che I'odono " : St. (in the serpent 
 group) : Acerha, 25. 
 
 The rest of the creatures depicted on the walls of the 
 padiglione are as follows: (merely named) ahuzzago; the 1878 
 edition of the Morgante, p. 132, gives this as the equivalent of 
 hozzago, hozzagro, " specie di f alco " -^ ; acceggia; here, as in 
 the case of a multitude of other birds and animals, it may be 
 assumed that Pulci's knowledge and practice of hunting made 
 him familiar with the commoner sorts of game : ^^ alloco, 
 anguilla, anitrella, anitra hianca, asinello, assiuolo, avelia, 
 hdbhuino, halestruccio, harattola, harbagianni, harhio, hevero, 
 hiscia; this species of snake is mentioned in three other places 
 in the Morgante: y, 59 — " E'l brando striscia Che lo facea 
 fischiar com' una hiscia " : xxi^ 76 — " Poi si distende come 
 serpe o hisce " : xxii, 134 — " Fuggitevi, ranocchi, ecco la 
 hiscia " -^ : in the Bestiario Toscano it appears in several mss.^* 
 Hoare's Dictionary gives it as a common name for snake 
 in several idioms, as a hiscia — zigzag: boncio the Camerini 
 edition defines as " sorta di pesce d'acqua dolce " : hottaccio, 
 hravieri, calandra, calcinello, calderino, cameleone, camoscio, 
 capinero, capitorza — an obsolete name for the wryneck (torci- 
 collo)^^ : capi'etta, carpione, cerastra, cheppia, cicigna, cicogna, 
 civetta, codilungo, codirosso, cornioletto — Hoare " probably the 
 same as crognolo, a fish resembling a sardine": corvallo, don- 
 
 ^^ Hoare, Diet., poiana — buzzard. 
 
 -^Lorenzo de' Medici, Pocnii, p. 121, La Caccia col Falcone. 
 
 "Cf. Inf., IX, 76; Purg., vm, 98. 
 
 =^v. G-McK., pp. 13, 65; G-W., p. 85. 
 
 *' V. Florio, Diet.
 
 14 Luigi Pulci and the Animal Kingdom 
 
 noletta, dromedario, fagiano, fanello, farciglione — Hoare "prob- 
 ably farcetold" {harattolai — ^teal) : fatappio — ^thiis bird was 
 evidently well known as most of the dictionaries give it with 
 the derived meaning of " foolish or credulous person " : Florio 
 " a kind of night-flying bird " and Acad, delta Crusca 
 " uccellieto " are the only indications as to its nature : frusone, 
 gamhero, garzetto — young heron, from garza (airone — Hoare) : 
 gazza, germano, gricchione — ^given in the dictionaries as some 
 sort of aquatic bird ; Tramater suggests graccio and adds " I 
 Franc, chiaman crich una specie di pappagallo " : grifone, gufo, 
 lampreda, lasca, ligusta — this species of lobster is pictured in 
 the Orus Apollo with a polyp " Pour signifier Ihomme seig- 
 neurant sur sa nation ils paignoient une langoust de mer et ung 
 poulpe . . J'-^luccio, lucherino, lul, niartora, merla, merla ac- 
 quaiola — water-ousel, montanello, morena (lampreda), moscado, 
 m,uso, nicchio, niteragno — the nicticorax of the Greek Physiolo- 
 gus,-^ a nocturnal bird which feeds upon filth and loves dark- 
 ness: "'^ occhiata, orata, ortolano, pagolino, pesce rondin, pesce 
 perso — perch, pettirosso, pincione (spincione), piomhino, pispo- 
 la, piizzola, raggiata {occhiata), ragno — bass, ramarro, romho, 
 rondone, sardella, sassello_, scarza — Orus Apollo " Quant ilz 
 voulloiet signifier ung home gourmant ilz paignoiet ung poisson 
 appelle Scarus en latin pource que ce poisson seul de tous les 
 autres reune comme les beufz et moutons et deuors tous les 
 petitz ql pent predre " the parrot-fish : sepaiuola, seppia, 
 sgombero, soglia, tinea, tordella, {marm)tordo — grottaione, 
 bee-eater (Hoare), iriglia, trota, uccel santamMna(piomhino) , 
 zibhetto, zihellvno, zigolo. 
 Described by characteristics: 
 
 (57) Alcioni Che fanno al mar sentir lor nidi e canti. 
 
 (48) Aghiron, v. falcone, p. 22. 
 
 (56) Quivi col gozzo .... Vanitroccolo 
 
 (51) E gira I'avoUoio. 
 
 ^ V. Lauchert, Geschichtc des Physiologus, p. 9. 
 
 *'In the Best. Tosc, Philippe de Thaiin, and Guillaume le Clerc; v. 
 G-W., p. 86.
 
 Luigi Pulci and the Animal Kingdom 15 
 
 (59) E'l heccafico vero; 
 Since this is a very well-known bird it is evident that vero is 
 simply a needed rhyme-word. 
 
 (74) E'l hue si mansiieto. 
 
 (77) E'l hiifol che ne va preso pel naso. 
 (59) E'l calenzuol dorato. 
 
 (78) E'l can pareva fedele e leale. 
 
 (7G) Quivi era il cavriuol che molto ha corso 
 
 E poi s'e posto a ber tiitto affannato. 
 (78) Poi si vedeva la damma e'l cerviere, 
 
 Che drieto al monte scorgea I'animale. 
 (84) La cientro colla faccia orrida e scura. 
 
 The Camerini edition notes " forse cencro " ; "^ cf. Dante, Inf. 
 xxiv^ 87 ; Pulci has the other serpents named in this passage 
 also: Che se clielidri, iaculi e faree Produce, e cencri con am- 
 fisibena. 
 
 (59) Insino al re delle siepe piccino, 
 
 La cingallegra. 
 (48) Colomba, v. falcone, p. 22. 
 (54) E'l corho come gia delFarca usciva. 
 (54) La cornaccliia 
 
 Che garre drieto agli altri uccelli e gracchia. 
 (52) E la cutretta la coda menando. 
 
 (78) Damma, v. cerviere, above. 
 
 (84) E la farea crude! che per Libia erra; 
 V. cientro, p. 16 ; " snake that marches on its tail " (Hoare). 
 (56) La gallineJla con variate piume. 
 
 (79) E sopra il bucolin del topo il gaito 
 Con molta pazienza, come astnto, 
 Tanto che netto riuscissi il tratto. 
 
 (52) E la gazza marina-^ vien gridando 
 
 ^ Dis. della Crusca: " Cencro, specie di serpente velenoso, che ha la pelle 
 picchietata come di tanti grani di miglio." 
 
 ^ Ghiandma marina — roller (Hoare) ; a different species from both gazza 
 and ghiayidaia.
 
 16 Luigi Pulci and the Animal Kingdom 
 
 E scende in basso con molta tempesta. 
 
 (51) E'l gheppio molto del vento par vago. 
 
 (52) E la ghiandaia va facendo festa. 
 (79) E'l ghir sonnolente e perduto. 
 
 (50) Quivi si vede i gru volare a schiera 
 E quel che va dinanzi par clie gridi. 
 
 (84) E iacul tanto nel corso veloce: 
 V. cientro, p. 15 ; Leon. jSTo, 78, " Questa sta sopra le piante, e 
 si lancia come dardo, e passa attraverso le fiere e I'uccide. 
 
 (83) »Con sette capi I'idra; 
 The Best. Tosc. (under calcatrice) speaks of a serpent (not 
 named) witli two heads according to some of the mss.^ " molte 
 teste " according to others, which enters the mouth of the cal- 
 catrice. This is really a confusion of the idra and idrus stories, 
 as also in Richard de Eournival, Wold, etc.^*' 
 
 (79) L'istrice pennuto. 
 
 (80) E molto bello e candido il lattizio. 
 (77) La lepre paurosa e meschinella 
 
 Par che si fugga, temendo ogni caso. 
 (49) Quivi e la lodoletta a volteggiare 
 
 E drieto il suo nimico che I'ammazza. 
 
 The nimico is possibly the sparviere or the falcone. 
 
 (58) E il lusigniwl c'ha si dolce la gola. 
 (55) E'l maragon calarsi, 
 
 Parea che in giii volassin, per tuff ar si. 
 (52) Ed anco il milion si va aggirando. 
 
 Milvio—kite.^^ 
 
 (59) II monaco ch'e tutto rosso e nero. 
 
 (51) Mosca, V. nihhio, p. 17. 
 
 (74) E'l mul che tutto par di vizj pieno. 
 (54) Le mulacchie un tumulto in aria fanno. 
 
 30 V. G-McK., No. 26; G-W., pp. 353-5; Lauchert: Geschichte des Phys., 
 
 p. 25. 
 
 ^ V. Florio, Diet.
 
 Luigi Pulci and the Animal Kingdom 17 
 
 (51) E'l nihhio si vagheggia a siio diletto 
 Ad ogni mosca chiudendo gli artigli. 
 
 (50) E I'oche ban fatto a la fila bandiera 
 
 E come questi (i gTu) par che I'una giiidi. 
 
 (55) Uoca marina che '1 mar passa. 
 
 Ocione, which is also iu this stanza, is a large species of goose.^^ 
 
 (54) La passer v'e maliziosa e cattiva 
 E par sol si diletti di far danno. 
 
 This bird appears again in Stanza 60: 
 
 Poi in altra parte si vedea soletta 
 La passer a pensosa e solitaria 
 Che sol con seco starsi si diletta, 
 A tiitte I'altre nature contraria.^^ 
 
 The passer of O. xxviii, 14, is a fish. 
 
 (55) Quivi superbo si mostra il pagone 
 
 E grida come gli occhi in terra abbassa. 
 
 The Best, Tosc. has " et da che ave vanagloriato cosi, elli si mira 
 li piedi che sono molto laidi, inmantenenti abassa la coda e 
 torna a nyente veggiendo li piedi tanto sono laidi." Tes. 
 " molto ha a dispetto la laidezza de' suoi piedi." The Greek 
 Physiologus mentions the cry the peacock utters on seeing its 
 ugly feet.^^ 
 
 (77) E'l umil pecorella 
 
 Oh' avea le poppe munte e'l dosso raso. 
 
 (48) Pernice, v. terzuolo, p. 18. 
 
 (65) E'l pesce rondiyi si vedea volare, 
 Ma il pesce tordo cosi non facia. 
 
 The flying-fish and the wrasse, placed together because both 
 named after birds. 
 
 ^ Tramater, Diz. 
 
 ^ Tramater, Diz. s. v. passcro soUtario. 
 
 ^ V. Lauchert, Gesch., p. 39 : Kressner, p. 276.
 
 18 Luigi Pulci and the Animal Kingdom 
 
 (61) II pipistrello faceva stran volo. 
 (G6) E'l 2^o7po colle membra cosi strane. 
 (76) E'l porco che nel fango e imbrodolato. 
 
 (55) Quivi la quaglia che pareva lassa 
 Volando d'una in altra regione.^^ 
 
 (58) II raperugiol che mai intender posso. 
 
 Raperino — green canary (Hoare), Pulci apparently had a 
 dislike for the shrill voice of this bird. 
 
 (49) Eondine, v. smeriglio, below. 
 
 {%Q) Lo Scorpio colle punte aspre e villane. 
 
 (83) La serpe si vedea prudente e mastra 
 Tra sasso e sasso della scoglia uscire. 
 
 (49) E lo smeriglio si vede sqnillare 
 
 Di cielo in terra, e la rondine ha innanzi 
 E par che I'nno all' altro poco avanzi. 
 
 Equivalent to smerlo (Hoare). 
 
 (51) Evvi lo starno e la starna in sospetto 
 Ch' ogni uccel che la vede non la pigli. 
 
 (56) Col gran becco agnzzo . . . lo struzzo. 
 
 (84) L'ultima cosa e la talpa sotterra. 
 (48) E'l terzuolo 
 
 Che drieto alia pernice studia il volo. 
 
 (52) E rizza Vupupa la cresta. 
 
 Tes., p. 188, and Isidore of Seville mention the crest of the 
 hoopoe. 
 
 A group of animals which need a somewhat more extended 
 consideration follows : 
 
 (68) Alefe finalmente v'era scorto 
 
 E come sol dell' acqua quel si pasca, 
 E tratto f uor di quella parea morto. 
 
 "v. Tes., p. 176.
 
 Luigi Pulci and the Animal Kingdom 19 
 
 It is evident that Pulci took this description from the " four 
 creatures" of the bestiaries, which nourish themselves solely 
 on the elements in which they live. The Best. Tosc, No. 18, 
 gives these as talpa (earth), " uno uccello che home appella 
 calameone" (air), ranocchio (water), and "uno uccello che'l suo 
 nome e salamandra (fire). St. has I'aringha; ^^ Cecco, N^o. 7, 
 alleeh; Leon. No. 40, " alepo non vive fori dell' acqua. Reinsch, 
 p. 199, translates Leonardo's alepo as Hdreng; this form is the 
 nearest to Pulci's alefe, which, like the alleeh of Cecco, doubt- 
 less means the same. The herring as the creature that feeds 
 on or lives in water is also found in French texts, as in Guil- 
 laume le Clerc (ms, Edgerton 613)^^ in a Latin annotation to 
 the chapter on the salamander, where it appears as alleeh. 
 Pierre le Picard,^^ herens: Richard de Fournival (p. 20), 
 Hierens: Poeme moralise/'^ liarenc. The Provengal bestiary *^ 
 gives eranh.^^ 
 
 (47) L'aquila in alto con sue rote andava 
 
 Guardando fiso il Sol, com' ella e avvezza, 
 Tanto che il Sol le penne gli abbruciava, 
 E rovinava in mar giii dell' altezza ; 
 Quivi di nuove penne s'adornava, 
 E riprendeva poi sua giovinezza. 
 
 Cecco (No. 3) omits the dipping into the water. Best. Tosc. 
 adds the detail that the eagle dips itself three times, and calls 
 the water into which it falls una fontana; ^^ Leon., No. 35, gives 
 the story up to the fall into the water: Tes., p. 145, gives the 
 entire story and like the Best. Tosc. has una fontana. Philippe 
 de Thaiin locates the fountain " en orient." ^^ In the Rou- 
 manian and Serbian bestiaries the eagle first bathes itself in 
 the water and then flies toward the sun.^^ Guillaume gives the 
 
 »v. G-W., p. 198, note 1. ''v. Rein., p. 15. 
 
 3s^. G-W., p. 199, note 1. ^v. Romania, xiv, 471. 
 
 ^ Bartsch, Chrest. Prov., eol. 335. 
 
 ^ Cf. Garver, Rom. Forsch., xxi, pp. 299-309. 
 
 « G-MeK., p. 57 ; G^W., p. 54. 
 
 «p. 110. •''v. Rein., pp. 162, 176.
 
 20 Luigi Pulci arid the Animal Kingdom 
 
 story in its entirety.^^ Nowhere, apparently, is the word sea 
 used to designate the water into which the eagle plunges ; Pulci 
 has changed the expression, probably for metrical reasons. 
 
 (83) L'aspido sordo, freddo piu che lastra, 
 Che colla coda voleva ferire. 
 
 In Dante, Purgatorio, ix, 5 : 
 
 Poste in figure del freddo animale 
 Che con la coda percote la gente, 
 
 the animal is not named but the allusion is clearly to the con- 
 stellation Scorpio."*^ Leon., ISTo. 79, gives the impression that 
 the asp is very acute of hearing: "e piu lo move I'audito che'l 
 vedere." He, in common with the bestiaries in general, has the 
 well-known story of the asp stopping its ears to^ escape the 
 enchantment of its pursuer's music. 
 
 (82) Poi si vedea col fero sguardo e fischio 
 Uccider chi il guardava il hasalischio. 
 
 Tes., p. 138, " e col suo vedere attosca I'uomo quando lo vede." 
 Acerba, No. 30 ; Leon., No. 74, " col fischio caccia ogni 
 serpente." 
 
 (65) Vedeasi il cajicro I'ostrica ingannare, 
 E come il fuscelletto in bocca avia, 
 E poi che quella vedeva allargare, 
 E' lo metteva nel fesso del guscio, 
 E poi v'entrava a mangiarla per I'uscio. 
 
 This story occurs in the Tesoro, Delia cochilla (p. 109) and in 
 Leonardo; in the latter it is described as occurring at the full 
 moon.'*'^ 
 
 (74) Vedevasi il castor molto discreto, 
 
 '"v. Eein., p. 250. 
 
 * Toynbee, Concise Dante Dictionary, s. v. scorpio. 
 
 ■" This chapter is missing in the Solmi edition; v. Rein., p. 200, No. 49.
 
 Luigi Pulci and the Animal Kingdom 21 
 
 Che de' siioi danni eletto aveva il meno, 
 E strappasi le membra genitale, 
 Veggendo il cacciator, per manco male. 
 
 This action of the beaver is told in most of the bestiaries : Tes., 
 p. 223; Leon., No. 5 ; Best. Tosc. (G-W. and G-McK., No. 30), 
 etc. The belief probably arose from the fact that the beaver 
 was hunted for the sacs containing castoreum, a product used 
 in medicine.^^ 
 
 (56) E'l bianco cigno, che dorme in sul fiume, 
 Parea che fussi alia morte vicino, 
 Pero cantassi come e suo costume. 
 
 Best Tosc. (G-McK., p. 27; G-W., p. 37); St.; Tes., p. 181; 
 Leon., ISTo. 42. 
 
 (82) E'l coccodrillo avea I'uom prima morto, 
 Poi lo piangeva, pien d'inganni e froda. 
 
 Tes., p. 102; Best. Tosc. (G-McK., p. 47; G-W., p. 46) calcha- 
 trice; Leon., No. 50. St., No. 22, and Cecco, No. 34, have 
 coccodrillo; there is evidently a confusion of names here. The 
 weeping episode is also told in Cecco. Here, as in other 
 instances, Pulci agrees with Cecco and St. In the third 
 padiglione he mentions the calcatrice (xxv^ 324), but without 
 giving any characteristics; this is evidence that, in his time at 
 least, the two were no longer confused and that the cockatrice 
 had come to be regarded as a fabulous beast.**^ 
 
 (60) Evvi il cuculio con sua malizietta, 
 
 Che mette I'uova sue drento alia buca 
 Delia sua balia, che e detta curuca. 
 
 *j 
 
 The cuckoo's well-known habit of laying its eggs in other bird's 
 nests is told by Brunette (p. 202), where the victimized bird is 
 
 **v Oxford Dictionary, s. v. castor, I. 
 
 ■*"The capitalization of the name tends to show this: nearly all the names 
 of the large nnmher of fabulous beasts in Padiglione in are capitalized in 
 some of the editions.
 
 22 Luigi Pulci and the Animal Kingdom 
 
 called scerpafolea.^^ Hoare's Dictionary gives scerpasolea — 
 hedge-sparrow. 
 
 (60) Curuca, v. cuculio above. 
 
 (74) Ewi il lione, e'l dippo gli va drieto. 
 
 Tramater, Diz., dipo " Famiglia o genere di qiiadriipedi, dell' 
 ordine de' roditori . . . somigliante a' topi ed a' gliiri, ma 
 differente per la cortezza delle gambe davanti e la estrema 
 lunghezza di quelli di dietro." This is the jerboa, one species 
 of which bears the name Dipus.^^ The animal is unknown to 
 the bestiaries. It is possible that its juxtaposition with the lion 
 is a reference to the lion and mouse fable: Pulci often used 
 unusual names for his creatures and here the dippo might stand 
 for the tope of the fable. ''^ 
 
 (48) Quivi e il falcon salvatico e quel dome, 
 E I'un par che i colombi molto opprima, 
 E Faltro fa coll' aghiron giii il tomo. 
 
 The falcon domo (i. e., domato — tamed) harasses the colomhi, 
 birds more or less domesticated and living about man's dwelling, 
 while the falcon salvatico preys upon the aghiron, a wild bird. 
 
 (47) E la nuova fenice, oome suole, 
 Portava il nido alia casa del sole. 
 
 (48) Ed avea tolto incenso e mirra prima, 
 E cassia e nardo, e balsamo, ed amomo, 
 Ed arsa, e poi rinata in sulla cima.^^ 
 
 The phoenix story is common to most of the bestiaries: the 
 detail of the spices, however, while present in the Physiologus,^^ 
 does not appear in the Italian bestiaries. It is found, strangely 
 
 ™ V. Tes., 1. c, note 1 ; "La Crusea legge scerpa^eolea." Battelli's ed. of 
 Brunotto Latini, p. 138, reads sterpasolca. 
 
 ^^ V. Oxford Diet. s. v. Dipus. 
 
 "^^ €f . bevero for castor, xiv, 79 : Ussonte for lufol, xxv, 90. 
 
 "Cf. Dante, Inf., xxiv, 106-11, where the spices are mentioned; v. also 
 Holbrook. Dante and the Animal Kingdom, p. 309. 
 
 '"'' V. Laueliert, Gesch., p. 10.
 
 Luigi Pulci and the Animal Kingdom 23 
 
 enough, in an Italian translation of the Old French Bestiaire 
 d' Amour, the original of which does not treat of the phoenix.''^ 
 It was doubtless derived by Pulci' from Dante, " Ma sol d'in- 
 censo lagrime ed amomo ; E nardo e mirra son I'ultime fasce." 
 
 (84) lenna vidiesi della sepultura 
 Cavare i morti rigida e feroce, 
 La qual si dici, che v'ha posto cura, 
 ■Ch' ella sa contraffar I'umana voce. 
 
 Both of these characteristics are described by Brunetto, Tes., 
 p. 253. They are also found in St. and the Acerha, No. 41.^^ 
 The Libro de li Exempli ^'' has the second. 
 
 (65) Ostrica, v. cancro, p. 20. 
 
 (53) E'l pappagallo, quel ch'e da dovero 
 
 E il verde, e'l rosso, e'l bigio, e'l bianco, e'l nero. 
 
 The expression da dovero refers to line 3 of the same stanza: 
 Perch'e' penso ch'un pappagallo fosse.^^ The green parrot 
 only is named in the bestiaries, no doubt because it was the one 
 most commonly known. Pulci adds the others from his own 
 observation. 
 
 (51) Qui si cava il pellican del petto 
 
 II sang-ue, e rende la vita a' suoi figli. 
 
 Best Tosc, No. 29 (G-McK., p. 51 ; G-W., p. 50) : Tes., p. 
 191: Leon., ISTo. 37.^*^ St.^^ There are numerous variations 
 in the bestiaries cited ; as in Leon, it is the snake which kills the 
 young',^^ the male pelican in Tes.: in the latter the female lets 
 the blood fall on the eyes of the young. They all have, however, 
 the traits given by Pulci. 
 
 (53) II picchio v'era, e va volando a scosse, 
 Che'l compero tre lire e poco, un besso ; 
 
 «v. G-W., p. 413. 
 
 ^G-W., p. 183, note 2; also 185, note. 
 
 =^ Ed. Ulrich No. 27. 
 
 ^v. picchio, below. ^*v. Solmi ed., p. 41. 
 
 •"v. G-'W., p. 87. ^Morgante xxvrr, 213.
 
 24 Luigi Pulci and the Animal Kingdom 
 
 Perch'e' penso ch'un pappagallo fosse, 
 Mandollo a Corsignan, poi non f u desso ; 
 Tanto che Siena ha aneora le gote rosse. 
 
 This passage, as Halfmann has pointed out,^^ is connected with 
 
 XXI, 49, O Astarot che nel cavallo stette, 
 
 E sotto im hesso gitto tante gocciole: 
 ]^on Oratas, quel che i pippion ci dette; 
 Tanto ben par che sue parole snocciole. 
 
 He adds: " Ihre Beziehungen sind mir jedoch unbekannt 
 geblieben ! " " Va volando a scosse " describes the character- 
 istic flight of the woodpecker. The reference is to Pulci's 
 Novella di un Sanese.^^ The story, in brief, is that of a man 
 of Siena who bought a woodpecker thinking it a parrot and 
 presented it to Pope Pius II. " Siena still blushes at his 
 idiocy." Besso is a Florentine word of contempt used especially 
 in referring to the Sienese.®^ In the Novella the bird is not a 
 " painted magpie." ®^ 
 
 (53) Quivi e il rigogoletto, e'l fico appresso. 
 
 The rigogoletto, according to the Tramater Dictionary, " si 
 pasci volontieri di fichi, ciriege e simili frutti." There is also 
 a popular saying : " Pigliar due rigogole a un fico." ®^ Prob- 
 ably both these ideas were in Pulci's mind when he associated 
 the oriole with the fig.^^ 
 
 (45) Quivi e la salamandra ancor nel fuoco, 
 Che si godea contenta in f esta e'n giuoco. 
 
 It has already been mentioned ^^ that the salamander, the only 
 
 *^ Die Bilder und Vergleiche, p. 19, No. 58. 
 
 *' V. Volpi's edition of the Morgante, v. il, p. 18, note. The Novella was 
 dedicated to Madonna Hippolyta Sforza. 
 " V. Hoare, Diet. 
 
 "= V. Einstein, p. 8. €f . Curto, p. 42. 
 "" V. Tramater, Dis; a. v. fico 1, No. 18. 
 "' The same expression is used in Cirijfo Calvaneo, v, 57. 
 «'p. 10.
 
 Luigi Pulci and the Animal Kingdom 25 
 
 animal appropriate to the fire division of the padiglione, is not 
 found there in O. Pulci supplies this lack, taking his informa- 
 tion from the bestiaries. Best. Tosc, No. 18 : Delia natura di 
 quatro elementi,^^ " E I'altra che vive pur solamente di fuoco 
 si e uno uccello che'l suo noma e salamandra et e bianco " : 
 MS. Pad., i^o. 13, omits the statement that the salamander is a 
 bird. Acerha, N'o. 7 (Four Elements) : St."^^ classes it in the 
 serpent group, as do also Brunetto Latini, Tes., p. 144, and 
 Leonardo, No. 38. Pulci's detail of the joy of the animal in 
 the fire is not found in the bestiaries, but occurs in a sonnet by 
 Chiaro Davanzati."^^ In xxv, 89, Marsilio sends Carlo a tissue 
 (vel) called salamandra, which " drento al foco imbianca." 
 
 (G9) Scilla abhaiar si sentia crudelmente. 
 
 This is the monster mentioned in the Odyssey (xii^ 244) and 
 common in classical mythology. Pulci has a number of classical 
 references; in general he seems quite familiar with the Greek 
 and Latin writers and cites their subject-matter correctly, as 
 here the " barking " of Scylla. 
 
 (63) Vedesi il carro abbandonar Fetonte, 
 E'l fero Scorpio mostrargli I'artiglio, 
 E com'e' par che in basso giii dismonte, 
 E la terra apre per I'ardor la bocca, 
 E Giove il fulminava dalla rocca. 
 
 Dante refers frequently to the Phaeton story, '^^ but he does not 
 mention the menacing scorpion described by Ovid {Metamor- 
 phoses, ii),^^ first (line 82) in the exhortation of Phoebus to 
 Phaeton not to attempt to conduct the car of the sun and again 
 (line 195) in the terrible experience of Phaeton after he has 
 lost control of the horses : 
 
 II, 82 : Saevaque circitu curvantem bracchia longo 
 
 Scorpion atque aliter curvantem bracchia cancrum. 
 
 "» G-McK., p. 38. '» V. G-W„ p. 29. 
 
 "v. Monaci, Crestomazia, p. 317. 
 
 ''^ For list of references v. Toynbee, Dante Diet., s. v. Fetonte. 
 
 "Ed. Miller: London, 1916: vol. i, pp. 6G, 72.
 
 26 Luigi Pulci and the Animal Kingdom 
 
 195: Est locus, in geminos ubi bracchia concavat arcus 
 Scorpius et cauda flexisque utrimque lacertis 
 Porrigit in spatiiim sigTiorum membra duorum. 
 
 (54) 'Gli stornelletti in frotta se ne vanno 
 E tiitti quanti in becco hanno Fuliva. 
 
 The starling does not appear in the bestiaries. It is probable 
 that Pulci associated it with the olive as he did the oriole with 
 the fig — by observation^"* 
 
 (82) E'l til- ch'avea lo'ncantatore scorto, 
 Accio che le parole sue non oda, 
 Aveva I'uno orecchio in terra porto, 
 E I'altro s'ha turato colla coda. 
 
 Here is assigned to the snake tiro the trait given to the aspido 
 in the bestiaries.^^ It will be remembered that Pulci imitated 
 Dante in describing the latter, but also that Dante's description 
 applied to the scorpion.'^® 
 
 (50) Quivi e la tortoletta a primavera, 
 
 E par che in verdi rami non s'annidi, 
 Pill non s'allegri, e piu non s'acoo'mpagni, 
 E sol neir acqua torbida si bagni. 
 
 Best. Tosc, jSTo. 50,'^''' turtura, cites these actions as those of the 
 female in mourning for the death of her mate: ^' ne non si pone 
 in verde ramo, ne non heve d'acqua chiara." Brunetto, p. 196, 
 has the same description. Acerha, No, 23: St: Leon., Xo. 32.""^ 
 
 (59) E uno uccel che suol heccare il fungo. 
 
 There is no indication of the name of this bird, either in the 
 Morgante or elsewhere. 
 
 (83) La vipera scoppiar nel partorire. 
 
 '•*v. riyogoletio, p. 24. '^v. aspido, p. 20. 
 
 '•v. G-W., p. 189. "v. G-<McK., p. 69. 
 
 ''v. GAV., p. 431, note 2 and Cian in Arch. Glott. iv, 331, who quotes 
 from Sacchetti " non si bagna in acqua chiara."
 
 Luigi Pvlci and the Animal Kingdom 27 
 
 Tes., p. 141; Acerba, No. 33; Leon., jSTo. 48; cf. Holbrook, 
 op. cit., p. 332. 
 
 The third padiglione episode is introduced in Canto xxv, 
 307-332, as a supplement of Padiglione II, under the following 
 circumstances: Rinaldo and the demon Astarotte, journeying 
 from Egypt to Roncesvalles, fall to talking, on the way, of 
 Luciana (306). Rinaldo tells of their mutual love and 
 describes the wonderful tent which she brought him and which 
 he has always kept out of love for her. Astarotte responds 
 that, with his sight which pierces mountains and all other 
 obstacles, he can see it plainly, though it is safely stored away 
 at home : 
 
 (308) Pero che al nostro veder non si oppone 
 O monti o mura.''' 
 
 Continuing to use his all-piercing sight, he points out to 
 Rinaldo that Luciana has omitted many important creatures. 
 Rinaldo begs him to name them so that he may, for love of 
 Luciana, add them to the padiglione, Astarotte then begins : 
 
 (311) La gran Libia mena 
 
 Molti animali ineoffniti alle genti. 
 
 ^to-" 
 
 As in Padiglione II, in the third group there is much mere 
 catalog-uing of names, but a greater number of the creatures 
 are fabulous and some of them are described at some length. 
 Additional attention is called to these fabulous creatures by the 
 capitalization of their names in some of the editions. Some of 
 the creatures of Padiglione II reappear, either by themselves 
 or in the description of other animals. In Padiglione II it was 
 noted that only the more commonly known fictitious creatures 
 appeared, such as the phoenix, siren and gryphon. The third 
 padiglione episode, however, contains many which are unknown 
 to the bestiaries and for which a source or sources must be 
 
 '» Cf. lynx, Tes., p. 257, etc. 
 
 3
 
 28 Luigi Pulci and the Animal Kingdom 
 
 sought elsewhere.^^ In treating of these creatures the order 
 will be alphabetical, without attempt to arrange them in groups 
 such as were used in discussing Padiglione II. 
 
 (328) Aghiron, v. ardea, p. 29, and falcon, p. 22. 
 (326) Agotile, appellate caprimulgo 
 
 Poppa le capre si che il latte secca. 
 
 This bird is also called nottolone (Hoare) ; all these names are 
 apparently at least known to the Italian language today. 
 
 (319) Altri animali appellati sono Alci, 
 
 Caval silvestri, e traggon di gran calci. 
 
 Leon., l^Q. 61: Macli, "ha forma di gran cavallo"; in a note 
 to the title, Solmi cites Pliny, cervus alces. The " gran calci '' 
 may have some connection with the continuation of the macli 
 story.^^ Alee is the modern name for the elk. 
 
 (324) AUinanite, v. p. 39. 
 
 (329) Andrio, v. p. 39. 
 
 (311) Alcun si dice Anfisibena; 
 
 E innanzi e indietro van questi serpenti, 
 iChe in mezzo di due capi hanno la schiena. 
 
 Tes., p. 136; Dante, Inferno, xkiv, 87; Leon., No. 72. 
 
 (322) E molti angue, 
 
 Che pur Medusa non creo col sangue. 
 
 In Ovid's Metamorphoses {iv, line 789) the creatures born 
 from the blood of the Medusa are the winged horse, Pegasus, 
 and his brother: 
 
 '"Although the Spagna served as a model for the last five cantos of the 
 Morgante (cf. E,ajna, La Rotta di Roncisvalle, Propugnatore iv), it is 
 probahle that this padiglione episode, since it is a continuation of Padig- 
 lione II, came from Pulci's own fancy rather than from his original. The 
 Spagna was not available for this study; the first canto, published by A, 
 Thomas in Romania xiv, p. 207, contains only the most casual references 
 to animals such as are found in all the Romances of Chivalry. 
 
 ^\. Macli, p. 36.
 
 Luigi Pulci and the Animal Kingdom, 29 
 
 Pegason et fratrem matris de sangue natos. 
 (324) Arache, v. p. 39. 
 
 Arhatraffa, v. p. 39. 
 
 (328) Ed Ardea quasi I'aghiron simiglia, 
 
 Tes., p. 163. 
 
 (324) Armene, v. p. 39. 
 Arunduco, v. p. 39. 
 
 (329) Asino, v. Atilon, below. 
 (315) Aspido, V. Icneumone, p. 34. 
 (313) E Assi un'altra fera e nominata, 
 
 Molto crudel, di bianco indanaiata. 
 
 Florio, Diet. "A kind of hissing serpent." 
 
 (324) Assordio, v. p. 39. 
 
 (329) E Atilon, che gridando s'indraca 
 
 Drieto alia volpe, se I'asino vede, 
 
 Amico il segue, e oon esso si placa. 
 
 The Orus Apollo describes a bird which flees from the horse: 
 " ling oyseau appelle Otide — ledict oyseau senvole incontinet 
 qu'il veoit le cheual." There is no mention of the fox or of 
 any other animal. 
 
 (323) E molti nomi stran di hasilischi 
 
 Si trnova ancor con vari effetti e fischi. 
 
 The following stanza contains the names: 
 
 (324) Dracopopode, Armene e Calcatrice, 
 Irundo, Assordio, Arache, Altinanite, 
 Centupede e Cornude e Eimatrice, 
 IsTaderos molto e solitario immite, 
 Beruse e Boa e Passer e JSTatrice, 
 Che Luciana non avea sentite, 
 
 E Andrio, Edisimon e Arhatraffa, 
 E non si ricordo della Giraffa. 
 (319) Becco, v. tragelafo, p. 39.
 
 30 Luigi Pulci and the Animal Kingdom 
 
 (324) Beruse, v. p. 39. 
 
 (320) Poi son Bissonti, buoi silvestri ancora, 
 
 Che nascon molto in Scitia e in Germania. 
 
 Leon., No. 6'2, bonaso, whicli the editor gives as the same as 
 bisonte: Fiore di Virtu, Ko. 16, hue salvatico. Pulci gives 
 none of the traits cited by either. 
 
 (329) Bistarda e gi*ave; e dir non ne bisogna, 
 Che, come vil, si pasce di carogna. 
 
 There is no doubt that this is the great bustard, ottwrda in 
 modern Italian ; the name underwent the same change of prefix 
 in French: bistarde — outarde.^^ Grave describes correctly the 
 solemn appearance of the bustard, but Pulci has wrongly 
 attributed to it the habit of feeding on carrion, possibly through 
 a slight similarity of its name to that of the buzzard — bozzagro. 
 
 (324) Boa. Leon,, No. 70, describes the boa. 
 (320) E un serpente che si chiama Bora. 
 
 The Tramater Dictionary, citing this line, suggests an ety- 
 mology: " In gr. boros o boreos e lo stesso che vorace." 
 
 (323) Caferaco, v. p. 39. 
 
 (330) Non so se del Calandro udito hai dire, 
 II qual, posto all' infermo per obbietto. 
 Si volge indrieto se quel dee morire; 
 Cosi al contrario pel oontrario effetto. 
 
 Best. Tosc, No. 15,*^ calandru^go; Tes., p. 171; Acerba, No. 
 17 ; Leon., No. 1 ; Fiore di Virtu, No. 1.^^ 
 
 (324) Calcatricej common to most of the bestiaries; v. 
 coccodrillo, p. 21. 
 
 (312) E Callirafio il dosso ha maculate. 
 
 ** V. Godefroy, Diet. 
 
 *3G-McK., p. 36; G-W., pp. 27, 87, 293, 
 
 ** cf. McKenzie, Per la storia dei Best, ital., p. 364.
 
 Luigi Pulci and the Animal Kingdom 31 
 
 In Ciriffo Calvaneo, iv, 25, Luca Pulci mentions the callirafio 
 as the offspring of the wolf and the dog: Luigi, in the line 
 following the one cited above, assigns 'the same origin to the 
 crocuta, q. v., p. 33. 
 
 (312) Can, v. crocuta, p. 33. 
 (326) Capra, v. a^otile, p. 28. 
 (326) Capriinulgo, v. agotile, p. 28. 
 (328) Carita vola e parra maraviglia, 
 
 Per mezzo il foco, e non incende questa. 
 
 V. p. 40. 
 
 (314) E un serpente e detto Catohlepa, 
 
 Che va col capo in terra e colla bocca 
 Per sua pigrizia, e par col corpo repa ; 
 Secca le biade, e I'erbe, e cio che tocca, 
 Tal che col fiato il sasso scoppia e crepa, 
 Tanto caldo velen da questo fiocca ; 
 Col guardo uccide periglioso e fello, 
 Ma poi la donnoletta uccide quello. 
 
 Leon., No. 63, catopleas, gives the substance of Pulci's descrip- 
 tion, omitting the statement that the donnoletta kills it. Tes., 
 p. 218, donnola; " e odiala il topo molto, e la serpe." Leon., 
 No. 75, donnola over hellola; " trovando la tana del basilisco 
 . . . I'occide." Here again, stories assigned to other serpents 
 in the bestiaries are mixed with those belonging under a 
 different name. 
 
 (316) Cavallo, v. Eale, p. 33, and Ippotamo, p. 35. 
 
 (321) E Cefi sono altri animali strani 
 Che nascon nelle parti d'Etiopia, 
 C'hanno le gambe di drieto e le mani 
 Dinanzi, come forma umana propia; 
 Questi vide ne' giuochi Pompeani 
 Prima gia Roma, e poi non ebbe copia. 
 
 Florio : " A kind of ape or monkie." This appears to be a
 
 32 Luigi Pulci and the Animal Kingdom 
 
 direct paraphrase of Plinj, Bk. viii, Ch. xix : " Pompei Magiii 
 primum ludi ostenderunt chama quein Galli rufium vocabant, 
 effigie lupi, pardoriim maculis : iidem ex Ethiopia quas vocant 
 Xv^^ov; quariim pedes posteriores pedibiis humanis et cruribus, 
 priores manibus fuere similes. Hoc animal postea Roma non 
 vidit." None of the bestiaries have it. 
 
 (324) Centupede, obs. for centogambe (Hoare). 
 (313) Cervio, v. Leucrocuta, p. 36. 
 
 (323) Poi son Chelidri serpenti famosi. 
 
 Dante, Inf., xxiv, 86. Obs. name for the water-snake (Hoare). 
 
 (326) E CJiite, uccello ignorato del vulgo, 
 
 La madre e'l padre in senettute imbecca. 
 
 This trait is assigned to the upupa by some of the bestiaries, 
 e. g., Acerha, No. 16; Fiore di Virtu; .St. etc.; cf. McKenzie, 
 Per la Storia dei Bestiarii Italiani, p. 367. 
 
 (325) Cicogna, v. Ibis, p. 34. 
 
 (326) Tin altro e appellato Cinamulgo, 
 
 Del qual chi mangia, le dita si lecea, 
 E non ispari il ghiotto questo uccello 
 Perche di spezierie si pasce quello. 
 
 St. cinomolgo.^^ This may be a name formed on an analogy 
 with caprimulgo, if the termination — mulgo — be taken in the 
 larger sense of " to feed upon." There is an Oriental plant, 
 smilax china, formerly much used as spezierie. The Italian 
 has also the form cina.^^ Isidore, xii^ Y-23. 
 
 (316) Cinghiale, v. Bale, p. 33. 
 (315) Coccodrillo, v. Icneumone, p. 34. 
 (328) Corho, v. Corete, below. 
 (328) Ne so se ancora un uccel conoscete 
 Nimico al corbo, appellato Corete. 
 
 " V. GJW., p. 87. 
 
 *• V. Dis. della Crusca, s. v. cina.
 
 Luigi Pulci and the Animal Kingdom 33 
 
 There is a possibility of confusion of stories here. Leon., !N'o. 
 93, corho, has " Questo, quando ha ucciso il camaleone, si purga 
 coir alloro." Tes., p. 236, camaleonte, " la state viene im 
 uccello che I'uccide, che ha nome Coras" 
 
 (324) Cornude, same as cerasta — asp (Hoare). 
 (312) E Crocuta e di lupo e di can nato. 
 
 Tes,, p. 253, hyene, " giace questa hestia con la lionessa, ed 
 ingenera ima bestia che ha nome cococie, o ver corococte " (the 
 Tresor has crocote in one ms.).®'^ v. Callirafico, p. 30. Pliny, 
 viii^ 21. 
 
 (314) Donnoletta, v. Catohlepa, p. 31. 
 (324) Dracopopode, v. p. 39. 
 (323) E non pur nota una spezie di draco. 
 (329) E un uccel, che di state si vede 
 
 Dopo la pioggia, si chiama Driaca, 
 
 Che la natura creo senza piede. 
 (316) Un altra bestia, che si chiama Eale, 
 
 La coda ha d'elefante, e nero e giallo 
 
 II dosso tutto, e dente di cinghiale, 
 
 II resto e quasi forma di cavallo; 
 
 E ha due corni, e non par naturale, 
 
 Che puo qual vuole a sua posta piegallo ; 
 
 Come ogni fera talvolta dirizza 
 
 Gli orecchi e piega per paura o stizza. 
 
 St., No. 26.«8 
 
 (323) Edipsa: The editions of Venezia, 1784, and Milano, 
 1806, have E dipsa, which is probably the correct reading, as 
 the dipsa is described in Solinus and Isidore of Seville.^^ It 
 is a snake whose bite causes the victim to die of thirst. 
 
 (324) Edisimon, v. p. 39. 
 
 " V. G-W., p. 185. 
 
 ««v. G-W., p. 188. 
 
 «» Solinus, p. 122: Isidore, xn, 4, 13. Also in St; v. G-W., p. 87.
 
 34 Luigi Pulci and the Animal Kingdom 
 
 (323) Emorrois: the snake which causes its victim to bleed 
 to death; Tes., p. 135, aspido.^^ 
 
 (332) Or s'io volessi de' pesci contare, 
 E tante forme diverse narralle, 
 Sarebbe come in Piiglia annumerare 
 Le mosche, le zanzare, e le farfalle. 
 
 (End of the canto). Probably a common popular comparison 
 of Pulci 's time. 
 
 (324) E non si ricordo della Giraffa. 
 
 Apparently the only reason for the presence of the giraffe at 
 the end of a long enumeration of serpents is that its name 
 rhymes with Arhatraffa in the preceding line. 
 
 (328) Goredul cio che per ventura piglia, 
 Del oor si pasce, e I'avanzo si resta. 
 
 Isidore, xii^ 7 :34, " Coredulus genus volatile, quasi cor edens." 
 
 (331) Gufo, V. Incendola, p. 35. 
 
 (325) E degli uccelli Ihis, che par cicogna, 
 Perche e' si pasce d'uova di serpente; 
 Fassi il cristeo al tempo che bisogna 
 Con I'acqua salsa, chi v'ha posto mente, 
 Rivolto al culo il becco per zampogna ; 
 'Che la natura sagace e prudente 
 Intese, mediante questo uccello, 
 Apparar poi i fisici da quello. 
 
 Tes., p. 180 ; Best. Tosc, ms. Rl, R3, R4, ^ (v. G-W., p. 86 ; 
 McKenzie, Unpublished Manuscripts of Italian Bestiaries, 
 p. 408) ; Leon., E"o. 84. 
 
 (330) Ihor come caval s'ode anitrire. 
 
 V. p. 40. 
 
 (315) Icneumone, poco animal noto, 
 
 »» V. Rein., p. 129.
 
 Luigi Pulci and the Animal Kingdom 35 
 
 Coll' aspido combatte, e I'armadura 
 Prima si fa tutfandosi nel loto ; 
 Dormendo il coccodrillo, il tempo fura, 
 E in corpo gli entra come in vaso voto ; 
 Pero che tiene aperta per natura 
 La bocca, quando di sonno ha capriccio, 
 E lascia addormentarsi dallo scriccio. 
 
 Leon., No. 80, gives the conibat of the icnemnone with the 
 aspido. Brimetto, Tes., p. 102, has a different version, in some 
 respects, of the crocodile story: here the bird is called scon- 
 filions and the little animal calcatrice. " Sconfilions . . . va 
 a questo animale, e ponesi alia bocca, e grattagli la gola si 
 dolcemente ch' egli apre la bocca." Leon., No. 81, cocodrillo, 
 corresponds more nearly to Pulci's version. 
 
 (331) Incendola, col gnfo combattendo, 
 
 Vince il di lei, e il gnfo poi la notte. 
 
 V. p. 40. 
 
 (317) Ippotamo, animal molto discreto. 
 Quasi cavallo o di mare o di fiume, 
 Entra ne' campi per malizia a drieto; 
 E se di sangue superchio presume, 
 Cercando va dove fusse canneto 
 Tagliato, e pugne, come e suo costume. 
 La vena, e purga Fumor tristo allotta, 
 Poi risalda con loto ov' ella e rotta. 
 
 (318) E non ti paia opinion qui folle, 
 Che da quel tratto e la flebotomia, 
 Perche natura benigna ci voile 
 InsegTiar tutto per sua cortesia ; 
 Non si passa di questo, se non molle, 
 II cuoio, tanto duro par che sia: 
 Co' denti quasi di vetro ferisce, 
 
 E con la lingua forcuta anitrisce. 
 
 Tes., p. 113; Leon., No. 83.
 
 36 Luigi Pvlci and the Animal Kingdom 
 
 (324) Irundo, v. p. 39. 
 
 (312) Leofante {Elefant.e) , v. Rinoceronte, p. 38 (316) v. 
 Eale, p. 33. 
 
 (313) Leucrocuta e un altro animale, 
 Groppa ha di cervio, e collo e petto e coda 
 Di lion tutto, e bocca da far male, 
 
 Ch' e fessa, e iusino agli oreccbi la snoda, 
 E contraffa la voce naturale 
 Alcuna volta per malizia e froda. 
 
 Tes.j p. 258 : most of the description corresponds, but the detail 
 of the imitation of the human voice Pulci has evidently bor- 
 rowed from the hyena story. 
 
 (319) Licaon e come lupo famoso. 
 
 In Greek mythology Lycaon, King of Arcadia, was turned into 
 a wolf by Zeus as a punishment for having set before him at 
 table a dish of human flesh to test his divinity. The name is 
 applied in modern Italian to the South African wild dog 
 (Hoare). Pliny, viii^ 52. 
 
 (313) Lion, v. Leucrocuta, above: (319) v. Liontofono, 
 
 below. 
 (319) Liontofono e poco conosciuto, 
 
 Che del lione e pasto venenoso. 
 
 St., No. 1, Leone; ^^ Pliny, viii, 57 ; Isidore, Et. xii, 2, 34. 
 
 (330) Luce Lucidia, un pulito uccelletto, 
 Tanto che quasi carbonchio par sia, 
 Sicche di notte dimostra la via. 
 
 92 
 
 Cecco, No. 4 ; Leon., No. 36, lumerpa. 
 
 (312) Lupo, V. Crocuta, p. 33. (319) v. Licaon, p. 36. 
 (320) E Macli ^^ e bestia, ch' a dir pare insania, 
 
 *W. G-W., 169: Anglia, VIi, 448. 
 
 •^v. Rein., p. 198: G-W., pp. 204, 248. 
 
 "v. Alci, p. 28.
 
 Luigi Pulci and the Animal Kingdom 37 
 
 Che con le giunte niente lavora, 
 Si che donnendo rimane alia pania ; 
 Perche appog-giato a iin albero s'accosta, 
 E chi quel taglia lo piglia a sua posta. 
 
 Leon., No. 61, macli, notes this peculiarity of the elk, which is 
 attributed to the elephant in most of the bestiaries. Pulci tells 
 the same story of the latter in xix, 74 ff., where Morgante and 
 Margutte secure an elephant in this manner. 
 
 (311) Altri in bocca hanno tre filar di denti, 
 Con volto d'uom, Manticore appellati. 
 
 Tes.j p. 258; where, however, there is nothing said about the 
 three rows of teeth.®^ Luca Pulci's Ciriffo, iv, 25, mentions 
 them : Pliny, viii, 45. 
 
 (327) Meonide ancor son famosi uccelli, 
 
 Che f anno appena creder quel ch' e seritto ; 
 Pero ch' ogni cinque anni vengon quelli 
 Di Meone al sepulcro insin d'Egitto : 
 Combatton quivi, o gran misteri e belli ! 
 Mostrando pianto naturale afflitto. 
 Come facessin I'esequie e' 1 mortoro, 
 Poi si ritornon nel paese loro. 
 
 The name is obviously taken from the habitat of the bird, 
 Meone, or Meonia, as the Tramater Dictionary gives it, a region 
 of Lydia in Asia Minor. Pliny, x, 26 ^^ : Isidore, xii, 7 : 30. 
 
 (332) Mosca (le mosche), v. farfalla, p. 34. 
 (324) Naderos molto e solitario immite, v. p. 39. 
 
 Natrice — ^the water-snake. 
 (331) Oca, V. Porfirio, p. 38. 
 (324) Passer. This is some sort of serpent and not the bird 
 
 of XIV, 50, 60. 
 
 (311) Poi son Pegasi cornuti ed alati. 
 
 (312) Da questi e detto il fonte di Pegaso. 
 
 "v. G-W., p. 188: Mann, p. 449. '"v. note at the end of this chapter.
 
 38 Luigi Pulci and the Animal Kingdom 
 
 (307, 332) Pesce. The fishes are mentioned at the heffinninir 
 and end of the padiglione but are not described. 
 
 (331) Ma sopratutto Porfirio commendo, 
 
 Un certo uocel che non teme di gotte ; 
 Che cio che piglia lo mangia bevendo, 
 Si eh' e' vuol presso la madia e la botte ; 
 L'un pie par d'oca, perch' e' nuota spesso ; 
 E Faltro, con ch' e' mangia, e tutto fesso. 
 
 Pliny, X, 63, describes this bird. Fulica porphyrion — coot 
 (Hoare). 
 
 (323) Prester. Tes., p. 135, Aspido; presto is given as one 
 sort of asp. Lat. praester.^^ 
 
 (324) Rimatrice, v. p. 39. 
 
 (312) Un altro, il qiial Rinoceronte e detto, 
 
 Offende con un corno ch' egli ha al naso, 
 Perche molto ha I'Elef ante in dispetto ; 
 E se con esse si riscontra a caso, 
 Convien che l'un resti morto in effetto. 
 
 The enmity between the elephant and the unicorn is told in 
 Pliny, VIII, Yl. For the confusing of the two animals v. Rein., 
 p. 104 and G-W., p. 313. 
 
 (322) Tin' altra ancora e Salpiga appellata, 
 Che nuoce assai sanza muover le ciglia. 
 
 Isidore, xii, 4 " Salpuga serpens est quae non videtur." 
 
 (323) Saure. The Latin bestiary mss. Oottweih 101, 400, 
 154 and Vienna, Cod. Lat. 1010 and also the Old High German 
 versions contain a description of this snake (No. 12); " De 
 lacerta, id est so-wra." ®'^ (Mod. lucertola), v. also Isidore, xii, 
 4: 37. 
 
 (315) Scriccio, v. Icneumone, p. 34. 
 
 ^ V. Rein., p. 130. 
 
 *'v. Mann, Der Bestiaire Divin des Guilluume le Clerc: Rein., p. 136.
 
 Luigi Pulci and tlie Animal Kingdom 39 
 
 (311) Serpente, v. Anfisibena, p. 28: (314) v. Catohlepa, 
 p. 31: (320) V. Bora, p. 30: (323) v. Chelidri, p. 32: (325) v. 
 Ihis, p. 34. 
 
 (322) Spettafico. " Venomous serpent " (Florio). v. below. 
 (322) E una fera Tarando e chiamata, 
 
 La qual, dov' ella giace, il color piglia 
 
 Di quella cosa ch' ella e circundata ; 
 
 Si clie a vederla la vista as&ottiglia. 
 
 The modern tarando is the same as renna, the reindeer (Hoare). 
 Pliny, VIII, 52, descrihes the animal, which he classes as a spe- 
 cies of wolf. The trait ascribed to it belongs to the chameleon, 
 a lizard. 
 
 (319) TooSj il qual non e sempre piloso, 
 La state e nudo, e di verno velluto. 
 
 Pliny, VIII, 52, thoes " per hiemes hirti, aestate nudi." 
 
 (319) Tragelafo e oome becco barbuto. 
 Tramater gives the etymology as from Tragos, goat and Elaphos, 
 deer. Pliny, viii, 50. Bartholomaeus Anglicus also describes 
 the tragelafo, Bk. xviii, Ch. xcix. 
 
 (329) Volpe, V. Atilon, p. 29. 
 (332) Zanzara, v. farfalla, p. 34. 
 
 It will have been noted that in Padiglione HI a number of 
 creatures have been passed over without designation of source 
 or other explanation of their nature than that which Pulci 
 himself gives. Of the twenty-two included in this list, eighteen 
 are serpents (thirteen from Stanza 324, the list of basilisks) 
 and four are birds. They are not to be found in the bestiaries 
 nor in the older treatises on natural history, nor are they used 
 by Pulci's contemporaries. The list is as follows: Serpents 
 (324, basilisks) Altinanite, Andh-io, Arache, Arhatrajfa, 
 Armene, Assordio, Beruse, Dracopopode, Edisimon, Irundo, 
 Naderos, Passer, Ritnatrice: (322) Arunduco: (313) Assi: 
 (320) Bora: (323) Caferaco: (322) Spettafico. Birds (328)
 
 40 Luigi Pulci and the Animal Kingdom 
 
 CaHta: (329) Driaca: (330) Ibor: (331) Incendola. While 
 it appears impossible to find the origin of these names, it is 
 interesting to note that some of them are strikingly similar to 
 certain place-names of " la gran Libia " (i. e., Africa or the 
 Orient in general) which Astarotte cites at the beginning of 
 the padigUmie as the home of many strange and little-known 
 animals. It has been seen that Pulci took from his sources at 
 least one bird whose name was based on a place — the Meonide,^^ 
 from Meone in Lydia : it is possible that he invented some others 
 in the same manner.^^ 
 
 Ill 
 
 Animals I^ot Found in the Padiglioni 
 
 There are in addition to the creatures mentioned in the 
 second and third padiglimie episodes, a great many other refer- 
 ences to animals scattered through the twenty-eight cantos of 
 the poem. Many of these creatures have already come up for 
 consideration in connection with the padiglioni, but require 
 further treatment here on account of new material in connec- 
 tion with them ; others are not found in either of the padiglioni. 
 There are many references to fables and proverbs, and at least 
 two fables are given complete. Casual references to common 
 animals are omitted where their treatment requires no special 
 consideration. This list, with the two padiglioni, will complete 
 the study of Pulci's animal references.^ 
 
 Acceggia. 
 
 IV, 55 : V. falcone, p. 64. 
 XIV, 56 : V. p. 13. 
 
 =«v. p. 37. 
 
 "'The following might be suggested: Altinanite — Altino, an Italian town: 
 ^^d^o — Andros: Amcft* — Araca(Chaldea) : Arfeafrft^o. — Arl)ata( Pales- 
 tine ) : Armene — Armenia: ilssordio — Assoro( Macedonia ) : Arunduco — 
 Arunda( Spain) ? Bora— 'Mountain of Macedonia, also a strong north wind 
 in the Adriatic: CaH^a— Car itena (Morea) : Ibor — Ibora (Cappadocia). 
 
 * Comparisons have been treated by Halfmann, op. cit., and will not be 
 considered here unless especially important.
 
 Luigi Pulci and the Animal Kingdom 41 
 
 xxii^ 169 : ]Sron si conosce ogni volta I'acceggia 
 Al becco lungo. 
 
 Agnello. 
 
 XI, 73 : V. Half. Xo. 247. 
 XXI, 29: Fecesi incontro un fier lion gagliardo, 
 Che si pensava abboccare un agnello. 
 xxu, 246 : Se' tu quel lupo a cui non campa agnello. 
 247 : II lupo non va mai cogli agnelli. 
 
 XXIV, 20 : II lupo vuol far pace coll' agnello.^ 
 
 XXV, 107 : Poi tomeranno di leoni agnelli. 
 271 : V. lupo, p. 80. 
 
 XXVI, 29 : Mansueto agnello 
 
 Me ne vo, come Isaccbe, al sacrificio. 
 XXVII, 37: Pero cb' egli era un semplicetto agnello 
 Con un bravo lion che ognuno atterra. 
 
 The lamb, as a symbol of weakness, is always contrasted with 
 the fiercer animals. 
 
 Angue. 
 
 XI, 1 : Campasti noi dalla fera crudele, 
 
 Dal suo velen come pestifer angue. 
 
 The Devil is represented as a worm whose poison is death. . 
 
 XXV, 322 : v. p. 28. 
 
 XXVI, 37 : Colui che sparse il giusto sangue, 
 Per liberarci dal mortifero angue. 
 
 V. XI, 1, above. 
 
 Anitea. 
 
 XIV, 55, 56: v. pp. 13, 14. 
 XXV, 273 : v. Half. l^o. 274. 
 
 XXVII, 54 : E se ne fece gozzi d^anitroccoli. 
 
 ^ These references suggest the fable of the wolf and lamb.
 
 42 ' Luigi Pulci and the Animal Kingdom 
 
 Apa. 
 
 xxi^ 73 : Cera . . . Delle prime ape. 
 XXVIII, 141: V. Half. No. 285. 
 
 Aquila. 
 
 VIII, 25 : Nel campo rosso era im' aquila bianca. 
 
 Describing the coat of arms of Erminione. 
 
 XIV, 41 : La fanciulla guata 
 
 Come sta fissa Vaquila nel sole. 
 V. p. 19. 
 
 47: V. p. 19. 
 XXVII, 88 : V. Half. No. 255. 
 
 Aeagna. 
 XXII, 134: Tele d^aragne. 
 
 Dante uses the same form of the word instead of the more 
 common ragno, Inf., xvii, 18. 
 
 ASINO. 
 
 V, 39 : Gli orecchi parean d^asino a vedegli. 
 
 Describing a wild man. 
 
 VI, 19 : A ogni casa appiccheremo il maio, 
 Che come Vasin fai del pentolaio. 
 
 Rinaldo, again ridiculing the love affairs of Ulivieri, happily 
 employs the two proverbs, v. Hoarej maio and pentolaio. 
 
 XIV, 74: V. p. 13. 
 XVIII, 129: Sappi ch' io aro, e non dico da beffe, 
 Col cammello, e coll' asino, e col hue. 
 
 Diz. della Criisca, arare, v : " Arare col hue e coll' asino — darsi 
 da fare qiianto e possible." Margutte boastingly throws in the 
 camel for good measure. 
 
 XIX, 142 : Come tra'l hue e Vasin nacque Cristo. 
 XXII, 118: Tu non se' uom di regger, Carlo, impero,
 
 Luigi Pulci and the Animal Kingdom 43 
 
 E fai, come si dice, Viisinello, 
 
 Che sempre par che la coda conosche j 
 
 Qnando e' non I'ha, che sel mangion le mosche. 
 
 Diz. della Crusca, asino, xxxviii: Tramater, Diz. asino, 21, 
 quotes a canzone of Lorenzo de' Medici ; " Che la coda par 
 conosce, I'asinin quand' e' non I'ha." Evidently a familiar 
 proverb in Pulci's time, since his patron also used it. v. Half. 
 No. 86. 
 
 XXV, 329: v. Atilon, p. 29. 
 XXVII, 114: Sai che e' si dice: noi non siam di maggio; 
 E non si fa cosi degli altri mesi, 
 Perch' e' canta ogni uccel nel sue linguaggio, 
 E Vasin fa que' suoi ragli distesi ; 
 Si che la cosa ridire e vantaggio. 
 
 A humorous interpretation of the proverb, " noi non siara di 
 maggio " : it is advantageous to repeat things said in May 
 because of the racket caused by the birds and the " elongated " 
 brayings of the ass. 
 
 276: Sai che si dice cinque acque perdute; 
 Con che si lava all' a^ino la testa.^ 
 
 Diz. della Crusca, acqua (Prov.) xx: " Modo proverbiale e da 
 scherzo." This passage is cited. The first of the " five lost 
 waters " is that in which the ass' head is washed. The others 
 do not refer to animals, but the third is interesting as it gives 
 Pulci's opinion of the Germans.* 
 
 AsSILLO. 
 
 VII, 44 : V. Half. No. 293. 
 
 ASTOR. 
 
 XIV, 48 : V. p. 9. 
 XXVII, 25: V. Half. No. 258. 
 
 ' Tommaseo-Bellini, Diz., s. v. asino, 25; " Prendersi cura vana." 
 
 *Cf. XIX, 139 and Uuovo Gior. Dwntesco, i, 2, note 2 (1917). v. also 
 
 Morgante, vil, 39 and XXI, 138; for the last v. Diz. della Crusca, cantare, 
 
 XXX. Cf. also Porco, p. 106 below. 
 
 4
 
 44 Luigi Pulci and the A^iimal Kingdom 
 
 Babbuino. 
 
 siv^ 80 : V. p. 13. 
 XXIV, 93 : V. Half. 'So, 230. 
 
 XXV, 91 : Gano writes to Carlo that King Marsilio is sending 
 him rich gifts, Which he enumerates : in the list there are ani- 
 mals and birds, and among the former are hahbuini. 
 
 Baiakdo (Rinaldo's steed). 
 
 III, 46 : Baiardo seizes a Pagan and crushes his arm and shoul- 
 der with his teeth as a mastiff would. The idea of the horse 
 fighting for his master will be noted frequently. This instance 
 is taken from Orlando, vi. 1. 
 
 67 : Brunoro fights Rinaldo for possession of Baiardo. 
 
 IV, 31 : E fe Baiardo Salter com' un gatto. 
 
 V, 25 : Baiardo takes alarm at Malagigi disguised as an old 
 man; but Malagigi mounts him and rides off, pursued by Rin- 
 aldo on Yegliantino (25-30). O, ix, 21-26. 
 
 61 : Rinaldo's mighty blow at the wild man, which sinks his 
 sword a yard into the earth, causes Baiardo to fall to his knees. 
 Cf. Vegliantino, p. 99. 
 
 IX, 18: A Pagan demands Baiardo of Rinaldo and a struggle 
 ensues for his possession (18-27). O, xiv, 9-19. 
 
 X, 50 : He is made to leap like a leopard. 
 
 79 : Malagigi carries off Baiardo and Durlindana, Rinaldo's 
 sword, leaving in their stead Vegliantino and Frusberta, Or- 
 lando's horse and sword. This joke brings about a quarrel 
 between the two knights. O, xvii, 26. 
 
 XVI, 67: E con Baiardo fe del barberesco; that is, groomed 
 him (Hoare). 
 
 98: A giant claims Baiardo. O, xxxii, 39. 
 xviii, 97: Baiardo gives the alarm to the sleeping knights by 
 kicking against a shield. O, xlii, 12.^ 
 
 xxiv, 132: Pulci explains that it was Vegliantino and not 
 Baiardo that pursued and killed the Saracens in Roncisvalle. 
 XXV, 133 : The demon Astarotte, at Malagigi's suggestion, 
 enters into Baiardo and flies thus from Montauban to Egypt to 
 
 *v. Potter, The Horse as an Epic Character, p. 129.
 
 Luigi Pulci and the Animal 'Kingdom 45 
 
 bring Riualdo and Ricciardetto. He objects to taking them 
 botb on Baiardo's back (1G4).^ Rinaldo mounts (210). Bai- 
 ardo feels the demon within him and " come un drago a soffiar 
 comincioe " (211). Rinaldo expresses his confidence in Bai- 
 ardo but warns Astarotte : 
 
 (224) Andar qui ci bisogna 
 
 Di salto in salto come il leopardo. 
 
 Baiardo would have done his best mthout Astarotte within him : 
 his movements are compared to those of cranes in rising from 
 the earth (225). At Giubilterra (Gibraltar) he leaps over the 
 strait " COS! alto non saltan© i grilli " (247) : "cadde in terra 
 lieve come un gatto " (249). Astarotte prevents him from 
 drinking at a fountain which he knows to be enchanted (277). 
 He accuses Squarciaferro, another demon, of trying to entice 
 Baiardo to the enchanted water (279). And so they ride on 
 to Siragozza (288). 
 
 xxvii^ 74: V. cane, p. 52. 
 
 76: Rinaldo, Ricciardetto and Baiardo kill thirty 
 thousand Pagans. 
 
 Balena. 
 
 xiv^ 64: V. p. 10. 
 xviii^ 195 : Per Dio, tu mangeresti una halenci. 
 
 MargTitte upbraids Morgante for his great appetite ; Morgante 
 replies : 
 
 196 : E certo una halena coUe squame 
 Arei mangiato. 
 
 xix^ 7: I granchi credon morder le halene. 
 Moro-ante addresses this remark to a lion which attacks him.''' 
 XX, 45-55 : The crab and the whale are associated in two other 
 proverbs ; ^ and Pulci brings them together again in the de- 
 
 • Another demon, Farfarello, enters into Ricciardetto's horse, which bears 
 him. 
 
 ^ Diz. della Crusca, s. v. granchio, xxiv, 
 
 * Dis. della Crusca, s. v. granchio, xvni and xx.
 
 46 Luigi Pulci and the Animal Kingdom 
 
 scription of the death of Morgante. He kills a whale which 
 attacks the ship on which he is travelling, but while wading to 
 shore he is bitten on the foot by a crab and dies from the wound. 
 
 XXIV, 58: Antea's giants carry " coste di halena" with which 
 they crush everything which comes in their way. Mentioned 
 again in 84. 
 
 Baebio. 
 
 XIV, 68 : V. p. 13. 
 
 XX, 48: V. Half. ISo. 281. 
 
 Bavalischio. \ 
 
 VI, 19: Vedeva gli occhi far del havalischio. 
 
 A reference to the deadly effect of the basilisk's glance, used 
 humorously here to describe Ulivieri's glances at Meridiana. 
 XIV, 82 : V. p. 20. 
 
 XIX, 66-69 : Morgante and Margutte, while escorting a lady 
 through the forest, encounter a basilisk which Morgante kills 
 with his bell-clapper. Strangely enough, the lady proposes 
 that they roast and eat it, adding : 
 
 lo ho mangiato 
 Del tigre, del dragon, del cocodrillo;, 
 Vero e che '1 capo e la coda ho spiccato. 
 
 Her peculiar taste is accounted for by the fact that she has been 
 forced to eat these things by the giants, her captors. Cf. 
 Stanza 28. 
 
 XXV, 323: v. p. 29. 
 
 Beccafico. 
 XIV, 59 : V. p. 15, 
 
 XXV, 216: Posti a sedere, ecco giunto un pia piattello tello. 
 Di beccafichi e di grassi ortolani. 
 Becco. 
 XXV, 294: v. Volpi ed., note. 
 319 : V. Tragelafo, p. 39. 
 xxvi, 116, Marsilio calls Mahomet ^' hecco can ribaldo."
 
 Luigi Pulci and the Animal Kingdom 47 
 
 Berta. 
 
 9 
 
 XVIII, 122 : Far la herta — to deceive, cheat. 
 
 Beetuccia. 
 
 VIII, 74: Che tu mi pare una hertuccia in zoccoli. 
 V. XIX, 147, below. 
 XIV, 80 : V. p. 9. 
 XVI, 78: E dice I'orazion della hertuccia. 
 
 " To mutter curses " <Hoare). 
 
 XIX, 147: In the account of the death of Margutte (145-150), 
 Morgante pulls off his boots while he lies sleeping and places 
 them at a little distance from him. A monkey finds them and 
 amuses itself by putting them on and taking them off repeat- 
 edly. Margutte, awakening, sees this and is so amused thereiby 
 that he laughs so violently and so long that he finally bursts: 
 
 (149) E parve che gli uscissi una bombarda, 
 Tanto fu grande dello scoppio il tuono. 
 
 Best. Tosc, No. 11, tells how monkeys are caught by the use 
 of little boots made by the hunters, who leave them where the 
 monkeys will find them and imitate the action of taking off and 
 putting on their boots. Pulci increases the comic element in 
 the story by picturing a monkey busily occupied with the great 
 boots of the giant Margutte. 
 XXII, 45 : v. Half. l^o. 230. 
 XXV, 91 : Among the gifts sent by Marsilio to Carlo Magno. 
 
 BiSCIA. 
 
 XIV, 83: V. p. 13 (v. 59; xxi, 76; xxii, 134). 
 
 BiSSONTE. 
 
 XXV, 90: Bissonti gagliardi; among the gifts of Marsilio. 
 320: V. p. 30. 
 
 •Tramater, Diz., s. v. berta, No. 8:2; the word, besides having the above 
 meaning, is a name for the jay.
 
 48 Luigi Pulci and the Animal Kingdom 
 
 BOCCINO. 
 
 V. Yacca, p. 99. 
 
 BOTTA. 
 
 xxvii, 256: v. Half. No. 278. 
 
 Bkuco. 
 
 II. 27 : V. Half. ISo. 283. 
 xxiii^ 48: Ibid. Leonardo, l^o. 52 describes the caterpillar. 
 
 BuE. 
 iii^ 59: Con un sol hiie, io non son buon bifolco; 
 Ma s' io n' ho due, andra diretto il solco. 
 
 This is a paraphrase of 0, vi^ 14, where the proverb reads: 
 
 A uno arato ua un bue torto e strecto, 
 Se ue n' e due, il solcho ua piu diretto. 
 
 By these words Rinaldo tells Brunoro that he intends to hear 
 both sides of the story of the latter' s grievance against the 
 abbot. 
 
 xiii^ 31-34: Einaldo tells the fable of the man vs^ho, because 
 he dreamed that he owned his neighbor's oxen, claimed posses- 
 sion of them : the case being brought before Solomon, he caused 
 the oxen to pass over a bridge and, pointing to the reflections 
 in the water, told the claimant that since he had dreamed 
 possession he might pay himself in the reflections. Rinaldo 
 uses the fable to convince Marsilio that he shall not have his 
 horse without fighting for it. Pulci took it directly from O, 
 XXV, 29-32. 
 XIV, 74: V. p. 15. 
 
 xviii, 129 : XIX, 142 : v. Asino, p. 42. 
 XKi, 68: Perche intendiate, seguitava poi 
 
 Malagigi, e' ci sara da far pur molto, 
 Disse colui che non ferrava i huoi, 
 Ma I'oche, e gia I'incastro aveva tolto. 
 
 " We have plenty to do, as the man said who shod geese and
 
 Luigi Pulci and the Animal Kingdom 49 
 
 not oxen." The Tramater dictionary gives this as a common 
 proverb.^^ It occurs also in Cirijfo Calvaneo.^^ 
 XXV, 320 : V. Bissonte, p. 30. 
 
 BUFOL. 
 
 xiv^ 77 : V. p. 15. 
 
 XVIII, 15'2 : Morgante orders an innkeeper to roast a hufol 
 
 which he has seen coming into the place. The latter complies 
 
 under compulsion and Morgante and Margutte eat the vt^hole 
 
 animal (153-155). 
 
 XXV, 118: V. Half. No. 250. 
 
 Cammello. 
 
 XIV, 77 : V. p. 9. 
 XVIII, 129: V. asino, p. 45. 
 
 166-200: Here occurs the long story of a camel which 
 Margutte discovers in the stable of the inn where they are lodg- 
 ing. Margutte informs himself where the valuables of the 
 house are kept, the simple landlord telling him all. In the 
 middle of the night he loads the camel (176), sets fire to the 
 inn, wakes Morgante and they escape (181). To a man who 
 recognizes the innkeeper's camel he replies that he is Dormi 
 (the innkeeper) (185). "E maggior bestia se' tu che il cam- 
 mello." They wander through the forest: coming to a foun- 
 tain they see a unicorn approaching to drink (188). The 
 creature first puts its horn into the water, waits a moment, then 
 drinks (189).^^ They kill it, build a fire, roast and eat it. 
 Margutte admires the wonderful gastronomic powers of Mor- 
 gante and they fall asleep well-pleased with each other. 
 Morgante, praising Margutte, borrows a line from Dante 
 
 " Ooa, No. 8. 
 
 " Tramater gives the reference as i, 28, but the compilers evidently used 
 an edition much different from that of Audin, where another reference by 
 .Tramater to I, 28 is found in IV, 25. This reference is not to be found in 
 Audin, unless v, 41 has been changed to omit the proverb. The first part 
 only is present: " Ci sarS molta faccenda." €f. Morel-Fatio in Bulletin 
 Hispanique, iv, 154. 
 
 ^^v. p. 12.
 
 50 Luigi Pulci and the Animal Kingdom, 
 
 (199) : " Tu se' il maestro di color che sanno." ^^ Stanza 200 
 ends the canto ; it begins : " E la cammella si pasceva intorno." 
 They keep the animal with them for some time longer. It is 
 mentioned in xix, 57, 65 and finally (94-96) they kill and eat 
 it. The story ends with a passing reference in 138. 
 XXV, 91: The gifts sent by Marsilio to Carlo are loaded upon 
 camels and a dromedary. 
 
 107 : Gano counsels Marsilio to send camels laden with food 
 and wine. 
 
 127 : Rinaldo and his party, in the Holy Land, mount camels 
 and dromedaries to visit Mount Sinai. 
 
 183 : Marsilio sends the camels advised by Gano in 107. 
 
 Cane. 
 
 The word cane is used many times in epithets, either alone or 
 coupled with some other word, i, 31, can mastino: 34, ... 
 rinnegato (O, xxv, 20): xv, 26, . . . mulfusso '^'^ : 49, . . . 
 peccatore: 82, . . . alano ^^: 84, canaglia: xvii, 34, . . . ghiot- 
 tone: xviii, 101, hecco can rihaldo: xxvii, 268, v. p. 52. 
 I., 67 : Tanto che '1 cane sen doleva e '1 gatto, 
 Che gli ossi rimanean troppo puliti. 
 
 The house animals mourn over the gluttony of the monks which 
 leaves them nothing. 
 
 III, 42 : " Come il can rodere ogni osso " as a symbol of greed, 
 as again in 43 ; 
 
 Ed ossa, dove i cani impazzerebbono, 
 E in Giusaffa non si ritroverebbono. 
 
 IV, 66: V. Half. Ko. 241. 
 
 v^ 45 : Forte abbaiava com' un cane alano.^^ 
 
 The alano is mentioned again in xv, 82, xxv, 90 and xxviii, 8. 
 The Dizionario delta Crusca is uncertain as to the origin of 
 
 "Inf., IV, 131. 
 
 " Tramater, Diz. " Dall' ar. fissyq, malvajgio, adultero, sodomita." 
 
 " V. V, 4.5, l)clow. 
 
 " Tommaseo-Bellini, Diz., s. v. alano, 2: Ciriffo, v. 87.
 
 Luigi Pulci and the Animal Kingdom 51 
 
 this word: it gives as a possible etymon albano, meaning either 
 
 Albanian, Scotch or English. Cook, in his extended discussion 
 
 of the alaunts of Chaucer, ^'^ gives their origin as Spain (p. 
 
 130). It appears from his description and the illustrations 
 
 that the alaunt was something between a greyhound and a 
 
 mastiff. 
 
 VI, 41 : Che il can che morde, non abbaia invano. 
 
 Tramater, Diz., s. v. cane, 17. 
 
 IX, 7(5 : V. volpe, p. 101. 
 
 XI, 72: V. Half. No. 80. 
 
 XIII, 52: Non fu mai lupo arrabbiato ne cagna. 
 
 XIV, 78: V. p. 15. 
 
 XX, 60: The proper name Can di Gattaia is taken from 0, 
 
 XL VI, 16. 
 
 XXIV, 20: V. monione, p. 82. 
 
 46: Tra can si restera la rabbi a. 
 
 Diz. delta Crusca, s. v. cane lxv. 
 
 63 : Urlavan giomo e notte tutti i cani. 
 
 Mentioned as one of the signs and omens which appeared at 
 Paris presaging the overthrow of the Christian army. 
 
 95 : Hai tu veduto il can colla cornaochia, 
 Come spesso beffato indarno corre? 
 Ella si posa, e poi si lieva e gracchia ; 
 Oosi costor non si poteano apporre. 
 
 This comparison is used to describe Malagigi's treatment of 
 Antea's giants. 
 
 126: E riscontrossi con Gan di Maganza, 
 
 Che fece il tristo e'l cagnaccio all' usanza. 
 
 XXV, 90 : Cani alani are among Marsilio's gifts, v. p. 50. 
 312 : V. Crocuta, p. 33. 
 
 XXVII, 42 : Perche i Cristiani impauriti sonne, 
 Come il cane al sonaglio della sferza. 
 
 "A. S. Cook: The last months of Chaucer's earliest patron. Appendix B.
 
 ) 
 
 52 Luigi Pulci and the Animal Kingdom 
 
 V. Half. N'o. 241. 
 
 70: V. cavallo, p. 55. 
 
 74 ; Baiardo, the war horse, fights the Pagans " come 
 I'orso fa scostare i cani." 
 
 168: E come volpe da' cani e straziato. 
 268: Disse Turpino: io voglio essere il hoia. 
 
 Carlo rispose : Ed io son ben content© 
 
 Che sia trattato di questi due cani 
 
 L'opere sante colle sante mani. 
 
 Cappone. 
 
 11^ 24 : Orlando and Morgante find a rich banquet spread in an 
 enchanted palace ; 
 
 Quivi e vivande di molte ragioni, 
 Pavoni, e starne, e leprette, e fagiani, 
 Cervi, e conigli, e di grassi capponi. 
 iii^ 42 : Trova cola che faccin colazione, 
 Se v'e reliquia, arcame o catriosso 
 Eimaso, o piedi o capi di cappone. 
 
 XVIII, 115: Morgante gives his Credo whose articles are things 
 to eat and drink, among them the cappone. 
 
 123: Qui si conviene aver gran discrezione, 
 Saper tutti i segreti, a quante carte, 
 Del fagian, della starna, e del cappone. 
 
 150: E' c'e avanzato un grosso e bel cappone. 
 Disse Margutte: Oh, non fia un boccone. 
 
 Capra. 
 
 VII, 46 : Tanto andata sara la capra zoppa, 
 Che si sara ne' lupi riscontrata. 
 
 This proverb occurs in O, xv, 18, and again in xlv, 8. v. Half. 
 
 ISTo. 84 : Diz. della Crusca, s. v. capra, xvii. 
 
 XIV, 77 : capretta v. p. 13. 
 
 XVI, 95 : A difficult path is described by " Dove vanno le capre 
 
 appena scalzi." Diz. della Crusca, s. v. capra, x.
 
 Luigi Pulci and the Animal Kingdom 53 
 
 xx^ G4: The Saracens believe they will have an easy task in 
 overcoming the knights: 
 
 E credonsi legar cinque cavretti 
 O pigliar qiiesti come pecorini. 
 
 Hoare, cavretto — kid : '' to believe one is about to have a good 
 success." 
 
 XXI, 24: Shepherds kill and spit capretti and lattonzi for the 
 knights. In O, xlvii, 7, the animals are vitella^ caponi and 
 polastri. 
 
 XXII, 161 : A variation of xvi, 95. 
 
 XXV, 263: Un pastor . . . che guardava le capre. 
 326: V. Agotile,j). 28. 
 
 XXVI, 62: V. Half. l^o. 249. 
 
 XXVII, 246 : Ibid. 
 
 Cavallo. 
 
 Many references to the horse in a poem of chivalry like the 
 Morgante are so casual as not to require discussion.^ ^ There 
 are, however, in this work, a number of interesting stories, 
 proverbs and references concerning the horse which are worthy 
 of consideration. Pulci took the names of his heroes' war- 
 horses from the Orlando for the most part. Baiardo, Rondello 
 and Vegliantino are all in the older poem: only Mattafellone, 
 Gano's steed, and Duraforte, mentioned in xxviii, 64, are not 
 to be found there. Stories of these horses appear under their 
 names instead of here. There are also many names for the 
 horse which have specialized meanings, such as afferrante — war- 
 horse, alfana, halzan, castron — gelding, corridore, destriere, 
 giannetto, morello (v. below), palafreno — palfrey, puledro — 
 colt, rozza — jade, rozzone. Some of these have already been 
 noted: others will be considered here. 
 
 I, 67 ff : Orlando gives Morgante a horse which, however, breaks 
 down under his weight. -^^ 
 
 ^o'^ 
 
 " For this whole topic cf. Potter, op. cit. 
 '"Potter, op. cit., p. 119.
 
 54 Luigi Pulci and the Animal Kingdom 
 
 III, 54 : Einaldo, disgusted at the slovenly table manners of the 
 Pagans, justifies himself for attacking them by saying: 
 
 Come san costoro, 
 ]^on vo' mai noia, quand' io sono a desco, 
 E sto come '1 caval sempre in cagnesco.^^ 
 
 V, 34 : Malagigi causes a horse to appear by magic. 
 
 VII, 37 : Morgante eats a whole castron roasted. 
 
 rx, 60: Meridiana's palfrey has a serpent's head: it was bom 
 
 of a mare and a serpent. 
 
 XIII, 51 : Un gran caval co' denti e colle penne. 
 
 This is the wild horse, winged apparently, which Rinaldo 
 
 tames. The story appears in O, xxvi, 7 ff., where the detail of 
 
 the penne is omitted: in stanza 16 the wild horse is compared 
 
 to a dimonio. 
 
 XTV, 74 : v. p. 10. 
 
 XVI, 67: Cavallo arahesco. 
 
 xviii, 65: Caval morello: a horse of a very dark color — almost 
 
 black (Hoare). O, xviii, 40. 
 
 XX, 8 ff. : Gano hangs a shepherd for having stolen Rinaldo's 
 horse, which the shepherd protests he has reared from a colt 
 {puledro, 12). O, xliii, 7 ff. 
 
 XXI, 55 ff. : Lionibruno wishes Astolfo's horse and fights him 
 for it. O, xlviii, 15. 
 
 84 : The Pagans steal Astolfo's horse. O, xlix, 6. 
 XXIII, 16 : The knights find two dead lions in their path. 
 Rinaldo asks who has killed them: Fugliatto replies: 
 
 E' fia Spinardo sanza fallo, 
 Che dicon ch' e mezz' uom, mezzo cavallo. 
 
 They find the centaur, who lives in a cave " come I'orso o come 
 il tasso" (18). Coming out, "mugghia e soffia che pareva un 
 toro." "E fischia, come serpe quando e in caldo " (21). 
 Rinaldo 
 
 '" I. c, irritable; the word is used with the meaning "cringing" in vu, 39.
 
 Luigi Pulci and the Animal Kingdom 55 
 
 (22) iSi difilava a Ini, come il faleone 
 
 Quando ha vediito i colombi o le starne: 
 O ver come il lion che vuol far carne. 
 XXV, 52 : Marsilio entertains Gano : 
 Dopo molto piacer .... 
 E corso cervi, alepardi -^ e cavalli. 
 
 195: Marsilio, in his oration to his soldiers, says: (I Cris- 
 tiani) " Mangeranno i cavalli a sno dispetto." 
 
 250 : Ricciardetto says to the demon Farfarello within his 
 horse : " lo non son bnono uccello " ; i. e., he fears to take the 
 long leap (v. p. 45). The demon tells him not to fear, first by 
 the neighing of his horse, then in words. 
 
 254 : The river Beti, near Cordoba, is a mere " saltellin da 
 ballo " for the steeds. 
 
 260-262 : A necromancer of Toledo learns of the approach 
 of Rinaldo and Ricciardetto from Rubicante, a spirit, who 
 promises to enchant their horses at a fountain (v. p. 45) ; 271 ff. 
 tells how this plot was foiled. 
 
 293 : Farfarello acts as stable-boy. 
 
 316: V. Eale, p. 33. 
 
 317: V, Ippotamo, p. 35. 
 
 319: V. Alci, p. 28. 
 XXVII, 70': Ulivieri's horse, after his master's fall, returns to 
 the battle and fights: 
 
 E morde per tre lupi e per sei cani. . . . 
 E colle zampe s'arrosta i tafani. 
 
 In O, XL, 35, Spinellone's charger fights against his master's 
 enemies. Cf. Tes., p. 238, " E sonne assai di qiielli che conos- 
 cono il nimico del loro signore, e mordonlo duramente " : also 
 p. 240 : the Scythian king's horse " lo difende infino alia sua 
 morte." 
 
 258 : O vendetta di Dio, qui sare' poco 
 Agguagliar la miseria de' Troiani 
 
 " Cf. leoparrln, p. 72.
 
 56 Luigi Pulci and the Animal Kingdom 
 
 A tante afflitte e sventurate donne, 
 Qiiando e' menti del gran caval Sinonne. 
 
 A reference to the wooden horse at the siege of Troy, 
 xxviii^ 14: Ganelon is torn to pieces by four horses. 
 
 Cavkiuol. 
 
 siv^ 76 : V. p. 15. 
 
 XXVI, 124 : II campo che fuggiva de' Pagani, 
 
 Come innanzi a' lion gli armenti fanno, 
 O spesso in parco i cavrioli e i dani. 
 
 XXVII, 163 : Gano, at the sound of Orlando's horn, deceives 
 Carlo, making him believe he is hunting : 
 
 JSTon ti ricorda . . . giovinetto, 
 Ognidi era o con orsi alle mani 
 O porci, o cervi, o cavriuoli, o dani 2 
 
 Cerasta. 
 
 XIV, 83: V. p. 13: cerastra (rhyme-word) for cerasta. 
 
 XIX, 28: The lady whom Morgante finds alone in the forest 
 
 tells how she is oppressed by two giants (cf. bavalischio, above) : 
 
 E vipere, e ceraste^ e strane carne 
 Convien ch'io mangi che reca da caccia, 
 Che mi solieno a schifo esser le starne. 
 
 Cerbero. 
 II, 36 ff. : Morgante, after having been baptized, is fired with a 
 desire to descend into Hell and put the demons to rout : 
 
 (39) E Cerhero ammazzar con un punzone. 
 XXVII, 255: In the destruction of Siragozza by the Christians: 
 
 Parea . . . che Tesifo e Megera ed Aletto 
 Vi fusse, e Cerber latrassi il gran cane. 
 
 Ceeviere. 
 XI, 72 : V. cane, p. 51. 
 XIV, 78: V. p. 15.
 
 Luigi Pulci and the Animal Kingdom 57 
 
 XXII, 254: The lynx appears on a coat of arms. 
 
 XXVI, 4 : On the battle standards : 
 
 E serpent! e lion, cervieri e pardi. 
 
 Ceevio. 
 II, 24 : V. cappone, p. 52. 
 
 IV, 27 : A giant has skinned and hung up a stag. 0, vii, 25. 
 XI, 98 : Rinaldo spurs Baiardo " Che non si vide mai saltar 
 cervietto." 
 XIV, 76: V. p. 11. 
 
 XXII, 105 : Diliante makes his horse leap " come un cerviatto " 
 (fawn). 
 
 XXV, 52 : V. cavalla, p. 55. 
 313: V. Leocrocuta, p. 36. 
 
 XXVII, 37 : " Marsilio spari via . . . come cervio spaventato 
 in caccia." 
 
 163 : V. cavriuol, p. 56. 
 
 Chimeea. 
 XXV, 125 : Rinaldo finds and kills a chimera: 
 
 (126) Che fu maraviglia 
 
 Che mai nessun piii non v'era arrivato. 
 Oh' affisar sol questo mostro le ciglia. 
 Col guardo suo non I'avessi ammazzato. 
 
 A trait borrowed apparently from the basilisk. 
 
 Chiocciola. 
 
 XXI, 49 : E non parea nel suo parlar Bilette 
 
 Che violo il mandal con carte chiocciole."^ 
 
 This is apparently a reference to some story. The word mandal, 
 according to Florio, means " a diabolicall figure or effigies used 
 by inchanters." He gives a variant, Almandel. 
 
 Chirone (the centaur). 
 
 **v. the Volpi edition, n, 342, note, for the names used in this stanza: he 
 attempts no explanation of the references.
 
 58 Luigi Pulci and the Animal Kingdom 
 
 xxvii_, 22 : E non gli aveva Chirone insegnato 
 
 Tanto che basti, ch' ogni scrima e invano. 
 
 ClACCO. 
 
 VIII, 81 : Non gittiam qui le perle in booca al ciacco. Matt. 
 VII, 6. Cf. Dante, Convivio iv, 30. 
 XIX, 64 : Oia di buone pere 
 
 Mangiato ha '1 ciacco. 
 
 Margutte's remark on tbe meal be has just devoured. 
 
 132 : O broda che succiava come il ciacco. 
 MargTitte again. 
 
 CiGNO. 
 
 XIV, 56 : V. p. 21. 
 
 xxviii, 1 : In the invocation to the last canto Pulci prays that 
 
 he may finish like the swan " singing sweetly." 
 
 144 : ]\Ia io non so s' e' si son corvi o cigni 
 I detrattori, o spiriti maligni. 
 
 Pulci pays his respects to his critics. 
 
 CiNGHIALE. 
 
 XIV, 78 : V. p. 9. 
 
 XV, 104: Among Antea's accomplishments: 
 
 Portava spesso il falcon pellegrino, 
 Feriva a caccia lioni e cingliiali. 
 
 XVII, 116 : A giant compares his teeth to those of the boar. 
 XIX, 33-34 : The giants Beltramo and Sperante bring in their 
 game — a boar, a bear and a dragon. 
 XXV, 316 : V. Bale, p. 33. 
 
 CiVETTA. 
 
 XIV, 61 : V. p. 13. 
 
 xrx, 43: v. Half. :Nro. 266. 
 
 xxrv, 41 : In qua e in la far la civetta.
 
 Luigi Pulci and the Animal Kingdom 59 
 
 Avino accuses Gano of peering about like an owl while talking 
 with Bianciardino. 
 
 97: Malagigi traps a giant in a device similar t6 a hoschetto 
 or bird-snare, in which figure the civetta and scMamazzi — 
 decoj-birds. 
 
 141: "Ma tristo a quel che non fa la civetta" (i. e., duck 
 the head) in order to escape Ulivieri's sword. 
 XXV, 8 : " E mostrogli piu volte la civetta " : made sign of 
 affirmation. There is a boys' game called la civetta in which 
 the players bow their heads to avoid the knocking off of their 
 caps. Cf. Curto, p. 130. 
 
 COCCODRILLO. 
 
 XIV, 82: V. p. 21. 
 
 XIX, 68 : V. havalischio, p. 46. 
 
 108 ff. : A crocodile attacks Morgante, having come up out of 
 the ISTile to where he is walking on the bank. Margutte cries 
 "Che fia, coccodrillo? Cotesto e troppo gran boccon da te." 
 Morgante inserts the bell-clapper in the creature's mouth and 
 it bites so hard that its teeth become fixed in it! Morgante 
 kills the crocodile finally and throws it " more than a mile out 
 into the river." 
 
 XXV, 90: Crocodiles are among Marsilio's gifts. 
 315 : V. Icneumone, p. 34. 
 
 XXVI, 48 : Describing the armor of the Pagans : 
 
 Certe pellacce sopra il dosso dure 
 Di pesci, coccodrilli e di serpenti. 
 
 COLOMBA. 
 
 V, 1 : Pulci invokes the Dove in which, he says, God descended 
 to earth to take upon Himself human form in Christ. 
 VII, 26 : Per pigliar due colomhi a una fava : i. e., " to kill two 
 birds with one stone." ^^ 
 
 " V. rigogoletto, p. 24, for another version of this proverb. 
 5
 
 60 Luigi Pulci and the Animal Kingdom 
 
 VIII, 82 : V. Half. l^o. 275. 
 XIV, 48 : V. falco7ie, p. 22. 
 
 XXII, 133 : V. falcone, p. 64. 
 
 XXIII, 22 : V. cavallo, p. 55. 
 
 XXVII, 158: The soul of Orlando returns after his death in the 
 form of a dove which enters his body through his mouth. First 
 seen in the far distance it seems a butterfly. 
 
 CONIGLIO. 
 
 II, 24 : V. cappone, p. 52. 
 XIV, 78 : V. p. 9. 
 
 COBBO. 
 
 V, 40': Nero com' un corbo. 
 
 VI, 68 : Corbacchion di campanile — a person firm of purpose 
 or stubborn (Hoare). 
 
 XIV, 54: V. p. 15. 
 
 XVII, 91 : V. Half. Ko. 259. 
 
 XIX, 179 : Morgante, referring to a muezzin in a tower, calls 
 him a corbacchione. 
 
 XX, 81 : V. Half. No. 259. 
 
 XXV, 64 : Ma perche f ormicon vecchio e di sorbo, 
 
 Che non isbuca all' accetta o al martello, 
 Tu potresti aspettar, Marsilio, il corbo, 
 Che sai ch' egli e molto malvagio uccello. 
 
 Here the corbo whom Marsilio is to expect is Orlando. As is 
 shown by the preceding proverb of the ant, the meaning is the 
 opposite of that of the expression " aspettare il corbo " — to 
 wait for someone who does not come. 
 
 328 : V. Corete, p. 32. 
 
 XXVI, 73 : Finadusto is called " quel corbacchion nero." 
 
 XXVII, 54: Lucifero avea aperte tante bocehe, 
 
 Che pareva quel giorno i corbacchini 
 All' imbeceata, e trangugiava a ciocche 
 L'anime che piovean de' Saracini.
 
 Luigi Pvlci and the Animal Kingdom 61 
 
 XXVIII, 14 : The fragments of Gano's body are thrown " A' lupi, 
 a' cani, a' corvi, alle cornacchie." 
 
 130 : Pulci, speaking of the end of his labors, says he shall 
 steer his bark no farther, nor, like Noah, " aspettar che ritorni 
 a me il corbo." 
 
 144: V. cigno, p. 58. 
 
 CORNACCHIA. 
 
 XIV, 54: V. p. 15. 
 XXIV, 95 : V, cane, p. 51. 
 
 XXVII, 85 : E' si vedea cader tante eervella, 
 
 Che le cornacchie f aran tafFerugia. 
 
 V. Hoare, tafferuglio. 
 
 XXVIII, 14: V. corbo, above. 
 
 Cuccio. 
 XVI, 58 : M' ha rimandato in drieto come un cuccio. 
 cf. Ciriffo Calvan£0, v, 45, " rimesso come un cuccio." 
 
 Cucco. 
 XIX, 141 : Tu se' il cucco mio. 
 XXIV, 103 : Terigi e de' Cristiani il cucco. 
 XXVII, 58: Rinaldo era il cucco. 
 
 Cucco — the pet, best-loved, or possibly in the last citation, 
 simply the best.^^ 
 
 Dalfino. 
 XIV, 64: V. p. 11. 
 
 XVI, 36 : E non sarebbe Leandro d'Abido 
 Portato cosi misero e meschino, 
 Come tu sai, fra I'onde gia, Cupido, 
 Appie della sua donna dal dalfino; 
 S'avessi Antea veduta. 
 
 In the Epistolae of Ovid, Hero writes to Leander that she has 
 * Diz. della Crusca, s. v., cucco.
 
 62 Luigi Pulci and the Animal Kingdom 
 
 dreamed of seeing a dolphin die on the beach, which she takes 
 
 as an omen of his approaching fate. 
 
 xx^ 37 : E' dalfin si vedieno, 
 
 Ch' alcun talvolta la schiena mostrava, 
 
 E tutto il prato di pecore e pieno. 
 
 These are given as signs of an approaching storm. ^"^ 
 40 : Rinaldo, threatening to throw Scirocco into the sea, says : 
 
 Tu dei saper notar com' un dalfino. 
 
 Dano. 
 XXVI, 124: XXVII, 163: v. cavriuol, p. 56. 
 
 Dkagone. 
 IV, 7 ff. : Here occurs the story of the lion which, rescued from 
 the dragon by the knights, acts as their guide. It will be 
 treated more fully later under the heading Lione but some 
 details regarding the dragon should be noted at this point. It 
 is described as " coperto di stran cuoio verde e giallo." In 
 Stanza 8 it is called " quel serpente maladetto, Che getta fiamme 
 per bocca ta' dotte." 
 
 (9) II drago avvolta gli aveva la coda, 
 E presol colla bocca e cogli artigli, 
 Per modo tal che da lui non si snoda, 
 
 Rinaldo's sword cannot penetrate its back because it is harder 
 than fine steel (13). It is called " crudel vermo." ^'^ 
 
 32 : A giant whom Rinaldo kills, falls on him and his steed 
 as the elephant falls on the dragon which has killed it.-^ 
 X, 141 : V. Half. 'Ho. 220. 
 
 XIV, 81 : V. p. 10. 
 
 XV, 32 : The fighting knights are compared to dragons and lions. 
 
 "•■Cf. Dante, Inf., xxn, 19-21. 
 
 " Dante, Inf., xxxiv, 108, refers to Satan as " vermo reo." Cf. angue, 
 p. 44. 
 
 »v. p. 12.
 
 Luigi Pulci and the Animal Kingdom 63 
 
 XVII, 62 : V. Half. No. 220. 
 
 91: A Pagan's armor is made of dragon's skin. 
 XIX, 34: V. cinghiale, p. 58. 
 
 38: Riprese meglio il drago per la coda 
 E una gran dragata die a Morgante. 
 
 Sperante uses the dead dragon as a weapon: to describe the 
 blow he deals Morgante, Pulci coins the comic word dragata. 
 XXI, 69 : O, XLviii, 25. 
 
 XXV, 211: V. Baiardo, p. 45. 
 
 213: A destra il fiume Bagi-ado ha trovato 
 
 Dove uccise il serpente Attilio o '1 drago. 
 Onde e' si dice ancor tante novelle, 
 E come a Roma quel mando la pelle. 
 
 Pliny, VIII, 37 : " Nota est in Punicis bellis ad flumen Bagi-adam 
 a Regulo [M. Regulus Atilius] imperatore ballistis tormen- 
 tisque ut oppidum aliquod expugnata serpens cxx pedum longi- 
 tudinis. pellis eius maxillaeque usque ad bellum Numantium 
 duravere Romae in templo." 
 323 : v. p. 33. 
 
 XXVI, 142: v. Half. No. 220. 
 
 XXVII, 95 : Ibid. 
 
 Deomedario. 
 II, 39 : Morgante, boasting of the feats he would perform in 
 Hell, says: 
 
 E BelzebCi faro fuggir piu via, 
 
 Ch' un dromedario non andre' in Soria. 
 
 XIV. 77: V. p. 14. 
 
 XXV, 91, 127: v. cammeUa, p. 50. 
 
 DURAFORTE. 
 
 XXVIII, 64 : The song about Carlo Magno which Pulci attributes 
 to "un certo citarista Lattanzio " (Stanza 53) tells of this 
 steed.^° Apparently he belonged to TJggieri il Danese. 
 
 ''v. note in Sermolli cd.
 
 g4 Luigi Pulci and the Animal Kingdom 
 
 Ekmellino. 
 
 II, 25 : V. Half. N'o. 234. 
 XIV, 80: V. p. 9. 
 
 XXIV, 39 : Orlando, on hearing Gano's lying account of certain 
 affairs, exclaims : " O Gan, questo ermellin sara poi nero." 
 
 Fagiano. 
 
 III, 24 : V. cappone, p. 52. 
 XIV, 48: V. p. 14. 
 
 XVIII, 123 : V. cappone, p. 52. 
 
 Falcone. 
 
 IV, 55 : Rinaldo, joking with Ulivieri about his love-affair 
 with Forisena, says: 
 
 II falcone ha cavato il cappello, 
 
 Non so se starna ha veduto, o acceggia. 
 
 Dante, Par. xix, 34 : " II falcone ha levato il cappello." *® 
 
 VIII, 82: V. Half. No. 256. 
 
 IX, 47: Ibid. 
 
 X, 27 : V. gatto, p. 66. 
 109 : falcon peregrino. 
 
 XI, 70: V. Half. No. 256. 
 
 XIV, 48: V. p. 22. 
 
 XV, 104: V, cingMale, p. 58. 
 
 XVI, 64: V. Half. No. 256. 
 
 XXII, 133 : Pareva questo giorno lui il falcone 
 
 E peregrino, e non parea il Colombo. 
 
 The peregrine falcon is one of the largest and swiftest of that 
 species. 
 
 XXIII, 22 : V. cavallo, p. 55. 
 
 XXV, 90 : Among Marsilio's gifts to Carlo, 
 xxvni, 137: v. oca, p. 85. 
 
 ^\. Morgante, Camerini ed., note to iv, 55.
 
 Luigi Pulci and the Animal Kingdom 65 
 
 Farfalla. 
 IV, 2 : Era nel tempo cli' ognun s'innamora 
 
 E ch' a scherzar comincian le farfalle. 
 
 VI, 38 : V. Half. No. 287. 
 
 X, 59: Rinaldo asks Erminione tauntingly: 
 
 Cavalier villano, 
 Che di' tu, re di farfalle o di pecchie ? 
 
 XXV, 332: v. p. 34. 
 
 XXVII, 158 : V. colomha, p. GO. 
 
 Formica. 
 
 II, 55 : The fable of the ant and the horse's skull, which occu- 
 pies this and the following stanza, Pulci took directly from 
 O, IV, 15-19, cutting down its length from four stanzas to two 
 but maintaining its essential details intact. This fable is told 
 also in a sonetio caudato ^^ ; as the sonnet is of the same period 
 as the Orlando, it is not possible to say whether one version is 
 derived from the other, or both from another source, now 
 unknown. The^ sonnet begins : " Andando la f ormicha alia 
 uentura." The fable does not occur elsewhere. 
 XVI, 54: formica di sorho: this same expression is used in 
 XXV, 64 : " formicon vecchio e di sorbo " — one who does not 
 come out for everybody's knocking, v. corho, p. 60. 
 
 Gallo. 
 
 IX, 19 : The fable of the cock and the fox, taken from O, xiv, 
 12-14.32 
 
 XVIII, 148 : Margutte's boots have spurs " come hanno i galli/' 
 149 : Morgante asks him: "Saresti tu di schiatta di galletto?" 
 
 XIX, 2 : Non senton cantar galli, o abbaiar cani. 
 
 The two giants, in a desert country, miss the domestic sounds. 
 
 ^v. McKenzie: Note sulle antiche favole italiane, p. 59 ff. 
 ^ This familiar fable occurs in the Caxton JEsop, Baldo, Marie de France 
 and other collections.
 
 66 Luigi Pulci and the Animal Kingdom 
 
 46 : Qnesto galleUo gli saltava addosso, 
 
 Che par che sia sopra una bica un polio. 
 
 Margutte springs upon Beltramo after having thrown him to 
 the ground. 
 
 Gatto. 
 1, 67 : V. cane, p. 50. 
 
 III, 41 : Dicea f ra se sorridendo Brunoro : 
 
 A Ercol s'agguaglio quel ciuffo '1 mosto, 
 O cavalier di gatta, o qualch' araldo: 
 E ogni cosa intendeva Rinaldo. 
 
 Cavalier di gatta appears to be a term of contempt. 
 
 IV, 31 : v. Baiardo, p. 44. 
 
 X, 27: E far pel campo variati strumenti 
 
 Per Montalban gatti, grilli e falconi. 
 
 The gatti and grilli were shelters for besiegers, the falconi 
 battering-rams (Hoare). 
 51 : V. Half. N'o. 244. 
 XIV, 79 : V. p. 15. 
 
 XVIII, 122 : jS'on domandar quel ch' io so far d'un dado, 
 
 O fiamma, o traversin, testa o gattuccia. 
 
 Margutte boasts of his skill at dice. The Tramater and 
 Tommaseo-Bellini dictionaries give the word as an obsolete 
 gambling term whose meaning is lost. 
 
 XIX, 127 : Margutte, in the kitchen, " parea di casa piu ch '1 
 gatto." 
 
 XXI, 123 : V. Half. ^o. 244. 
 
 XXII, 91 : Ma per tornar si spesso al lardo il gatto. 
 
 La penitenza sua non ha fuggita. 
 
 This proverb occurs also in O, xix, 38 — not the corresponding 
 passage. 
 
 100: Un occhio alia padella, uno alia gatta. 
 xxv, 249: v. BoAardo, p. 45. 
 XXVI, 95 : Gano e un malvagio gatto.
 
 Luigi Pulci and the Animal Kingdom 67 
 
 XXVII, 26, 33 : v. Half. No. 244. 
 
 XXVIII, 12 : E chi gittava la gatta e chi il polio. 
 
 Gano, drawn through the streets of Paris on a car, is the target 
 for dead animals thrown by the enraged populace. 
 
 Gattomammone. 
 XIV, 90 : V. p. 9. 
 XIX, 42 : V. Half. No. 230.33 
 
 Ghiandaia. 
 XIV, 52: V. p. 16. 
 
 XXIV, 168: V. Half. No. 260. 
 
 Ghiro. 
 
 XIII, 62 : V. Half. No. 235. 
 
 XIV, '79 : V. p. 16. 
 
 Giraffa. 
 
 XXI, 142: V. Half. No. 229. 
 
 XXV, 90 : Among the gifts of Marsilio. 
 324: V. p. 34. 
 
 GiRFALCO. 
 
 XXV, 90 : Gerfalcons are among Marsilio's gifts. 
 
 GOZZIVAIO. 
 
 XVI, 99 : E detto questo Baiardo scostava, 
 
 Poi cogli sproni in su' fianchi ferillo, 
 In modo che tre lanci egii spiccava, 
 Che gozzivaio non parea ma grillo. 
 
 The Sermolli edition reads the last line " Che gozzivaio non 
 parea ma grillo" and defines gozzivaio (p. 348) as "specie 
 d'animale cosi detto dall' avere il color della pelle vaio e nereg- 
 giante." Hoare gives " some species of cricket." Volpi notes 
 in his edition : " Chi intende per gozzivaio un uccello, chi nn 
 insetto." At least two other editions ^^ render the last line 
 
 ** Hoare gives the etymology of mummone as from Turkish maimum. 
 " Venezia, 1784, and Milano, 1806.
 
 68 Luigi Pulci and the Animal Kingdom 
 
 " Che gozzivaio non parea ne grillo," which seems to make 
 better sense, if, as is probable, gozzivaio means some sort of 
 insect. Halfmann (No. 289) sajs "Die Grille ist das Bild 
 eines nicht hoch springenden Thieres," apparently reading 
 from an edition which has ne in the last line, and citing xxv, 
 247, " Ma cosi alto non saltano i grilli " as another instance. 
 It seems more natural to associate two insects here and to com- 
 pare their small leaps with the long jump which Baiardo makes. 
 Mai for ma would improve the sense somewhat in xxv, 247. 
 
 Oranchio. 
 v^ 55 : Ulivieri says of a wild man " Egli e nato di granchi" 
 a variation of the popular saying " piu lunatico dei granchi." ^^ 
 xrx^ 7: xx, 50: v. halena, p. 45. 
 xxm, 30 : v. Half. 'No. 284. 
 xxvi^ 71 : Ibid. 
 
 141 : E Turpin poi non veniva segnando 
 
 Col granchio in man, ma colla spada segna. 
 
 Volpi interprets granchio as cramp, alluding to the position of 
 the Bishop's hand in giving the Apostolic blessing.^® 
 
 Grifone. 
 
 xi^ 25: Proper name, Grifon d'Altafoglia. 
 XIV, 61 : v. p. 14. 
 
 XXI, 109 : Here occurs the story of the combat between the 
 griffin and the serpent, taken from O, l^ 9-19. The latter has 
 wound its tail about the griffin's neck and is slowly choking it 
 to death. Orlando takes pity on the victim, kills the snake and 
 releases the griffin which flies away. Four lions attack Orlando ; 
 he kills one and is desperately engaged with the others (HI) : 
 the griffin returns and aids him by blinding one of them (112) ; 
 Orlando kills another and the griffin accounts for the last one 
 (113) : they allow the blind lion to escape (116), Pulci draws 
 
 ^ Diz. delta Crusca, s. v., granchio, Xi. 
 *« Ed. Morgante, Vol. in, p. 338, note.
 
 Luigi Pulci and the Animal Kingdom 69 
 
 a moral of gratitude from this episode (114), ending witli a 
 reference to /Esop : "'^ 
 
 E noti ognun la favola d' Isopo 
 
 Che il lion ebbe bisogno d' un topo.^^ 
 
 Grillo. 
 
 X, 27 : V. gatto, p. 66. 
 
 xvi^ 99 : Che gozzivaio non parea ma grillo. 
 
 Cf. gozzivaio, above. 
 
 xxii^ 101: Eispose Gan: Tu hai '1 capo pien di grilli.^^ 
 
 xxv, 247 : v. Baiardo, p. 45. 
 
 Grue. 
 XIV, 50: V. p. 16. 
 
 XXIV, 44: Al peccator suol ben parer I'un due 
 
 E ch'ogni mosea sia per I'aria un grue. 
 
 Similar expressions use cavallo and leofante instead of grue. 
 
 " Far d'una mosca un cavallo." ^^ 
 
 XXV, 225 : v. Baiardo, p. 45. 
 
 GUREO. 
 
 XXV, 226: Vedestu mai, letter, di salto in salto 
 
 II pesce in mar, per ischifare il gurro? 
 Cosi questo caval. 
 
 Halfmann (No. 78) takes the pesce here to be the fljing-fish, 
 though the leaping from the water when pursued is characteris- 
 tic of other fish as well. The Italian-French dictionary of Vene- 
 roni gives the word gurro and defines simply as " sorte de 
 poisson " : none of the other dictionaries have it. 
 
 ISTRICE. 
 
 Ill, 6 : I Saracin di lui fanno un berzaglio, 
 
 "v. Hiibsolier, p. lxxx\'i, H 115. 
 
 *v. McKenzie, Italian fables in verse, p. 257; Baist, Der DanJcbare Lmce, 
 p. 317. V. also p. 76, note 47. 
 
 ^^Dis. della Crusca, s. v., grillo, ix. 
 
 *" Tommaseo-Bellini, Diz., s. v., mosca, 1: 13:
 
 70 Luigi Pulci and the Animal Kingdom 
 
 Di dardi e lance, ma gettan discosto 
 Tanto, che quando dov' e il conte venne, 
 Tin istrice coperto par di penne. 
 
 XIV, 79: V. p. 16. 
 
 Lampbeda. 
 XIV, 79 : V. p. 14. 
 XVIII, 127 : E ti fare' paura una lampreda 
 
 In quanti modi si fanno i guazzetti. 
 
 Volpi interprets this : " Ti f arei paura, se ti dicessi in quanti 
 modi si puo cucinare una lampreda in guazzetto, cioe in 
 umido," *^ wliicli seems to fit in well with the whole passage in 
 which Margutte is describing the delights of the table. 
 
 XXVII, 99 : Terigi era rimaso per un piede 
 
 In terra avvilupato in certa stretta, 
 E il suo sigiiore Orlando non lo vede, 
 Si che nel sangue si storce e gambetta, 
 Che pareva un tochetto di lamprede. 
 
 The squire Terigi, twisting about to extricate himself from the 
 mire of the battlefield, is compared to a bundle of eels. 
 
 xxviii, 42: Sempre i giusti son primi i lacerati: 
 lo non vo' ragionar piu della f ede ; 
 Ch'io me ne vo poi in bocca a questi frati. 
 Dove vanno anche spesso le lamprede. 
 
 Pulci had apparently been censured by the monks for some of 
 his utterances and did not wish to give them occasion for 
 another attack, though he could not resist the fling at their 
 fondness for delicacies.'*" 
 
 Lasca. 
 IX, 74: V. volpe, p. 100. 
 
 *'Vol. II, p. 198, note. 
 
 ^'v. Volpi's note on this stanza, vol. iii, p. 456. There is a suggestion in 
 the last line cited here of Dante's reference to Pope Martin IV and his 
 fondness for eels. Cf. Purg. xxiv, 20-24.
 
 Luigi Pulci and the Animal Kingdom 71 
 
 xiv^ 68: V. p. 14. 
 
 xxii^ 8(5 : V. lontra, p. 78. 
 
 XXIII, 47 : Poscia per pesci lasclie prese all' esca. 
 
 The knights are entertained by a hermit who gives them louche 
 
 for their meal. 
 
 48 : Lasciangli come il bruco in snlle frasche 
 Rinaldo e Fiigliatto insino al giorno, 
 Che a questo mode smaltiran le lasche. 
 
 Stanza 47 is made up of words similar in sound, two pairs to 
 the line: Poscia - pesci, lasche - I'esca.^^ 
 
 Lattonzo. 
 xxT, 24: V. capra, p. 53. 
 
 Leofajstte. 
 IV, 32 : E poco meno e' non fe com' e' suole 
 II drago, quando uccide il leofante. 
 
 Rinaldo narrowly escapes being crushed by the falling giant 
 as the dragon is crushed by the elephant, v. p. 11, drago. 
 XIV, 73 : V. p. 10. 
 81 : V. p. 12, drago. 
 
 XVI, 63 : El' elefante si poneva a bocca. 
 
 Orlando sounds his ivory horn. 
 
 XVII, 108: Disse Dombruno: E' non va pel deserto 
 
 Di Barberia si possente lione 
 
 Ne leofanti, o per Libia serpenti, 
 
 Che non traessi a lor come a me i denti. 
 
 Orlando had knocked out three of Dombruno's teeth (102). 
 
 XVIII, 161 : Morgante ando a trovare un pagliaio, 
 
 Ed appoggiossi come il liofante. 
 
 Morgante, like the elephant, sleeps standing, cf. xix, 74 below. 
 *^ V. Sermolli ed., p. 208, note.
 
 72 Ltuigi Pulci and the Animal Kingdom 
 
 xix^ 74: lo veggio quivi appoggiato, Morgante, 
 A un albero un certo compagnone, 
 Che par che dorma, e non muove le piante : 
 Di questo non faresti tii un boccone. 
 Morgante guarda: egli era un liofante, 
 Che si dormiva a sua consolazione ; 
 Ch' era gia sera, e appoggiato stava 
 Come si dice, e col grifo russava. 
 
 Morgante cuts the tree and the elephant falls to the ground 
 
 (75) cf. Best. Toec. No. 42: he kills it (76) and he and 
 
 Margutte prepare a fire to roast it. While Margutte is gone 
 
 after water, Morgante eats the entire animal (82). 
 
 XX, 80 : The soldiers of the Amostante all have armor made of 
 
 osso d'elefante and he, like Rinaldo, bears a lion on his shield. 
 
 O, XLV^ 15. 
 
 XXV, 89 : " Un dente d'elefante smisurato " is one of Marsilio's 
 
 gifts. 
 
 312 : V. Rinoceronte, p. 38. 
 
 316: V. Bale, p. 33. 
 
 Leopakdo. 
 
 V, 28: V. Half. ^o. 221. 
 
 VI, 32: Ibid. 
 
 X, 50 : Ibid. 
 
 XI, 98: Ibid. 
 XIV, 75: V. p. 11. 
 
 XXV, 52 : V. cavallo, p. 57. 
 
 90 : Among Marsilio's gifts are alepardi^* 
 
 224 : V. Baiardo, p. 45. 
 XXVII, 175 : Pulci, speaking of his method of procedure in 
 composing his poem, says: 
 
 lo me n'andro con un mio carro a vela, 
 E giugnero le lepre e' leopardi, 
 Che in picciol tempo la fama si cela 
 Degli scrittor, quando e' son pur bugiardi. 
 
 " Tramater, Diz., gives this form for leopardo.
 
 Luigi Pulci and the Animal Kingdom 73 
 
 There is a popular expression " To take the hare in the cart," 
 meaning " to proceed cautiously " (v. Hoare — carro) : the 
 leopard is added here, probahly as a rhyme-word. Pulci often 
 supplements well-known expressions in this way; cf. asino, 
 XVIII, 129, p. 42. 
 
 Lepre. 
 II, 24 : V. cappone, p. 52. 
 XI, 72 : V. cane, p. 51. 
 
 116: V. veltro, p. 99. 
 XIV, 77: V. p. 16. 
 
 XXI, 146: V. Half. ^o. 239. 
 
 XXII, 101 : Deh fa che questa lepre balzi fuora. 
 
 Astolfo urges Malagigi to use his art to make Gano disclose 
 himself. 
 
 155 : Gano is besieged: 
 
 E stanno tutti co' cani alle poste, 
 Ognun vuol questra lepre. : . . 
 
 XXVII, 95 : E poi trovo nella zuffa Fidasso 
 
 Che faceva il leprone e'l piccinaco 
 Tra gente e gente, 
 
 that is, he mad© himself as inconspicuous as possible and dodged 
 about like a young hare. 
 175 : V. leopardoj p. 72. 
 
 Levrieke. 
 V, 48: v. Half. Ko. 243. 
 VIII, 73: Ibid. 
 
 XXI, 36 : Ibid. 
 
 XXII, 155: E non si curan pertica o levriere. 
 
 Gano's pursuers need neither pole to drive him out of his retreat 
 nor greyhound to catch him. Levriere is synonymous with 
 veltro. 
 
 LlOCORNO. 
 
 XIV, 75: V. p. 12.
 
 74 Lfuigi Pulci and the Animal Kingdom 
 
 xviii^ 188: V. canvmella, p. 49. 
 
 xix^ 63 : Margutte, reproaching Morgante for having drunk 
 more than his sha,re of the wine, recalls that he got only the 
 torso of the unicorn. 
 
 LlONE. 
 
 iv^ 7: Rinaldo, TJlivieri and Dodone, in search of Orlando, 
 come upon a lion fighting with a dragon in the forest. Rinaldo 
 takes pity on the lion (10), attacks the dragon and kills it (15). 
 The lion shows its gratitude by licking Rinaldo's horse (16). 
 Rinaldo prays the Virgin to make the lion his guide and the 
 lion, as if it understood, goes forward and leads him to Dodone 
 and Ulivieri, whose terrified horses had run away with them. 
 They are afraid of the lion at first hut Rinaldo reassures them. 
 The lion continues to show them the road (26, 38). Arrived 
 at the kingdom of Corbante, the Saracens marvel at the lion 
 (49). Rinaldo announces himself as the "Warrior of the 
 Lion" (50). Going out to slay the beast which demands the 
 life of Forisena, the king's daughter, the lion accompanies 
 him (59). The lion leads the way to the serpent (62). During 
 the terrible battle which follows it takes no active part: 
 
 (69) Ma quel lion, ch' egli avevan menato, 
 Si stette sempre di mezzo a vedere, 
 Perche se fussi da alcun domandato 
 Di questo fatto, il voleva sapere. 
 
 Corbante calls the attention of Caradoro's messenger to the lion 
 (v, 14) from which Rinaldo has taken his title. When they 
 depart the lion still leads them (36). It, together with the 
 horses, becomes aware of the wild man before the knights see 
 him (37) . Rinaldo says the lion has not been a good guide 
 to bring them to the wild man's den (56) : they still confide in 
 its guidance, however (66). When they enter the city of 
 Corbante, the populace flee before the lion (vi, 6). Orlando, 
 hearinjT that the knights have come, thinks first that they must 
 be Rinaldo and his friends, but is puzzled by the lion accom- 
 panying them (25). He fails to recognize Rinaldo when they
 
 Luigi Pulci and the Animal Kingdom 75 
 
 meet in arms, and reproaches him for keeping a wild beast with 
 him (34). Rinaldo replies that the animal is harmless (35). 
 He binds it in order that it may not aid him in the combat 
 (40), telling Orlando he can now say no more against it (41). 
 In the midst of the battle which follows, the lion breaks its 
 rope (45) and comes to Rinaldo: Orlando accuses him of 
 treachery and he in reply, asks for time to take the animal 
 away; Orlando replies scornfully that Morgante's bell-clapper 
 would soon dispose of it (47) ; they agree, however, to a truce 
 until the next day (48). On the way back to his tent Orlando 
 curses the lion and hewails the fact that he has Rondello instead 
 of Vegliantino, Ms own horse (49). He still wonders about 
 the lion (vii^ 5). Wliile the knights are returning to France 
 the lion deserts them (ix, 14). Rinaldo thinks this a miracle 
 of God for some good end (15) but Orlando says: 
 
 (16) Lascialo andar colla buona ventura, 
 
 Che '1 suo partir piii che '1 venir m' e caro, 
 Che molte volte m' ha fatto paura. 
 
 The story of the grateful lion acting as guide to the knights, is 
 told in O, VII, 8 If. Pulci has varied some details but in 
 general the tale is practically the same in both poems. In the 
 Orlando the lion and dragon are not fighting when discovered : 
 Ulivieri and Dodone are carried off bv their terrified horses 
 sooner than in the M organic: when they return, they find 
 Orlando, lying wounded on the ground. He recovers and the 
 lion leads them. From this point on the correspondence is 
 fairly close to the end. The '' grateful lion " story is a com- 
 monplace of the romances of chivalry: Chretien de Troyes 
 employs it in Le Chevalier au Lion: ^^ in the Reali di Francia, 
 Lib. II, Cap. XLViii, a lion acts as guide to Drusolina.** 
 Numerous other versions of the tale also exist. Its original 
 was perhaps, at least as far as the element of gratitude was 
 
 '''v. Sermolli cd. note, p. 81; Forster, Yvain. 
 « Ed. Vanelli, ii, Pt. 2, p. 200.
 
 76 Luigi Pulci and the Animal Kingdom 
 
 concerned, the Androcles story related by Aulus Gellius and 
 retold in the literature of the whole world since.*'^ 
 V, 48: lioncin, v. Half. ISTo. 217. 
 
 IX, 5 ; Carlo mugghiando per la mastra sala 
 
 Com' nn lion famelico arrabbiato 
 N'e va. . . . 
 
 X, 89: V. Half. No. 217. 
 
 112-115: A lion brings a letter from Malagigi to Orlando 
 and disappears after having delivered it. O, xviii, 23-24. 
 
 XI, 98 : jSTon e lion si presto o liopardo. Cf. leopardo, above. 
 104: lion famelico, cf. ix, 5, above. 
 
 xvL, 4:4:'. Rinaldo, in love with Antea, tries to turn aside 
 Orlando's efforts to get him to leave the court by recounting a 
 dream in which he was assailed by a lion and from which 
 Orlando awakened him just in time to save his life. O, :xxi, 36. 
 
 107 : The same dream recurs to Rinaldo. 
 XVII, 108 : V. leofante, p. 71. 
 xviii, 63: V. Half. No. 217. 
 
 XIX, 6: Morgante kills a lion which is guarding a lady in 
 chains. 
 
 40 : Morgante and Sperante embrace, in fighting, " Com' i 
 lion s'abbraccian co' serpenti." 
 
 121 : The lady tells of her lion guard. 
 155: Pulci, speaking of Margutte, says: 
 
 E furon le sue opre e le sue colpe 
 Non creder leonine, ma di volpe.^* 
 
 XX, 26 : Rinaldo's arms — a lion in a black field. O, xliii, 40. 
 62 : Rinaldo displays his standard. 
 
 *" V. Baist, Der Dankbare Lime; McKenzie, TJnpuhlished Manuscripts of 
 Italian Bestiaries ; Johnston, O. M., The Episode of Yvain, the Lion and 
 the Serpent in Chretien de Troyes; Pillet, A., Ein Ungedrucktes Gedicht 
 des Troubadours Guillem Magret und die Saga von Golfier de las Tors; 
 G-McK., pp. 82, 96; Thomas, Encore Goufier de Lastours in Romania, XL, 
 446; McKenzie, Italian Fables in Verse, p. 277. 
 
 ** Imitation of Dante, Inf., xxvii, 75 " L'opre mie Non furon leonine, ma 
 di volpe."
 
 Luigi Pulci and the Animal Kingdom 77 
 
 80: Leopante also lias a lion on his shield. 
 xxi^ 25 : Creonta's castle has a lion at every door. O, xlvii^ 11. 
 29-30: Rinaldo kills one of them. 
 31 : Aldinghieri also kills one. 
 
 32 : The third lion comes and kneels before Orlando. 
 33 : It rises and leads the knights. 
 Ill: V. grifone, p, 68. 
 
 XXII, 57: Diliante tells Orlando that a white lion, which he 
 had reared, has left him and now creates havoc among his 
 people. Rinaldo vows to kill it (59). He goes to the thicket 
 where it lies concealed (60) : it attacks Baiardo first, then 
 seizes Rinaldo (61) : he finally overcomes it, after a long 
 struggle (63). O, liii, 21. 
 
 112 : Carlo dreams that a lion enters Paris and causes great 
 damage. O, liv, 30. 
 
 121 : Sempre chi piglia i lioni in assenzia, 
 
 Vedrai che teme d'un topo in presenzia. 
 
 XXIII, 16 : V. cavallo, p. 54. 
 
 52 : Stanzas 49-54 constitute a sort of apocalypse, predicting 
 the defeat of Roncisvalle, with its accompanying disturbances 
 of Nature. Stanza 52 begins: 
 
 Veggo i lioni uscir delle spelonche, 
 E tigri, e I'altre fiere aspre arrabbiate. 
 
 XXV, 8"9 : Among Marsilio's gifts are : 
 
 Due selvaggi lion fuor di misura, 
 Che a ognun fanno a vedergli paura, 
 299 : E la reina la notte ha sognato, 
 
 Che un gran lion la sua casa conturba: 
 E non sapea ch '1 lion era presso, 
 Cioe che quel di Rinaldo era desso. 
 
 Another of the numerous instances in which a dream of a lion 
 foretells disaster. 
 
 313: V. Leucrocuta, p. 36. 
 
 319 : V. Liontofono, p. 36.
 
 78 Luigi Pulci and the Animal Kingdom 
 
 xxvi^ 4: V. cerviere^ p. 57. 
 
 35 : We should trust in Christ, who saved Daniel from the 
 lions. 
 
 124: V. cavriuol, p. 56. 
 XXVII, 71 : The uneasiness of Marsilio at not receiving news 
 of Zambuger is compared to that of a lion in a cage. 
 
 LONTEA. 
 
 XIV, 79: V. p. 10. 
 
 XXII, 86 : Diliante rimase stupefatto, 
 
 E fece sopra cio piii d'un concetto, 
 
 Come piij netto riuscissi il tratto, 
 
 Che rimanessi alia lasca la lontra, 
 
 Che cio, che Gan gli ha detto, si riscontra. 
 
 A comparison of this passage with xiv, 79, brings out the fact 
 that the idea expressed is that of patience: the otter occupies 
 itself with fishing and the cat patiently watches the mouse-hole, 
 " Tanto che netto riuscissi il tratto," the same expression used 
 here to describe the otter watching for roach. Diliante applies 
 it to the treacherous story which Gano has been telling him. 
 
 LUCCIOLA. 
 
 Ill, 6 : Morgante, laying about him with the bell-clapper, " fa 
 veder piii lucciole ch' agosto " : that is, he makes the Saracens 
 " see stars " (or it may refer to the sparks which fly off from 
 the blows on their armor). 
 
 XXIII, 34: Einaldo non istette a pigliar lucciole; i.e., lost no 
 time. 
 
 XXIV, 94 : The wild man " Si vede or si or no come la lucciola." 
 
 LUMACA. 
 
 XVIII, 141 : Dovunque io vo, lasciarvi il segno soglio, 
 Come fa la lumaca, e nol nascondo. 
 
 Lupo. 
 
 II, 72 : V. Half. IsTo. 64. O, iv, 33. 
 
 III, 48 : Rinaldo eats like a hungi-y wolf. O, vi, 3. 
 VII, 46: V. capra, p. 52. O, xv, 18.
 
 Luigi Pulci and the Animal Kingdom 79 
 
 IX, 73: V. volpe, p. 100. 
 XI, 99: V. Half. No. 225. 
 lOG: Ibid. 
 
 XIII, 52: V, cane, p. 51. 
 
 XIV, Tf): V. p. 10. 
 
 XXII, 30 : Che il lupo voglia andar per pellegrino. 
 Astolfo is lamenting- the fact that Ulivieri and Orlando still 
 have faith in Ganelon.^'' The idea of hypocritical repentance, 
 pilgrimage, taking of Orders and other religious acts has been 
 associated chiefly with two animals, the fox and the wolf. Both 
 are used as types of craft, and the cloaking of their sins under 
 the mantle of religion serves to heighten the desired effect. 
 Isengrin, the wolf, turns monk.^° Reynard, the fox, goes on a 
 pilgrimage, or at least begins one.^^ It is interesting to note 
 that in the Italian poem Rainardo e Lesengrino ^^ the wolf goes, 
 disguised as a pilgrim, to divide the gi-ain for the fox and the 
 goat ^^ : it is possible that Pulci was familiar with some version 
 of this poem, but in any case, the idea had become familiar in 
 tradition. 
 
 100 : Questo e pur lupo della nostra torma. 
 
 Again referring to Gano, Orlando brands him as a traitor. 
 XXIV, 20 : II lupo vuol far pace coll' agnello. 
 
 166: O Carlo, a questa volta, o Carlo, io temo 
 Che al rimedio del mal tarde venisti, 
 Perche tu ovem lupo commisisti. 
 
 There is an important variation in the text at this point: the 
 Venezia, 1784, and Milano, 1806, editions, and Volpi, follow- 
 ing them, have : 
 
 " Here the lupo. 
 
 «'v. Willems, Etude siir VTsengrinus : Foulet, Le Roman de Rcnard, 
 Ch. xm, Isengrin Moinr. 
 
 ^ V. Sudre, Les Sources du Roman de Benart, Ch. m, Renart et le Loup. 
 
 ^v. Sudre, op. cit., p. 90. 
 
 53 cf. Roman de Renart, ed. Martin, n, 376, lines 699-700: "Or sen va 
 Lesengrino, Come fose un pelegrino." For bibliography of the poem v. 
 Todt, Die Franco-Italienische Renartbranchcn.
 
 80 Luigi Pulci and the Animal Kingdom 
 
 O Carlo, a questa volta, o Carlo, io temo 
 Che AmAce, non sia detto, ad quid venisti? 
 Eiicordati, ovem lupo commisisti; 
 
 making, as Volpi notes, the first citation the words of Christ to 
 Judas, Matt, xxvi, 50. The second quotation, as is noted also 
 by Volpi, is from the Eunuclius of Terence; v^ 1: 16. 
 sxv, 271: The being at the enchanted fountain is described; 
 
 Ed aresti giurato 
 Che fusse un santo e devoto eremito, 
 Con un baston, con un viso intagliato, 
 La barba, i paternostri, col mantello 
 Di frate Lupo, ma parea d'agnello. 
 
 The wolf as monk or pilgrim has already been noted. 
 
 278 : Ti mettera la coda in qualche cerro. 
 
 A reference to the fable incidents of animals getting various 
 parts of their anatomy caught in traps, for instance, in the cleft 
 of a tree or log. The wolf which gets its tail frozen in the ice 
 while fishing at the suggestion of the fox is not raentioned 
 here.^* 
 
 299 : A wolf comes into the city of Queen Blanda, which is 
 taken as a bad omen: 
 
 Che non sanza cagion lupo s'inurba. 
 
 312 : V. Crocuta, p. 33. 
 
 319 : V. lAcaon, p. 36. 
 xxvii^ 70: V. cavallo, p. 55. 
 xxviii^ 14: V. corbo, p. 61. 
 
 73 : " Lupo, II duca di Guascogna." The events told in this 
 stanza took place in 769, when Hunald, Dlike of Aquitaine, 
 was pursued into Gascony by Charlemagne and was surren- 
 dered to the emperor by Loup, Duke of Gascony.^^ 
 
 " V. McKenzie, An Italian Fable. 
 
 *^ La Grande Encyclopedic, s. v., Gascogne, pt. 4.
 
 Luigi Pulci and the Animal Kingdom 81 
 
 LUSIGNUOL. 
 
 I, 3 : Era nel tempo, qiiando Filomena 
 
 Oolla sorella si lamenta e plora ; 
 
 that is, in the sprin^ime, when the nightingales sing. The 
 reference is to the well-known classic myth of the turning of 
 Philomela into a nightingale.^^ It is referred to again in xix, 
 10 : " Pensando come e' fii gia Filomena." 
 xiv^ 58: V. p. 16. 
 
 XIX, 10: The lady who is found by jVIorgante and Margutte in 
 the forest, tells how she wandered away from her father's 
 castle ^^ on the Mle while listening to a nightingale and was 
 captured by the giants. Later they find the place and she is 
 reunited with her father (112). 
 
 131 : Poi rimbeccava un tratto il lusignuolo. 
 
 This line occurs in the midst of an account of Margutte's 
 nightly performances — how he kept food and drink always at 
 his bedside, diverted himself otherwise for a time and then 
 returned to his eating again. 
 
 Maesia. 
 xxvii^ 175 : Pulci compares certain presumptuous writers to 
 the satyr Marsyas, who was flayed alive for having been 
 defeated in a musical contest with Apollo. ^^ 
 
 Masting. 
 
 Ill, 46 : V. Baiardo, p. 44. 
 
 xxi^ 38 : Orlando says to a Saracen, who has seized TJlivieri : 
 
 Tu non credivi forse, 
 Che fusse presso il guardian ne il mastino. 
 
 The word mastino is used sometimes alone, as here, and some- 
 times with cane or can. 
 
 ^«v. Ovid, Met, vi, 601 ff.; Dante, Pwrg., xvn, 19-21. 
 ^' The father's name is Filomeno. 
 ^v. SermoUi ed. note.
 
 82 Luigi Pulci and the Animal Kingdom 
 
 Mattafellone. 
 
 51^ 38: Tlie name of Ganelon's steed is taken from the 
 Orlando.^^ It is mentioend again in xx, 13, and xxii, 191. 
 
 / 
 Merla. 
 
 xiv^ 58: V. p. 14, 
 
 xxii^ 11: V. sparviere, p. 94. 
 
 Miccio. 
 
 II, 41 : Two messengers are clubbing each other as though they 
 
 were donkeys. 
 
 XXI, 92 : Donkeys and clubs are again associated. 
 
 MlGlSTATTA. 
 
 XXIV, 143 : E cosi fecion queste bestie matte 
 
 I tafani ingrassare e le mignatte. 
 
 XXV, 4: Gano, in embracing Ulivieri, attaches himself to him 
 like a leech. 
 
 Minosse. 
 II, 38 : E taglierai la coda a quel Minosse.^^" 
 XX, 79 : The King of Morocco is compared in appearance to 
 Minos. 
 
 XXIV, 113: Pulci says that he has seen enchanted things and 
 has told of them and that therefore he must answer for it to 
 Minos.6« 
 
 XXVI, 90: The joy of the rulers of Hell at the arrival of so 
 many Pagans on the day of Eoncisvalle is pictured. 
 
 Montone. 
 XXIV, 20': E statico il monton sia dato e' cani. 
 E tu sarai quel desso e' tuoi Pagani. 
 
 S9it occurs in O, xx, 32. 
 
 =^»» Minos' metliod of indicating the region of Hell to which a sinner was 
 to be consigned was by twining his tail about his body 3, certain number of 
 times. 
 
 *° cf. Inferno, V. Minos is stationed at the entrance of the second circle 
 and judges those who pass him.
 
 Luigi Pulci and the Animal Kingdom 83 
 
 The Venezia, 1784, and Milano, 180G, editions have e i cani: 
 Volpi gives a cani. Gano is writing to Marsilio and in the first 
 lines of the stanza he tells him he is like one v^^ho, in playing 
 chess, is never satisfied with his good move but seeks another, 
 or like the wolf who wishes to make peace with the lamb. 
 Volpi's reading " the ram given as hostage to the dogs " means 
 a hostage so much more powerful than those to whom he is 
 given as to be able to escape easily. The other indicates 
 Marsilio and the Pagans as the ram and the dogs given as 
 hostages. 
 
 MOSCA. 
 
 Ill, 5 : A chi cacciava di capo la mosca; i. e., gave him a 
 tremendous blow on the head.^^ 
 
 XI, 12 : Dice Rinaldo : Ig-nun non mi s'accosti, 
 Che gli parra che le mosche gli arrosti. 
 
 XIII, 52: Ne anco i calci suoi paion di mosche: said of the 
 wild horse. 
 
 XIV, 51 : V. nihhiOj p. 17. 
 
 XVII, 123 : Qui non si posan le mosche d'intorno. 
 
 Pulci puts this comic line in the middle of a stanza describing 
 
 the battle between Orlando and Salicorno. 
 
 XXII, 118: V. asino, p. 42. 
 
 XXIII, 38 : Rinaldo swings his sword in a circle a mosca cieca — 
 blindly, without any definite aim. The game of blindman's 
 buff bears this name. Cf. Curto, p. 131. 
 
 XXIV, 44 : V. f/rwe, p. 69. 
 
 59 : Oh' e' levera la mosca di leggieri. 
 This appears to be an expression similar to the one using 
 moscherino in xx, 140 (q. v. below) and meaning '* to get 
 angry " ; or it might be related to iii, 5. 
 
 97: mosca culaia; species of horsefly (Hoare). 
 xxv, 69 : Mort' io, morta una mosca in Puglia. 
 
 "cf. McKenzie, Italian Fables in Verse, p. 27 (Fable of fly and bald 
 man) .
 
 84 Luigi Pulci and the Animal Kingdom 
 
 The flies of Apulia are mentioned again in 332. v. farfalla, 
 p. 34. 
 
 xxviii^ 142 : Pulci, apologizing for some of the extravagances 
 of Morgante, says : 
 
 Si ch' io ho fatto con altro battaglio 
 A mosca cieca, o talvolta a sonaglio, 
 
 MOSCHEEINO. 
 
 XX, 40 : Gli monto in sul naso il moscherino : i. e., his wrath 
 arose. 
 
 MOSCIONE. 
 
 xiXj 63 : Se fussin come te fatti i moscioni, 
 E' non bisognere' botte ne tino. 
 
 The moscione is . a species of midge which appears in great 
 numbers about the vats in wine-making time. Margutte 
 exclaims to Morgante that if they all drank as he does there 
 would be no need for casks or vats. 
 
 MULACCHIA. 
 
 XIV, 54: V. p. lY. 
 
 XXII, 62 : II popol tutto a vederlo e ridotto, 
 
 E son di Saracin pien gli arbuscelli, 
 Tal che parevon mulacchie o stornelli. 
 
 NiBBIO. 
 
 XIV, 51 : V. p. 17. 
 
 XXV, 108 : Che se le cose si f aranno a tempo, 
 
 Gli uomini son sanza arme come nibhi. 
 
 Gano writes to Marsilio that by acting in time the Christian 
 army can be captured come nibhi. 
 
 !N'iccHio. 
 X, 148: Che quel Verguto si faceva un nicchio; that is, he 
 curled himself up like a shell. The nicchio is a mussel, but the 
 name is also applied to other shells of various shapes (Hoare). 
 XIV, 66: V. p. 14.
 
 Luigi Pulci and the Animal Kingdom 85 
 
 XVI, 100 : Orlando, from the pain of a blow received, " si fece 
 un nicchio." 
 
 Oca. 
 XI, 9 : Tu hai talvolta men cervel eh' un oca. 
 
 A saying which has come down to our own day. 
 XIV, 50, 55 : v. p. 17. 
 
 XVIII, 131 : S' io ho tenute dell' oclie in pastura 
 ]N^on domandar. 
 
 This is part of Margiitte's description of himself. The popular 
 expression, " tener le oche in pastura " means to have nothing 
 to do. cf. Driadeo, ii, 10. 
 
 XXI, 59: V. Half. Xo. 271. 
 68 : V. hue, p. 48. 
 
 XXII, 201 : E son piii di mille oclie in su 'n un torso. 
 Sermolli : " Cioe e' sono in molti a perseguitare un solo, o pure 
 sono infinite a -\'ivere alle spalle d'un solo," with which Half- 
 mann agrees (jSTo. 271). 
 
 XXV, 331 : V. Porfirio, p. 38. 
 
 XXVIII, 137: Portin certi uccellacci un sasso in bocca, 
 Come quell' oche al monte Taureo, 
 Per non gracchiar, che poi il falcon le tocca. 
 
 Orso. 
 
 IV, 27: Furioso piii ch' orso. O, vii, 25. v. Half. Xo. 223. 
 
 V, 39 : The wild man has a head like a bear's.^^ 
 
 43: He tears through branches and brambles like a bear 
 worried by dogs. 
 VII, 42 : V. Half. No. 223. 
 
 XIII, 62: The knights, making sport of a Saracen who has 
 climbed a tree, compare him to a young bear (orsacchino) . 
 
 XIV, 76 : V. p. 10. 
 
 xvii, 85 : Che mai non furio si tigrc o orso. 
 
 XIX, 23: The lady found by the giants in the forest, after 
 
 asking the whereabouts of her home and friends in two stanzas, 
 
 " V. Neri, La Maschera del Selvaggio in G-ior. Stor., ux, 47.
 
 86 Luigi Pulci and the Animal Kingdom 
 
 each line of wliicli begins with the words Ove son, contrasts her 
 present surroundings with her former life by asking: 
 
 Ove son I'aspre selve e' lupi adesso, 
 
 E gli orsi, e' draghi, e' tigri ? Son qui presso. 
 
 29 : Beltramo and his brother bring snakes and bear-cubs to 
 frighten her. 
 
 33 : V. cinghial, p. 58. 
 xxi^ 44: The witch Creonta seizes Aldinghieri in an embrace 
 like that of a young bear, 
 sxiii^ 18 : V. cavallo, p. 54. 
 
 37 : V. Half. No. 223. 
 XXVII, 34: The angry she-bear (orsacchia accanita) is used as 
 an image to portray Orlando's revenge for the death of San- 
 sonetto. 
 
 74: V. cane, p. 52. 
 
 163: V. cavriuol, p. 56. 
 
 Oetolano. 
 ixiv, 59 : V, p. 14. 
 XXV, 216: V. heccafico, p. 46. 
 
 217 : E come un dice gli ortolan, di botto 
 Par che si lievi in tanta boria Prato. 
 
 The rest of the stanza is a play upon the word ortolano in the 
 meaning of gardener and it may be that the refernce above to 
 Prato alludes to its fine gardens. Cf. Curto, p. 43, for its 
 connection with Arlotto Mainardo. The Scriptural reference 
 is to John XX, 15. 
 
 Panteea. 
 
 XIV, 81 : V. p. 9. 
 
 XXV, 90 : Among Marsilio's gifts. 
 
 Pardo. 
 
 XXVI, 4 : V. cerviere, p. 57. 
 
 XXVII, 29 : V. Vegliantino, p. 99.
 
 Luigi Pulci and the Animal Kingdom 87 
 
 Pavone. 
 11^ 24: V. cappone, p. 52. 
 XIV, 55: V. p. 17. 
 
 xxv_, 218: E vi fu insino a' pavon colle penne. 
 One of the dishes of a banquet prepared for the knights. 
 
 Pecchia. 
 vir, 32 : Le pecchie soglion pel fuoco sbucare. 
 Morgante uses this proverb in expressing his desire to set fire 
 to the Pagan camp. 
 X, 59 : V. farfalla, p. 65. 
 
 xxTT, 134: Berlinghieri in the battle is compared to a stinging 
 bee ; " Giiarda che questa pecchia non ti punga." 
 
 XXV, 106 : Che chi vuol quelle gente pigliar tosto, 
 
 Come le pecchie gli pigli col mosto. 
 
 Gano counsels Marsilio to send rich provisions of food as a trap 
 for the Christians. 
 
 Pecoea. 
 
 II, 72 : V. lupo, p. 78. 
 
 XT, 105 : V. Half. l^o. 225. 
 
 XIII, 66 : The wild horse follows Rinaldo " come un pecorin." 
 The same comparison is used again in 68. 
 
 XIV, 77: V. p. 19. 
 
 XX, 37: V. delfin, p. 62. 
 64: V. capra, p. 53. 
 
 XXI, 38 : A giant seizes Ulivieri and carries him as a wolf 
 would carry a sheep. 
 
 XXII, 30 : Astolfo, after comparing Gano to the wolf disguised 
 as a pilgrim, asks him if he would take a sheep if he found it. 
 
 198 : Ed e venuto drieto a' lor consigli. 
 Come al pane insalato il pecorino. 
 
 XXIV, 166: V. lupo, p. 79. 
 
 XXVI, 78 : E Turpin caccia le pecore al monte. 
 
 As Archbishop he is " shepherd of the flock " ; here, however, 
 he is driving the pagan " sheep " with the sword.
 
 88 Luigi Pulci and the Animal Kingdom 
 
 124: armenti (flocks), v. cavriuol, p. 56. 
 
 XXVII, 230 : V. Half. :N^o. 81. 
 
 Pegaso. 
 XXV, 311: V. p. 37. 
 
 XXVIII, 3 : Infino a qui I'aiuto di Parnaso 
 
 N^on ho chiesto ne cliieggo, Signor mio, 
 O le miTse o le suore di Pegaso, 
 Come alcim dice, o Calliope o Clio. 
 
 Pellican. 
 
 XI, 1 : O santo Pellican, che col tuo sangiie 
 
 Campasti noi dalla fera crudele. 
 
 The invocation is addressed to Christ, with an allusion to the 
 
 idea of the pelican feeding its young with its own blood. Cf. 
 
 Dante, Par. xxv, 112.^^ 
 
 XIV, 51 : V. p. 23. 
 
 XXVII, 124: Christ is again addressed as " nostro pellicano/' 
 
 213 : Carlo would have restored Astolfo to life with his blood 
 as the pelican does its young killed by the snake. Cf. p. 23. 
 
 Pesce. 
 
 IX, 73 : V. volpe, p. 100. 
 
 XIV, 57: Certain birds live near water to fish. 
 65: V. p. 17. 
 66: V. p. 9. 
 67 : V. p. 14. 
 
 68 : Vedevasi la manna che giu casca, 
 E '1 pesce per pigliarla stare accorto, 
 E come il pescator molto s'affanni 
 ' Con rete ed esca, e con mille altri inganni. 
 
 Manna here probably refers to some substance thrown into the 
 water as bait.^^ 
 
 79 : V. lontra, p. 10. 
 
 '^v. Holbrook, Dante and the Animal Kingdom, p. 294. 
 
 " For another use of the word in other than its true sense v. i, 27.
 
 Luigi Pulci and the Animal Kingdom 89 
 
 XIX, 128 : Cosi come ]\rargutte di qui esce, 
 
 Sara come cavar dell' acqua un pesce. 
 
 XX, 40 : Rinaldo threatens to throw a Pagan overboard to the 
 fishes. O, XLiv, 11. 
 
 49 : Morgante, wading ashore, gets near enough to land so 
 that the fish no longer trouble him: but he cannot escape his 
 fate: the crab bites him.^"' 
 
 50 : It is mentioned that he had bared his feet when he killed 
 " the great fish " (the whale). 
 
 XXII, 84 : E pesciolini a Monaca lo sanno. 
 
 A very well-known fact is said to be known even by the fishes.*^ 
 What Pulci means by Monaca (Monaco or Munich?) is not 
 clear. 
 
 XXIII, 42 : Parranno loro i pesci piu che starne. 
 
 The hungry knights have been riding all day without food. The 
 hermit, at whose cell they stop, tells them he can give them 
 only fish (43) ; he takes his net and goes after some (44) and 
 brings in a great number (45).^'^ 
 47 : V. lasca, p. 71. 
 
 XXV, 226 : v. gurro, p. 69. 
 
 252: Eicciardetto is afraid to cross the sea flying on the 
 back of his horse with a demon within, "for fear of falling 
 down into the fishes' mouths." 
 
 307 : Rinaldo tells of the fishes to be seen on the padiglione. 
 
 332 : V. farfalla, p. 34. 
 
 XXVI, 48 : V. coccodrillo, p. 59. 
 
 69 : A shield is made of the bone " d'un certo pesce," prob- 
 ably the whale. 
 
 PiCCHIO. 
 
 XIV, 53 : V. p. 23. 
 
 XXI, 49 : !N"on Oratas, quel che i pippion ci dette. 
 Whether this is another reference to the Novella referred to in 
 xrv, 53, is in doubt. Volpi notes that the other persons named 
 
 " V. granchio, p. 68. 
 
 " V. Volpi, note, who cites the Din. della Crusca. 
 
 •^ A suggestion of the " miraculous draught " of the Gospels.
 
 mg 
 
 90 Luigi Pulci and the Animal Kingdom 
 
 in the passage are demons, but confesses that he knows noth 
 about Oratas. 
 
 POLLO. 
 
 IV, 15: Einaldo cuts off the dragon's head as he would a 
 
 chicken's. 
 
 XIV, 33 : Che come un polio morto giu stramazza. 
 
 XIX, 46 : V. gallo, p. QQ>. 
 
 XXVII, 25 : V. Astor, p. 43. 
 
 XXVIII, 12 : V. gatto, p. 67. 
 
 PORCO. 
 
 I, 62 : A herd of swine comes to the fountain where Morgante 
 goes for water: he kills two and carries them back, with his 
 bucket of water, to the monastery, where the monks are aston- 
 ished to see him carry such a great load. O, ii, 21. 
 
 III, 42 : E lascia i porci poi pescar nel truogo. 
 
 43 : The soup is brought in in a pail as one feeds pigs. 
 
 IV, 29 : Porco is used as an adjective — " con sue parole porche." 
 XIV, 76: V. p. 18. 
 
 XXVII, 163: V. cavriuol, p. 56. 
 
 PULCIN. 
 
 X, 86: " Tin pulcin fra '1 capecchio Par che mi stimi Rinaldo." 
 
 V, Half. 'No. 272. 
 
 PUTTA. 
 
 XIX, 133 : E quando egli era ubbriaco e ben cotto 
 E' cicalava per dodici putte. 
 
 PuUa= gqzza — magpie (Hoare), 
 
 XXIV, 92 : Saltella in qua e in la come le putte. 
 
 Ramarro. 
 XIV, 83 : V. p. 14. 
 
 XXII, 9 : Filiberta ha I'occhio del ramarro. 
 According to Sermolli " occhio . . . hello e attraente, e che 
 gTiarda volentier I'uomo."
 
 Luigi Pulci and the Animal Kingdom 91 
 
 Ranocchio. 
 II, 21 : V. Half. No. 27G. 
 
 XII, 57 : Orlando compares his size to that of a frog beside the 
 giant Pagan — a suggestion of the frog which tried to swell 
 itself to the size of the ox. 
 
 XVIII, 198: Margntte swears he will divide everything with 
 Morgante : 
 
 S' a divider s' avessi solo nn fico, 
 Una castagna, im topo, o iin ranocchio. 
 
 XXII, 134: V. biscia, p. 13. 
 
 XXVIII, 10 : The enraged populace wishes to " skin Gano like a 
 
 frog." 
 
 RoNDELLo (Uggieri's steed). 
 
 I, 17: Orlando, mad with rage against Carlo and Gano, leaves 
 the Court, taking from Ermellina the sword and steed of her 
 hnsband, ITggieri. il Danese. Rondello bears him through the 
 first stages of his journey in pagan lands, but drops out of the 
 story after Orlando gets back his own horse Vegliantino. 
 
 26 : Rondello barely escapes being hit by a rock thrown down 
 the mountain-side by one of the giants, and leaps under shelter. 
 O, I, 7. 
 
 II, 76 : E Rondel via come in sua nome passa. 
 That is, he appears to fly like a swallow (rondine). 
 
 RONDONE. 
 
 VIII, 82 : The knights' horses are compared to swifts. 
 
 XIV, 60 : V. p. 14. 
 
 xxii, 133 : V. Half. No. 264. 
 
 Satieo. 
 
 XIX, 14 : The lady lost in the forest says that the crime of the 
 giant would have touched the heart of a satyr. 
 
 XXVIII, 139 : There occurs here another reference to Marsyas, 
 who was flayed alive.®^ 
 
 •^v. Marsia, p. 81. 
 7
 
 92 Luigi Pulci and the Animal Kingdom 
 
 SCHIAMAZZO. 
 
 xxiv^ 97: V. civetta, p. 59. 
 
 SciMIA. 
 
 XVI, 89 : II paternostro della scimia: v. hertuccia, p. 47. 
 
 XXIV, 93 : Come scimia fa la schiavonesca. 
 Volpi notes that the schiavonesca is a dance. 
 
 SCOEPIO. 
 
 XIV, 63: V. p. 25. 
 QQ'. V. p. 18. 
 
 XXV, 137 : The constellation Scorpio is referred to in connec- 
 tion with astrology. 
 
 Serpe. 
 
 XIV, 83: V. p. 18. 
 
 XIX, 15 : The lost lady is borne among wolves and snakes. 
 
 XXI, 76 : The witch Cretona " si distende come serpe o bisce." 
 
 XXII, 26: The serpe here is a retort for distilling potions.^^ 
 
 XXIII, 4: Fugliatto calls Rinaldo the snake of which he has 
 been dreaming. 
 
 5 : Einaldo in reply tells him the story of the hedgehog 
 which, having allowed the snake to come into its den, is forced 
 to drive it out when it coils about its host. He says he is the 
 hedgehog and Fugliatto the snake. 
 
 '21 : V. cavallo, p. 54. 
 
 XXIV, 27: V. Half. ^o. 277. 
 
 127: Serpe di ceraldo. The word ceraldo has been asso- 
 ciated with cerasta, but with no degree of certainty. ''^'^ Volpi, 
 from the context, suggests ciarlatino, with the idea of conquered. 
 The comparison is with Gano, who is playing the coward in 
 the battle. 
 
 XXV, 112 : V. XXII, 26 above. 
 XXVII, 213 : V. pellican, p. 88. 
 
 '"Tramater, Diz., s. v. serpe. No. 3: 2. Cf. also Curto, op. cit., who is 
 evidently mistaken in thinking the word means leech, as other implements 
 are mentioned both in this passage and in xxv, 112. 
 
 '*v. Iloare and Tommaseo-Bellini.
 
 Luigi Pulci and the Animal Kingdom 93 
 
 Serpente. 
 I, 40 : Morgante dreams that Mahomet failed to answer his 
 prayer when he was attacked by a serpent. O, i, 28. 
 
 43: He tells his dream to Orlando and says he desires to 
 serve the true God, who delivered him from the serpent, 
 iv^ 8 : The dragon is called serpente, as also in 65. 
 IX, 60: Meridiana's palfrey has a serpent's head. O, xv, 4. 
 This sort of animal is also described in Ciriffo Calvaneo, in, 28, 
 where it bears the name Serpentina. . 
 
 XII, 43 : The padiglione of the Saracen is made of serpent's 
 skin. O, XX, 14. 
 XIV, 81 : V. p. 12. 
 
 XVII, 39 : The Old Man of the Mountain arms himself in 
 serpent's skin. 
 
 108 : V. leofante, p. 71. 
 XIX, 40: V. lione, p. 76. 
 
 XXI, 109 : V. grifone, p. 68. 
 
 XXII, 189: The Arpalista dreams that a serpent pursues him. 
 O, Lvii, 40. 
 
 XXIII, 14: A serpent, driven out of a burning palace, attacks 
 Fugliatto. 
 
 49 : A seven-mouthed serpent appears as one of the omens 
 preceding Roncisvalle. 
 
 XXV, 89 : A horn and claw of a serpent (probably a dragon) are 
 among Marsilio's gifts. 
 
 153. A reference to the temptation of Adam. 
 
 213: V. dragone, p. 63. 
 
 311 : V. Anfisibena, p. 28. 
 
 314: V. Catoblepa, p. 31. 
 
 320: V. Bora, p. 30. 
 
 323 : V. Chelidri, p. 32. 
 
 325 : V. Ibis, p. 34. 
 
 XXVI, 4: V. cerviere, p. 57. 
 48 : V. coccodrillo, p. 59. 
 
 XXVIII, 73 : Rinaldo is compared to an angry serpent. 
 126 : V. XXV, 153 above.
 
 94 Luigi Pulci and the Animal Kingdom 
 
 Smerlo, 
 VII, 51 : V. Half. N"o. 265. 
 xiv^ 49 : smeriglio, v. p. 18. 
 
 SORO. 
 
 XXII, 124 : Gherardo is to be deceived like a young hawk. 
 
 Sparvier. 
 XIV, 49 : V. p. 9. 
 
 XVIII, 183 : Margntte tells Morgante he will need no sparrow- 
 hawk to seize things for him, since he is an adept at that. 
 
 XXII, 11: V. Half. ^"0. 257. 
 XXIV, 98: Ibid. 
 
 XXVI, 25 : V. Half. ^o. 71. 
 89: V. Half. No. 257. 
 
 Spinoso. 
 XIV, 79 : V, p. 9. 
 xxiii, 5 : V. serpe, p. 92. 
 
 Starna. 
 
 II, 24 : V. cappone, p. 52. 
 IV, 55 : V. falcone, p. 64. 
 
 XIV, 51 : V. p. 18. 
 
 XV, 50: Ch'io so che' denti tnoi non son da starne. 
 
 An expression somewhat similar to our " scarcer than hen's 
 teeth." 
 
 XVIII, 123 : V. cappone, p. 52. 
 
 XIX, 28 : V. cerasta, p. 56. 
 
 XXIII, 22 : V. cavallo, p. 55. 
 42 : V. pesce, p. 89. 
 
 XXVII, 26 : E' si chiudea un come uccel di ratto, 
 
 Benche le starne gli danno nel guanto.'^^ 
 
 Stornello. 
 XIV, 54: V. p. 26. 
 
 "v. Volpi, note. There is a variation in texts here: Venezia, 1784 and 
 Milano, 1806 omit un, Volpi transposes un and come.
 
 Luigi Pulci and the Animal Kingdom 95 
 
 XXII, 62 : V, mulacchia, p. 17. 
 XXIV J 40 : Noi darcmo iin di tutti in una ragna, 
 Come stornegli in qualclie luogo piatto. 
 
 This is a picture of what will happen if Gan is not disposed of : 
 it is a prophecy of Roncisvalle. 
 
 Tafano. 
 
 xxiv^ 143; V. niignatta, p. 82. 
 XXVI, 142: V. Half. No. 290. 
 xxvii^ 70 : V. cavallo, p. 55. 
 
 Talpa. 
 XIV, 84: V. p. 18. 
 
 XXV, 253 : Si ritrovano al buio come talpe. 
 XXVIII, 130 : V. Half. No. 237. 
 
 Taeabuso. 
 
 XXV, 51: E Bianciardin, ch' era con Gan molto uso, 
 Provato avea, per iscalzargli il dente, 
 Tutti i suoi ferri, e poi del tarahuso 
 Gli artigli, e non avea fatto niente. 
 
 Volpi cites a note of Pulci himself on this word : " uno uccello 
 che si adopera gli artigli a' denti." Apparently it was the name 
 of some dental tool, as Florio defines it : "A toothdrawers 
 instrument to draw teeth." Bianciardino is trying to sound 
 Gano's plans."^^ 
 
 Taelo. 
 
 XXIV, 157: La prima pace fa che sia nel core; 
 
 E se vi fussi restato alcun tarlo 
 Ognun con carita lo sbuchi fore. 
 
 XXV, 57: V. Half. No. 294. 
 
 " It is interesting to note that the French in the seventeenth century 
 called the same instrument a " pelican." Cf. Cyrano de Bergerac's poem, 
 Le Ministre d'Etat Flawbe in which he writes the word " polican " (Ed. 
 Jacob, Paris, p. 258).
 
 96 Luigi Pulci and the Animal Kingdom 
 
 Tasso. 
 V, 53: V. Half. Ko. 224. 
 xiv^ 78; V. p. 10. 
 xxiii^ 18: V. cavallo, p. 54. 
 
 Teezuolo. 
 
 xiv^ 48: V. p. 18. • 
 
 xviii, 92 : V. Half. No. 254. 
 
 Testuggine. 
 
 xrx, 54: Margiitte discovers an immense turtle, wliicli appears 
 as large as a mountain (56) : they kill, roast and eat it (60). 
 xxvij 74: A Pagan carries a turtle-shell as a shield (scoglia di 
 testudo). 
 
 TiGEE. 
 
 XVI, 32: Antea's fair face would tame any tiger. 
 
 XVII, 85 : XIX, 23 : v. orso, p. 85. 
 XIX, 68 : V. havalischio, p. 46. 
 XXIII, 52 : V. lione, p. 77. 
 
 XXV, 90 : Among Marsilio's gifts. 
 XXVII, 29 : V. Vegliantino, p. 99. 
 74: V. Half. No. 218. 
 
 TiNCA. 
 
 X, 17: V. Half. No. 282. 
 XIV, 67: V. p. 14. 
 
 Topo. 
 
 VII, 46 : Orlando says that Morgante has done a foolish action 
 
 in attacking the Saracen camp as one pursues mice with a 
 
 broom and that he, himself, will be the mouse caught as in a 
 
 trap. 
 
 XIV, 79 : V. gatto, p. 15. 
 
 XVIII, 157: V. Half. No. 238. 
 198: V. ranocchio, p. 91. 
 
 XXI, 114: V. grifone, p. 69. 
 
 XXII, 121 : V. Hone, p. 77.
 
 Luigi Pulci ayid the Animal Kingdom 97 
 
 TORDO. 
 
 V, 54 : Kinaldo, after a combat, says : 
 
 Vedestu mai tordo 
 Ch' avessi com' ebb' io della ramata? 
 
 alluding to the blows he had received. The ramata was an 
 
 implement used for striking birds in a night hunt (Hoare).'^ 
 
 XIV, 58: V. p. 14. 
 
 XVII, 46: V. Half. No. 262. 
 
 XIX, 139: Margutte, stealing all the provisions he can carry, 
 
 remarks : 
 
 E' non si truova cotti i tordi 
 Quand' io saro per le selve tra' cerri. 
 
 XXII, 90 : E s' alcun tordo da me s' e fuggito, 
 
 Quando e' son troppi, egli sforzon la ragna. 
 
 Diliante boasts that if one person has escaped it is only because 
 there are so many to guard. 
 
 XXIV, 86 : Tu li vedrai impaniati come tordi. 
 
 98: II gigantin nel boschetto si tuff a, 
 Come il tordo. 
 148 : Come e' si fa quando e' casca giii il tordo.'^'^ 
 
 XXV, 8 : Che questo tordo avea bianco il groppone, 
 
 Da rimanere alia pania o la ragna. 
 
 This is a reference of the same type as the preceding. 
 
 XXVI, 63 : E schiaccio I'elmo e' 1 capo come al tordo 
 
 E in questo modo Io guari del sordo. 
 
 XXVII, 107: V. Half. No. 262. 
 
 XXVIII, 45 : E guidicate alle man, non agli occhi, 
 
 Come dice la favola del tordo. 
 
 Volpi, in a note, interprets " Guardate ai f atti e non alle appa- 
 renze " and gives the fable as follows : " Presi molti tordi vivi, 
 
 " V. Volpi, note. 
 ''* V. Volpi, note.
 
 98 Luigi Pulci and the Animal Kingdom 
 
 un cacciatore li uccideva ad imo ad imo schiacciando loro il capo 
 con le dita. Intanto per il gran freddo gli cominciarono a cader 
 delle lacrime, e uno dei tordi non ancora nccisi disse: Piange 
 per compassione di noi. Rispose un altro : Guardagli le mani." 
 (Monosini, Floris. ital. linguae lihri novem, p. 411). This 
 rather obscure fable appears in the English translation of 
 Doni's Moral Filosofa by Lord N"orth (1570)."^^ Since the 
 Moral Filosofia dates from less than a century after Pulci it is 
 probable that the latter knew the fable in some Latin or Italian 
 version. It is found also in the Caxton ^sop which was trans- 
 lated in 1484 from the French version of Steinhowel's Latin 
 and German edition, 1480.'^^ 
 
 TORO. 
 
 Ill, 74 : Dodon pareva piii bravo ch' un toro. 
 IX, 2 : Era nel tempo che piu scalda il Tauro. 
 
 The Oiiando has, in the second stanza of many of its cantos, an 
 indication of the season by a sign of the Zodiac. Pulci does not 
 follow this design throughout; a few of his cantos have such 
 indications, of which the above is one. 
 
 61 : Meridiana's serpent-headed palfrey roars like a bull. 
 
 68: Faburro's arms bear a crescent whose horns resemble 
 those of a bull. 
 
 XVI, 31 : Che non sarebbe ingannata Europia, 
 Non si sarebbe trasformato in toro 
 Giove, e mutata la sua forma propia. 
 
 This is one of the long series of mythical allusions made by 
 Kinaldo in praise of Antea.'^'^ 
 XXIII, IS: V. cavallo, p. 54. 
 XXVII, 20 : E parve un toro bravo quando assilla. 
 
 " V. Jacobs, The Earliest English Version of the Fables of Bidpai, p. 84. 
 
 "v. Jacobs, The Fables of Aesop as first printed by William Caxton, I, 
 249; II, 110; Steinhowel's Aesop, ed, Osterley, Tubingen, 1873, p, 179. 
 There was an Italian version by F. del Tiippo in 1485. 
 Cf. dalfmo, p. 61. 
 
 77,1
 
 Luigi Pulci and the Animal Kingdom' 99 
 
 232 : E' non si vide mai piu spade a Koma 
 
 Addosso a qiialche toro, qiiando in caccia 
 Isciolto giii del plaiistro quel toma, 
 Quando si fa la fcsta di Testaccia. 
 
 A reference to a popular festival at Kome at which bull-fights 
 were held J** 
 
 Vacca. 
 XXII, 36 : V. Half. No. 83. 
 
 Vegliantino (Orlando's steed). 
 Ill, 46 : The knights take with them, in their search for 
 Orlando, his horse Vegliantino. Frequent mention of him is 
 made throughout the poem but he does not plav as important 
 a part in the story as Baiardo. 
 
 XXI, 129 : Orlando gets into a dispute with an innkeeper who 
 wishes to keep Vegliantino as a pledge for an unpaid bill. 
 O, L, 31. 
 
 XXIV, 131 : V. Baiardo, p. 47. 
 
 XXVII, 15 : Vegliantino refuses to go forward iri order to avoid 
 passing over the dead body of Sansonetto. 
 
 29 : He, by his speed, which is compared to that of a tiger, a 
 pard or a winged bird, renders escape impossible for Grandonio. 
 
 32 : He is forced to crouch because the force of his master's 
 blow has fixed his sword in the earth, cf . Baiardo, p. 44. 
 
 101: He drops dead as Orlando dismounts. 
 
 102 : Orlando's lament, the first seven lines of which begin 
 " O Vegliantin." 
 
 103 : At his master's demand for pardon he opens his eyes 
 and nods his head. 
 
 Dunque Pirramo e Tisbe al gelso fonte 
 A questa volta e Veglmntino e' 1 conte. 
 
 Veltro. 
 XI, 116: E come il veltro non istava saldo 
 
 Quando la lepre ha veduta scoperta. 
 
 "* V. Volpi, note.
 
 100 Luigi Pulci and the Animal Kingdom 
 
 XXVII, 62 : E come il veltro alia grida si mosse. 
 
 Verro. 
 
 XVIII, 16 : Rinaldo si scagliava come un verro. 
 XXVII, 87: V. Half. ^o. 65. 
 
 ViPRA, 
 
 IV, 41 : The beast which demands a victim every day is called 
 a vipra. O, vii, 39. 
 XIV, 83: V. p. 26. 
 
 XIX, 28: V. cerasta, p. 56. 
 
 VOLPE. 
 
 IX, 19 : V. gallo, p. 65. 
 
 73 : E disse : lo ti vo dare una novella. 
 
 La volpe un tratto molto era assetata ; 
 
 Entro per here in una secchia quella, 
 
 Tanto che giu nel pozzo se n' e andata ; 
 
 II lupo passa, e questa meschinella 
 
 Domanda, come sia cosi cascata: 
 
 Disse la volpe : Di cio non t'incresca : 
 
 Chi vuol dei grossi nel fondo giii pesca. 
 74 : lo piglio lasche di libbra, compare ; 
 
 Se tu ci fussi, tu ci goderesti ; 
 
 lo me ne vo' per un tratto saziare. 
 
 Eispose il lupo : Tu non chiamaresti 
 
 A queste cose il compagno, comare, 
 
 E forse che mai piu non lo facesti. 
 
 Disse la volpe maliziosa e vecchia : 
 
 Or oltre vienne, e entrerai nella secchia. 
 75 : II lupo non istette a pensar piue, 
 
 E tutto nella secchia si rassetta, 
 
 E vassene con essa tosto giue ; 
 
 Truova la volpe, che ne vien su in f retta ; 
 
 E dice il sempliciotto : Ove vai tue? 
 
 ISTon vogliam noi pescar? Comare, aspetta. 
 
 Disse la volpe : II mondo e f atto a scale, 
 
 Vedi, compar, chi scende e chi su sale.
 
 Luigi Pvlci and the Animal Kingdom, 101 
 
 76 : II liipo drento al pozzo rimanea : 
 La volpe poi nel can dette di cozzo, 
 E disse, il suo nimico morto avea ; 
 Onde e' rispose, bench' e' sia nel pozzo, 
 Che' 1 traditor pero non gli piacea: 
 E presela, e ciuffolla appimto al gozzo, 
 TJccisela, e puni la sua malizia; 
 E cosi ebbe luogo la giustizia. 
 
 This fable, as McKenzie has pointed oiit,'^^ seems to be medieval 
 in origin and to have come from an oral source. It is found 
 in a terza rima version in a fifteenth century manuscript of the 
 Biblioteca N^azionale at Florence, which apparently is Pulci's 
 source, as his version is practically the same in most of its 
 details. Two slight differences follow : in the terza rima version 
 the fox wishes to bathe (le uenne uizio volersi bangnare), which 
 does not appear in Pulci, but thirst also induces it to descend 
 into the well, and the reply in regard to the fishing is different : 
 " e piglio molti pesci sanza lai." The meeting of the fox and 
 the dog afterwards, and the killing of the former to avenge the 
 treachery to the wolf, are apparently peculiar to these two ver- 
 sions only of the fable, and are a strong argument in favor of 
 their being related. ^^ 
 XIV, 78: V. p. 10. 
 XIX, 155 : V. Hone, p. 76. 
 
 XXV, 61 : ISToi sarem, veggo, in un sacco due volpe. 
 A proverb meaning to wrangle or quarrel incessantly. There is 
 a reminder here of the way in which Morgante wraps up 
 Dodone and Manfredonio in a tent and carries them off, vainly 
 struggling with each other. ^^ 
 
 172 : Guarda se questo fu tratto di volpe. 
 
 329: V. Atilon, p. 29. 
 
 XXVII, 168: V. cane, p. 52. 
 
 XXVIII, 9 : V. Half. N^o. 233. 
 
 " Italian Fables m Verse, p, 276. v. also McKnight, The Middle English 
 Vox and Wolf. 
 
 ^ V. McKenzie, op. cit., p. 277 ; McKnight, I. c. 
 «vii, 17ff.
 
 102 Luigi Pulci and the Animal Kingdom 
 
 IV 
 
 PuLCi's Minor Woeks 
 
 Of the minor works of Pulci, the Lettere, the Novella and the 
 Giostra were not available for this study: the author hopes to 
 supplement his work with an examination of them later. 
 Among the others, the Sonetti have by far the greatest number 
 of references to animals ; many of these sonnets were addressed 
 to Matteo Franco, a priest, and are extremely obscene, as are 
 Matteo's in reply : for the most part names of creatures are used 
 as epithets. The scurrility of the language used often renders 
 the meaning obscure, and the allusions in general are common- 
 place and proverbial; but they show how the fondness for 
 introducing animals into his writings permeates the whole of 
 Pulci's work. The Confessione, the Beca, the Canzone, the 
 Frottola and the SHramhotti contain scattering references to 
 creatures, which are likewise unimportant compared with the 
 studied natural history element of the Morgante. A list of these 
 animals is appended, however, in order to complete as fully as 
 possible the allusions of Pulci to the animal kingdom. 
 
 * ^ AcciuGA. 8on. 88 (addressed " a un suo avversario che 
 lo chiama accuiga "). To call one an anchovy was equivalent 
 to calling him a good-for-nothing. 
 
 Allocco. Son. 21: v. gufo, p. 105. 
 Son. 97 (addressed "a un geometre suo nimico"). " Viso 
 d'allocco." Son. 104. 
 
 Anitea. Son. 88 : anitrocco. 
 
 * Arpia. Canz. ii (line 97). cf. celeno, p. 103. 
 
 AsiNo. Son. 11: Per quel che raggia Vasino di Maggio. 
 cf. p. 43. 
 
 Son. 24: Tu fai si ben I'asin. 
 Son. 101 : Che tu se' come I'asin fra gii artisti, 
 
 E canti per bi naolle un dirupisti. 
 Conf. p. 157: Reference to the birth of Christ, cf. p. 42. 
 
 ^ Animal names marked with an asterisk do not occur in the Morganle.
 
 Luigi Pulci and the Animal Kingdom 103 
 
 Beca, p. 15: Come fanno gli asini alle micce. 
 p. 19 : Ti faro come fe jer Vasin mio. 
 
 AsPiDO. Canz. ii. frigidi aspidi (line 49). 
 
 AssiuoLo. Son, 87. 
 
 Babbuino. Son. 75 : v. hertuccia below. 
 
 Bavalischio. Son. 102. 
 
 Beccafico. Son. 145 : v. ortolano, p. 105. 
 
 Bertuccia. Son. 75 : Coraprati "una hertuccia o babbuino. 
 Son. 144. 
 
 BoTTA. Son. 25 : v. celeno, p. 103. 
 
 * Bracco. Son. 89 : v. starna, p. 106. 
 BuE. Son. 24 : Facendo el ho del orto. 
 
 >S'on. 86. 
 
 Conf. p. 151 : v. Asino, p. 42. 
 
 BuFOL. Son. 2 : huffol. 
 
 Calandra. Son. 89. 
 
 Cane. /S'on. 4 : can ribaldi. 
 Son. 85, 87, 90, 93. 
 
 Son. 98: cane alano, ef. p. 50. 
 Son. 143. 
 Canz. p. 167 : Perche il can cbe morder vuole 
 
 Bade volte abba j a e rigna. 
 Beca, p. 20: Almanco come al can mi dessi un tozzo. 
 
 Cappoke. Son. Ill: v. starna,,'p. 106. 
 
 Carpione. Son. 25. 
 
 Cavallo. Son. 12. 
 5on. 24: cavalluccio. 
 Prot. p. 178. 
 
 Cavriuol. Frot. p. 182: pel di cavrioli. 
 
 * Celeno. /S'on. 25 : Celeno di botte, pien di vizj e di veleno. 
 Cerbero. Son. 96. 
 
 Cervio. Str. 81 : Ella e la cervia, e i' sono una chiocciola. 
 Frot. p. 181 : corno di cervio arso. 
 
 Chiocciola. Str. 81 : v. cervio above. 
 Frot. p. 180. 
 
 CiACCo. Son. 89: Per non gittar le margarite al ciacco. 
 
 cf. p. 58.
 
 104 Luigi Pulci mid the Animal Kingdom 
 
 Son. 100: Ser Ciacco. 
 
 •I- 
 
 * Cicala. Son. 23 : I'ho tanto gi-attato le cicale 
 
 Ch'i'ho sentito pur qualche candolfo. 
 Son. 96 : Addressed to a man of small stature: " Che tu se' pur 
 lo Dio delle cicale." 
 
 CicoGNA. Son. 25. 
 
 *CiuLLO. Son. 101. 
 
 CoLOMBA. Conf. p. 158: Reference to Christ in the temple. 
 
 CoNiGLio. Son. 4: conigliera. 
 Son. 79 : pere coniglie. 
 
 CoRBO. Sir. 63 : Prima si troverra un bianco corbo. 
 
 CucuLio. Son. 24: Un musico gentil piii ch' 1 coculo ( ?). 
 
 Dalfino. Son. 105 : iscrignuto dalfino. 
 
 Deagone. Son. 110, 114. 
 
 Ermellino. Son. 96. 
 
 Falcone. Sir. 81 : Ell' e il falcone, i' sono una testuggine. 
 
 Eenice. Sir. 63 : Prima I'alba fenice verra nera. A white 
 phoenix is unusual in bestiary literature. 
 Sir. 100': S'allegra nel foco come fenice. 
 
 Gallo. Son. 12 : hargigliuto (wattled) gallo. 
 
 Gatto. Son. 26: gattaccia morta. 
 Son. 81 : gattone. 
 Son. 103 : cervel di gatta. 
 
 Ghiro. Son. 98. 
 
 * Gracchia. Son. 24 : Ser Gracchia. 
 
 Granchio. Son. 28 : Ma come il granchio vuoi parer luna- 
 tico. cf. p. 68. 
 Son. 79 : Tanta reputatzion ci han tolta i granchi, 
 
 Ch'e' pazzi la meta son rinviliti. 
 cf. p. 68. 
 
 Beca. p. 17 : Mi prese appunto il granchio ne le dita. 
 Here, cramp, cf. p. 68. 
 
 p. 18 : O ch'io pigli di granchi un mazzatello. 
 p. 19 : Vengale il grattagranchio ne I'orecchio. 
 A pain (Hoare).
 
 Luigi Pulci and the Animal Kingdom 105 
 
 GuFO. Son. 21 : Ben sai, clie dov'e il gufo, o qualche allocco 
 
 Vi vola volentieri sempro ogni uccello. 
 Son. 98: O venerabil gufo Soriano. 
 
 Lepre. Son. 2. 
 
 LiONE. Son. 2 : leon. 
 Str. 43 : Non sei pero ne tigro ne leone. 
 
 LuMACA. Frot. p. 81. 
 
 Lupo. Str. 64 : E'l lupo amico della pecorella. 
 
 LusiGNUOL. Son. 10: Quel dolce uccel, che ancor per Teseo 
 piagne. 
 Str. 81 : Che par un lusignuol fuor di calugine. 
 
 Mekla. Son. 2. 
 Son. 142 : Caccia sempre alia merle. 
 
 Miccio. Son. 31 : Or su la mazza al miccio. cf. p. 82. 
 Son. 81. 
 Beca, p. 15 : v. asino, p. 103. 
 
 MiGNATTA. Son. 103. 
 
 MiNOssE. Son. 22 : Ne tante colpe accorderia Minosso. 
 
 MoscA. Frot. p. 183. 
 
 * MucciN. Beca, p. 20 : E buzzico un muccin quivi dal melo. 
 MuLO. Son. 102. 
 
 Oca. Frot. p. 178. 
 
 Okso. Son. 91 : orsacchino. 
 Son. 142: orsacchino: servant's liands compared to its paws. 
 
 Ortolano. Son. 145 : The ortolano and beccafico appear 
 together. Cf. p. 46. 
 
 Pappagallo. Son. 101. 
 
 Passeeo. Frot. p. 183. 
 
 Pecchia. Son. 27 : Tu stuzzichi le pecchie. 
 Beca, p. 19 : Beca mia dolce piu ch' un cul di pecchia. 
 
 Pecoea. Son. 144. 
 Str. 64: v. lupo, p. 105. 
 
 Pellicano. Son. 91 : Si torse come il pelican. 
 
 * Peregrin. Son. 26 : same as pidocchio — louse. 
 Pesce. Son. 25 : pesce zugo. 
 
 Son. 100. 
 
 Conf. p. 158: Reference to Christ's miracle.
 
 106 Luigi Pulci and the Animal Kingdom 
 
 Beca, p. 18 : De' pesci aval non se ne piglia coda. 
 Str. 82 : Tanto bo scherzato com' il pesce in f regola. 
 
 PiccHio. 8on. 75 : Scorti forse ci ha per pippion grossi. 
 Son. 97 : pippioncin. 
 
 PiOMBiNO. Son. 37 : Perche tu se' per sette pozzi neri, 
 
 I' ti mando il piomhin colla bigoncia. 
 
 PiPiSTEELLO. Son. 102. 
 
 PoLLO. Son. 26: polio la in baldracca. 
 
 PoKCO. /S'on. 23: Tu bai viso. . . . D'lm gbiotto porco. 
 Son. 30 : Unto porco erro. 
 ^on. 31, 102, 121. 
 Son. 142 : porcellin. 
 
 PuLCix. Son. 106: pulcin mugellese. 
 
 RiAMARRO. Son. 81. 
 
 * Riccio. Son. 81 : D'un riccio fargliene calcetti. 
 Salamandra. Son. 89, 93. 
 
 Satir. Ca7iz. II (line 117). 
 
 Seepe. Frot. p. 178. 
 Canz. II (line 97). 
 
 Serpente. Str. 46 : Ogni serpente con rabioso tosco. 
 Col tempo domar sente la dolzezza. 
 
 Sparviere. Son. 142 : lo fui di scbiatta sparviere. 
 (Note: " non bevvi.") 
 
 Starna. Son. 89 : E' suol saper trovar le starne el bracco. 
 Son. 100 : Come le starne di Monte Morello. 
 Son. Ill: L'un dice Cbe le starne f anno una peverada. — 
 L'altro dice del cappone. 
 
 Tafano. Son. 85. 
 
 Talpa. Son. 78. 
 
 Tarabttso. Son. 98: tarahusso. 
 
 Testuggine. Str. 81 : v. falcoyie, p. 104. 
 
 TiGRE. Str. 43 : v. Hone, p. 105. 
 
 Tinca. Son. 120 : Tinche lesse, e poi riconce. 
 
 Topo. Son. 28: Come al topo quand' esce dalle trappole. 
 Referring to blows raining npon one. 
 
 * Vespa. Beca„ p. 15 : Come le vespe a I'live primaticce. 
 Zanzara. Son. 106 : Le zanzare banno assediato Orfeo. 
 
 Frot. p. 183.
 
 Glossary and Index of Anitnals 
 
 107 
 
 QLOSSAKY AND INDEX OF ANIMALS 
 
 Abuzzago, some sort of Fal- 
 con: 13 
 
 Acceggia, Woodcock: 13, 40 
 
 Acciuga, Anchovy: 102 
 
 Aghiron, Heron: 14, 28 
 
 Agnello, Lamb: 41 
 
 Agotile, Night-jar: 30 
 
 Alci, Elk:28 
 
 Alcione, Seagull: 14 
 
 Alefe, Herring: 18 
 
 Alloco, Long-eared Owl: 13, 
 102 
 
 Altinanite, Fabulous Serpent: 
 28, 39 
 
 Andrio, Fabulous Serpent : 
 
 28, 39 
 
 Anfisibena, Fabulous Serpent: 
 
 28 
 Angue, Worm: 28, 41 
 Anguilla, Eel: 13 
 Anitra, Duck: 13, 14, 41, 
 
 102 
 Apa, Bee: 42 
 Aquila, Eagle: 19, 42 
 Arache, Fabulous Serpent: 29, 
 
 39 
 Aragna, Spider: 42 
 Arbatraffa, Fablous Serpent: 
 
 29, 39 
 Ardea, Heron: 29 
 Armene, Fablous Serpent : 
 
 29, 39 
 Arpia, Harpy: 102 
 
 Arunduco, Fabulous Serpent: 
 
 29, 39 
 Asino, Ass: 13, 29, 42, 102 
 Aspido, Asp: 20, 29, 103 
 Assi, Serpent: 29, 39 
 Assillo, Gadfly: 43 
 Assiuolo, Owl: 13, 103 
 Assordio, Fablous Serpent : 
 
 29, 39 
 Astor, Ooshawk: 9, 43 
 Atilon, Some species of bird: 
 
 29 
 Avelia, Shrike: 13 
 Avoltoio, Vulture: 14 
 Babbuino, Baboon: 13, 44, 
 
 103 
 Baiardo, Rinaldo's Horse: 44 
 Balena, Whale: 9, 10, 45 
 Balestruccio, Mouse-martin : 
 
 13 
 Barattola, Teal: 13 
 Brabagianni, White Owl: 13 
 Barbio, Barbel : 13, 46 
 Bavalischio, Basilisk: 20, 29, 
 
 46, 103 
 
 Beccafico, Garden Warbler : 
 
 15, 46, 103 
 Becco, Goat: 29, 46 
 Berta, Jay: 47 
 Bertuccia, Barbary Ape: 9, 
 
 47, 103 
 
 Beruse, Fabulous Serpent : 30, 
 39 
 
 8
 
 108 
 
 Glossary and Index of Animals 
 
 Bevero, Beaver: 13 
 
 Biscia, Snake: 13, 47 
 
 Bissonte, Buffalo: 30, 47 
 
 Bistarda, Bustard: 30 
 
 Boa, Boa: 30 
 
 Boccino, Calf: 48 
 
 Boncio, some species of Fish: 
 
 13 
 Bora, Snake: 30, 39 
 Botta, Toad: 48, 103 
 Bottaccio, Song Thrush: 13 
 Bracco, Fox Hound: 103 
 Bravieri, Corn Bunting 13 
 Bruco, Caterpillar: 48 
 Bue, Ox: 15, 48, 103 
 Bufol, Buffalo: 15, 49, 103 
 Caferaco, Fabulous Serpent: 
 
 30, 39 
 Calandra, Lark: 13, 30, 103 
 Calcatrice, Cockatrice: 30 
 Calcinello, Shellfish: 13 
 Calderino, Goldfinch: 13 
 Calenzuol, Green Finch: 15 
 
 Callirafio, Fabulous Animal: 
 
 30 
 Cameleone, Chameleon: 13 
 Cammello, Camel: 9, 49 
 Canoscio, Chamois: 13 
 Cancro, Crab: 20 
 Cane, Dog: 15, 31, 50, 103 
 Capinero, Black cap: 13 
 Capitorza, Wryneck: 13 
 Cappone, Capon: 52, 103 
 Capra, Goat: 13, 31, 52 
 Caprimulgo, Goatsucker: 31 
 Carita, Fabulous Bird: 31, 40 
 Carpione, Carp: 13, 103 
 
 Castor, Beaver: 20 
 Catoblepa, Fabulous Serpent: 
 
 31 
 Cavallo, Horse: 9, 10, 31, 53, 
 
 103 
 Cavriuol, Roebuck: 15, 56, 
 
 103 
 Cefo, Monkey: 31 
 Celeno, Harpy: 103 
 Centupede, Centipede: 32 
 Cerasta, Horned Viper : 13,56 
 Cerbero, Cerberus: 56, 103 
 Cerviere, Lynx: 15, 56 
 Cervio, Stag: 9, 11, 32, 57, 
 
 103 
 Chelidrio, Water-snake: 32 
 Cheppia, Shad: 13 
 Chimera, Chimera: 57 
 Chiocciola, Snail: 57, 103 
 Chirone, Chiron the Centaur: 
 
 57 
 Chite, Fabulous Bird: 32 
 Ciacco, Pig: 58, 103 
 Cicala, Cicada: 104 
 Cicigna, Lizard: 13 
 Cicogna, Stork: 13, 32, 104 
 Cientro, Fabulous Snake: 15 
 Cigno, Swan: 21, 58 
 Cinamulgo, Fabulous Bird : 
 
 32 
 Cingallegra, Tit: 15 
 Cinghial, Wild Boar: 9, 32, 
 
 58 
 Ciullo, Ass: 104 
 Civetta, Little Owl: 13, 58 
 Coccodrillo, Crocodile: 21, 32, 
 
 59 
 Godilungo, Longtailed Tit: 13
 
 Glossary and Index of Animals 
 
 109 
 
 Codirosso, Redstart: 13 
 Colomba, Dove: 15, 59, 104 
 Coniglio, Rabbit: 9, 60, 104 
 Corbo, Crow: 15, 32, 60, 104 
 Corete, Fabulous Bird: 32 
 Comacchia, Crow: 15, 61 
 Cornioletto, some species of 
 
 Fish: 13 
 Cornude, Asp: 33 
 Corvallo, Bearded TJmber-fisb : 
 
 13 
 Cl*ocuta, Fabulous Animal: 33 
 Cuccio, little Dog: 61 
 Cucco, Cuckoo: 61 
 Cuculio, Cuckoo: 21, 104 
 Curuca, Hedge-sparrow: 21 
 Cutretta, Wagtail: 15 
 Damma, Fallow-deer: 15 
 Dalfino, Dolphin: 9,11,61,104 
 Dano, Deer: 62 
 Dippo, Jerboa: 22 
 Donnoletto, Weasel: 13, 33 
 Dracopopode, Fabulous Ser- 
 pent: 33, 39 
 Dragone, Dragon: 9, 11, 33, 
 
 62, 104 
 Driaca, Fabulous Bird: 33, 40 
 Dromedario, Dromedary: 14, 
 
 63 
 Duraforte, Name of a War- 
 horse: 63 
 Eale, Fabulous Animal: 33 
 Edipsa, Fabulous Serpent: 33 
 Edisimon, Fabulous Snake : 
 
 33, 39 
 Emorrois, Fabulous Snake : 34 
 Ermellino, Ermine: 9, 64, 104 
 
 Fagiano, Pheasant: 14, 64 
 Faina, Pine Marten: 9 
 Falcone, Falcon: 22, 64, 104 
 Fanello, Linnet: 14 
 Farciglione, Teal: 14 
 Farea, some species of Snake: 
 
 15 
 Farfalla, Butterfly: 34, 65 
 Fatappio, some species of 
 
 Bird: 14 
 Fenice, Phoenix: 22, 104 
 Formica, Ant: 65 
 Frusone, Hawfinch: 14 
 Gallinella, Water-hen: 15 
 Gallo, Cock: 65, 104 
 Gambero, Cray-fish: 14 
 Garzetto, Young Heron: 14 
 Gatto, Cat: 15, 66, 104 
 Gattomammone, Mandrill: 9, 
 
 67 
 Gazza, Magpie: 14 
 Gazza Marina, Roller: 15 
 Germane, Mallard: 14 
 Gheppio, Kestrel: 16 
 Ghiandaia, Jay: 16, 67 
 Ghiro, Dormouse: 16, 67, 104 
 Giraffa, Giraffe: 34, 67 
 Girfalco, Gerfalcon, 67 
 Goredul, Fabulous Bird: 34 
 Gozzivaio, Cricket: 67 
 Gracchia, Jackdaw: 104 ^ 
 Granchio, Crab : 68, 104 
 Gricchione, some sort of aqua- 
 tic Bird: 14 
 Grifon, Griffin: 14, 68 
 Grille, Cricket: 69 
 Gru, Crane: 16, 69
 
 110 
 
 Glossary and Index of Animals 
 
 Gufo, Long-eared Owl : 14, 34, 
 
 105 
 Gurr-Q, some species of Fisli: 
 
 69 
 lacul, Fabulous Snake: 16 
 Ibis, Ibis: 34 
 
 Ibor, Fabulous Bird: 34, 40 
 Icneumone, Ickneumon: 34 
 Idra, Hydra: 16 
 lenna, Hyena: 23 
 Incendola, some species of 
 
 Bird: 35, 40 
 Ippotamo, Hippopotamus: 35 
 Irundo, Fabulous Serpent : 36, 
 
 39 
 Istrice, Porcupine: 16, 69 
 Lampreda, Lamprey: 14, 70 
 Lasca, Roacb: 14, 70 
 Lattizio, animal similar to the 
 
 Ermine: 16 
 Lattonzo, Sucking Calf: 71 
 Leofante, Elephant: 10, 36, 
 
 71 
 Leopardo, Leopard: 11, 72 
 Lepretta, Hare: 16, 73, 105 
 Leucrocuta, Fabulous Animal : 
 
 36 
 Levriere, Greyhound: 73 
 Licaon, South African wild 
 
 Dog: 36 
 Ligusta, some species of Lob- 
 ster: 14 
 Liocomo, Unicom: 12, 73 
 Lione, Lion: 9, 36, 74, 105 
 Liontofono, Fabulous Animal : 
 
 36 
 Lodoletta, Skylark: 18 
 Lontra, Otter: 10, 78 
 
 Lonza, Leopardess: 10 
 Luccio, Pike: 14 
 Lucciola, Firefly: 78 
 Lucherino, Siskin: 14 
 Lucidia, Fabulous Bird: 36 
 Lui, Wren: 14 
 Lumaca, Slug: 78, 105 
 Lupo, Wolf: 10, 36, 78, 105 
 Lusignuol, Nightingale: 16, 
 
 81, 105 
 Macli, Elk: 36 
 Manticore, Fabulous Animal: 
 
 37 
 Maragon, Cormorant: 16 
 Marsia, the Satyr Marsyas: 
 
 81 
 Martora, Marten: 14 
 Mastino, Mastiff: 81 
 Mattafellone, Ganelon's 
 
 Horse: 82 
 Meonide, Fabulous Bird: 37 
 Merla, Blackbird : 14, 82, 105 
 Miccio, Donkey: 82, 105 
 Mignatta, Leech: 82, 105 
 Miiion, Kite: 16 
 Minosse, Minos the demon of 
 
 the Inferno: 82, 105 
 Monaco, BuMnch: 16 
 Montanello, Linnet: 14 
 Montone, Ram: 82 
 Morena, Lamprey: 14 
 Mosca, Fly, 16, 37, 83, 
 
 105 
 Moscado, Musk-deer: 14 
 Moscardo, Sparrow-hawk: 12 
 Moscherino, Midge: 84 
 Moscione, Midge: 84 
 Muccin, Midge: 105
 
 Glossary and Index of Animals 
 
 111 
 
 Muggine, Mullet: 9 
 Mul, Mule: 16, 105 
 Mulacchia, Jackdaw: 17, 84 
 Muso, Streaked Gurnard: 14 
 Naderos, Fabulous Serpent : 
 
 37, 39 
 Natrice, Water-snake: 37 
 Nibbio, Kite: 17, 84 
 Nicchio, Mussel: 14, 84 
 iN'iteragno, Fabulous Bird: 14 
 Oca, Goose: 17, 37, 85, 105 
 Occhiata, Eay: 14 
 Grata, Gilt-^ead: 14 
 Orso, Bear: 10, 85, 105 
 Ortolano, Ortolan: 14, 86, 105 
 Ostrica, Oyster: 23 
 Pagolino, Plover: 14 
 Pantera, Panther: 9, 86 
 Pappagallo, Parrot: 23, 105 
 Pardo, Leopard: 86 
 Passer, Serpent: 37, 39 
 Passera, Sparrow: 17, 105 
 Pavone, Peacock: 17, 87 
 Pecchia, Bee: 87, 105 
 Pecora, Sheep: 17, 87, 105 
 Pegaso, Pegasus, the Winged 
 
 Boirse: 37, 88 
 Pellican, Pelican: 23, 88, 105 
 Peregrin, Louse: 105 
 Pernice, Partridge: 17 
 Pesce, Fish: 38, 88, 105 
 Pesce Cane, Dogfish: 9 
 Pesce Perso, Perch: 14 
 Pesce Rondin, Flying Fish: 
 
 14, 17 
 Pesce Tordo, species of 
 
 Wrasse: 17 
 
 Pettirosso, Redbreast: 14 
 Picchio, Woodpecker: 23, 89, 
 
 106 
 Pincione, Finch: 14 
 Piombino, Kingfisher : 14, 
 
 106 
 Pipistrello, Bat: 18, 106 
 Pispola, Meadow-lark: 14 
 Polio, Chicken: 90, 106 
 Polpo, Octopus: 18 
 Porco, Pig: 18, 90, 106 
 Porfirio, Coot: 38 
 Prester, some species of 
 
 Snake: 38 
 Pulcin, Chicken: 90, 106 
 Putta, Magpie: 90 
 Puzzola, Polecat: 14 
 Quaglia, Quail: 18 
 Raggiata, Ray: 14 
 Ragno, Bass: 14 
 Ramarro, Green Lizard: 14, 
 
 90, 106 
 Ranocchio, Frog: 91 
 Raperugiol, Green Canary: 18 
 Riccio, Hedgehog: 106 
 Rigogoletto, Golden Oriole : 
 
 24 
 Rimatrice, Fabulous Serpent: 
 
 38, 39 
 Rinoceronte, Rhinoceros: 38 
 Rombo, Turbot: 14 
 Rondello, Uggieri's Horse: 91 
 Rondine, Swallow: 18 
 Rondone, Swift: 14, 91 
 Salamandra, Salamander: 24, 
 
 106 
 Salmone, Salmon : 9
 
 112 
 
 Glossary and Index of Animals 
 
 Salpiga, some sort of Serpent : 
 
 38 
 Sardella, Sardine: 14 
 Sassello, Redwing: 14 
 Satir, Satyr: 91, 106 
 Saure, Fabulous Serpent: 38 
 Scarza, Parrot-fisli: 14 
 Schiamazzo, Decoy-bird: 92 
 Scilla, the Monster Scylla: 25 
 Scimia, Monkey: 92 
 Scoiatto, Squirrel: 9 
 Scorpio, Scorpion: 18, 25, 92 
 Scriccio, Wren: 38 
 Sepaiuola, Wren: 14 
 Seppia, Cuttle-fisb: 14 
 Serpe, Serpent: 18, 92, 106 
 Serpente, Serpent: 12, 39, 93, 
 
 106 
 Sgombero, Mackerel: 14 
 Sirena, Siren: 13 
 Smerlo, Merlin: 18, 94 
 Soglia, Sole: 14 
 Soro, Young Hawk : 94 
 Sparvier, Sparrowbawk : 9, 
 
 94, 106 
 Spettafico, Fabulous Serpent: 
 
 39 
 Spinoso, Hedgehog: 9, 94 
 Starna, Partridge: 18, 94, 106 
 Storione, Sturgeon: 9 
 Storneletta, Starling: 26, 94 
 Struzzo, Ostrich: 18 
 Tafano, Horse-fly, 95, 106 
 Talpa, Mole: 18, 95, 106 
 Tarabuso, Bittern: 95, 106 
 Tarando, Reindeer: 39 
 
 Tarlo, Boring-worm: 95 
 Tasso, Badger: 9, 96 
 Terzuolo, Goshawk, 18, 96 
 Testuggine, Turtle: 96, 106 
 Tigre, Tiger: 96, 106 
 Tinea, Tench: 14, 96, 106 
 Tiro, some species of Snake: 
 
 26 
 Tonno, Tunny: 9 
 Toos, Fabulous Animal: 39 
 Topo, Mouse: 96, 106 
 Tordella, Missel-thrush: 14 
 Tordo, Thrush: 14, 97 
 Toro, Bull: 98 
 Tortoletta, Turtle-dove: 26 
 Tragelafo, Deer: 39 
 Triglia, Mullet: 14 
 Trota, Trout: 14 
 TJccel che suol beccare il 
 
 fungo: 26 
 TJccel Santamaria, Kingfisher: 
 
 14 
 Upupa, Hoopoe: 18 
 Vacca, Cow: 99 
 Vaio, Grey-squirrell : 9 
 Vegliantino, Orlando's Horse: 
 
 99 
 Veltro, Greyhound: 99 
 "Verro, Boar: 100 
 Vespa, Wasp: 106 
 Vipra, Viper: 26, 100 
 Volpe, Fox: 9, 39, 100 
 Zanzara, Gnat: 89, 106 
 Zibbetto, Civet: 14 
 Zibellino Sable: 14 
 Zigolo, Bunting: 14
 
 Luigi Pulci and the Animal Kingdom 113 
 
 VI 
 BIBLIOGRAPHY 
 
 A. PULCI'S WOKKS 
 
 Morgante Maggiore di Messer Luigi Pulci. Venezia, 1784. 
 
 Morgante Maggiore di Messer Luigi Pulci. Milano, 1806. 
 
 II Morgante Maggiore di Luigi Pulci, con note filologiche di 
 Pietro Sermolli. Firenze, 1858. (This is the edition used for 
 references and quotations.) 
 
 II Morgante Maggiore di Luigi Pulci, con note di Eugenio 
 Camerini, del Sermolli ed altri. Milano, 1878. 
 
 II Morgante di Luigi Pulci: testo e note a cura di Guglielmo 
 Volpi. Firenze, 1914 (Vol. iii, 1904). ^ 
 
 Stramhotti di Luigi Pulci Fiorentino. Firenze, 1887. (Ed. 
 Zenatti.) 
 
 Beca di Dicomano, in Poemetti C ontadineschi a cura di 
 Massimo Bontempelli. Lanciano, 1914. 
 
 Sonetti, in Sonetti di Matteo Franco e di Luigi Pulci, 
 assieme con la Confessione, Stanze in lode delta Beca, ed altri 
 rime del medesimo Pulci. Lucca, 1759. 
 
 Confessione, in Sonetti, above. 
 
 Frottola, in Sonetti. 
 
 Canzone, in Sonetti. 
 
 Canzone ("ii), in Carducci, Antica Lirica Italiana (Col. 
 203). Firenze, 1907. 
 
 B. WoEKs Concerning Pulci and His Writings 
 
 Bachmann, A., Morgant der Riese in deutscher Ubersetzung 
 des XVI Jahrliunderts. Tiibingen, 1890. In Bihl. des Lit. 
 Vereins in Stuttgart, Vol. 189. 
 
 Brognoligo, G., La Divina Commedia nel Morgante di Luigi 
 Pulci, in Gior. Dant. xii, 17 (1904). 
 
 *ror a list of the editions of the Morgante up to 1812 see Ferrario, 
 Storia ed Analisi degli antichi Romanzi di Cavalleria. Alilano, 1828-9. 
 Vol. IV, p. 136.
 
 114: Luigi Pulci and the Animal Kingdom 
 
 Curto, Carlo, Le tradizioni popolare nel Morgante di Luigi 
 Pulci. Casale, 1918. 
 
 Einstein, Lewis, Luigi Pulci and the Morgante Maggiore. 
 Berlin, 1902, in Litterarhistorische Forschungen, xxii. 
 
 Foffano, F., II Disegno del Morgante, in Gior. Stor. xvi, 368 
 (1890). 
 
 Halfmann, R., Die Bilder und Vergleiche in Pulci' s Mor- 
 gante, Marburg, 1884, in Ausg. u. Ahh. xxii. 
 
 Hiibscher, J., Orlando die Vorlage zu Pulci's Morgante, 
 Marburg, 1886, in Ausg. u. Ahh. lx. 
 
 Momigliano, A., L'Indole e il Riso di Luigi Pulci, Eocca S. 
 Casciano, 1907. 
 
 Pellegrini, Carlo, La Vita e le Opere di Luigi Pulci. Livorno, 
 1914. 
 
 Rajna, P., La Materia del Morgante in un Ignoto Poema 
 Cavalleresco del Secolo XV, in Propugnatore, ii, 7 (1869). 
 
 Truffi, R., Di una prohahile fonte del Margutie, in Gior. Stor. 
 XXII, 200 (1893). 
 
 Volpi, G., La Divina Commedia nel Morgante di Luigi Pulci, 
 in Gior. Dant. xi, 170 (1903). 
 
 Volpi, G., Le Stanze per la Giostra di Lorenzo de' Medici, in 
 Gior. Stor. xvi, 361 (1890). 
 
 i 
 C. Genekal Woeks 
 
 Ancona, Alessandro d', and Bacci, Orazio, Manuale delta 
 Letteratura Italiana. Firenze, 1912. 
 
 Baist, G., Der Dankhare Lowe, in Rom. Forsch. xkix, 317 
 (1910). 
 
 Bangert, F., Die Tiere im Altfranzosischen Epos. Marburg, 
 1885, in Ausg. u. Ahh. xxxiv. 
 
 Barberino, Andrea da, / Reali di Francia, ed. Vandelli. 
 Bologna, 1892. 
 
 Bartholomeus Anglicus, De Proprietatihus Rerum. JSTurem- 
 berg, 1492. 
 
 Bartscb, K., Chrestomathie Provengale. Elberfeld, 1880.
 
 Luigi Pulci and the Animal Kingdom 115 
 
 Bertoni, G., Scene d'Amore e di Cavalleria in Antichi Arazzi 
 Estensi, in Romania, xnv, 224 (1915). 
 
 Brush, M. P., The Isopo Laurenziano. Columbus, 1899. 
 
 Cian, v., Vivaldo Belcalzer e I' Enciclopedismo Italiano delle 
 Oi-igini. Torino, 1902. In Gior, Stor., Supplement 5. 
 
 Oeceo d'Ascoli, L'Acerba, ed. Rosario. Lanciano, 1916. 
 
 Cook, A. S., The Last Months of Chaucer s Earliest Patron. 
 New Haven, 1916. 
 
 Ferrario, G., Storia ed An^lisi degli Antichi Romanzi di 
 Cavalleria. Milano, 1828-1829. 
 
 Ford, J. D. M. and Mary, Romances of Chivalry in Italian 
 Verse. New York (190'6). 
 
 Foulet, L., Le Roman de Renard. Paris, 1914. 
 
 Fournival, Richard de, Le Bestiaire d' Amour, ed. Hippeau. 
 Paris, 1860. 
 
 Garver, M. S., Sources of the Beast Simile in the Italian 
 Lyric of the Thirteenth Century, in R&m. Forsch. xxi, 276 
 (1908). 
 
 Garver, M. S., and McKenzie, K., II Bestiario Toscano. 
 Roma, 1912. 
 
 Gaspary, A., Storia delta Letteratura Italiana, I, tradotta dal 
 tedesco da Nicola Zingarelli. Torino, 1887 : II, tradotta . . . 
 da Vittorio Rossi. Torino, 1900. 
 
 Gaster, M., II Physiologu^ Rumeno, in Arch. Glott. x, 273 
 (1886-1888). 
 
 Gelli, A., Fiore di Virtii. Firenze, 1856. 
 
 Gervais, Le Bestiaire, ed. P. Meyer. Romania, i, 420 (1872). 
 
 Goldstaub, M., and Wendriner, R., Ein Tosco-Venezianischer 
 Bestiarius. Halle, 1892. 
 
 Guillaume le Clerc, Le Bestiaire Divin, ed. Mann, in Franz. 
 Stud. VI, Heft II (1888). 
 
 Guillaume le Clerc, Le Bestiaire Divin, ed. Reinsch, in Alt- 
 franzosische Bihliothelc xiv (1892). 
 
 Holbrook, R. T., Dante and the Animal Kingdom. New 
 York, 1902. 
 
 Hommel, F., Der Aethiopische Physiologus, in Rom. Forsch. 
 v, 13 (1890).
 
 116 Luigi Pulci and the Animal Kingdom 
 
 Isidorus Hispalensis Episcopus, Etymologiarum sive Origi- 
 num, ed. Lindsay, Oxford, 1911. 
 
 Jacobs, J., The Earliest English Version of the Fables of 
 Bidpai. London, 1888. 
 
 Jacobs, J., The Fables of Aesop as First Printed by William 
 Caxton in IJfSJf. London, 1889. 
 
 Johnston, O. M., The Episode of Yvain, the Lion and the 
 Serpent in Chretien de Troyes, in Zeits. filr Franz. Spr. u. Lit. 
 XXI, 157 (1907). 
 
 Kressner, A., Ueber die Thierbilcher des Mittelalters, in 
 Archiv-LV, 241 (1876). 
 
 Latini, Brunetto, II Tesoro, ed. Gaiter, Bologna, 1877. 
 
 Latini, Brunetto, I Libri Naturali del Tesoro, ed. Battelli, 
 Firenze, 1917. 
 
 Lauchert, F., Geschichte des Physiologus. Strassbnrg, 1889. 
 
 Laucbert, F., Zum Physiologus, in Rom. Forsch. v, 3 (1890). 
 
 Legrand, E., Le Physiologus. Paris, 1873. 
 
 Martin, E., Le Roman de Renart. Strasbourg, 1882-1887. 
 4 vols. 
 
 Mayer, A., Der Waldensische Physiology^, in Rom. Forsch. 
 V, 392 (1890). 
 
 McKenzie, K., Dante's References to Aesop. Boston, 1900. 
 In 17th Annual Report of the Dante Society. 
 
 McKeruzie, K., Italian Fables in Verse, in P. M. L. A. xxi, 
 226 (1906). 
 
 McKenzie, K., An Italian Fable, its Sources and its History, 
 in Modern Philology i, 497 (1903). 
 
 McKenzie, K., Note sulle Antiche Favole Italiane. Cividale 
 del Friuli, 1910. In Miscellanea di Studj Critici e Ricerche 
 Erudite in Onore di V. Crescini, p. 59. 
 
 McKenzie, K., Per la Storia dei Bestiarii Italiani, in Gior. 
 Stor. Lxiv, 358 (1914). 
 
 McKenzie, K., The Problem of the Lonza, with an Unpub- 
 lished Text, in Romanic Review i, 18 (1910). 
 
 McKenzie, K., A Sonnet Ascribed to Chiaro Davanzati and 
 its Place in Fable Literature, in P. M. L. A. xiii, 2 (1898).
 
 Luigi Pulci and the Anwial Kingdom 117 
 
 McKenzie, K., Unpublished Manuscripts of Italian Besti- 
 aries, in P. M. L. A. XX, 380 (1905). 
 
 McKnight, G. H., The Middle English Vox and Wolf, in 
 P. M. L. A. xxm, 497 (1908). 
 
 Medici, Lorenzo de', Poemi, ed. Papini. Lanciano, 1911. 
 
 Neri, F., La maschera del selvaggio. Gior. Stor. lix^ 47 
 (1909). 
 
 Orus Apollo . . . traduict de grec en francoys. Paris, 1543. 
 
 Pillet, A., Ein Ungedrucktes Gedicht des Troubadours Guil- 
 lem Magret und die Saga von Golfier de las Tors. Breslau, 
 1911. 
 
 Plinius, Cains Secundus, Naturalis Historia, cd. Detlefsen. 
 Berlin, 1866. 
 
 Potter, M. A., The Horse as an Epic Character, one of Four 
 Essays in Harvard Studies in Romance Languages iii. Cam- 
 bridge, 1917. 
 
 Pulci, Luca. a riff Calvaneo, ed. Audin. Firenze, 1834. 
 
 Pulci, Luca. II Driadeo d'Amore, ed. Euggiero. l^apoli, 
 1881. 
 
 Eajna, P., Fonti delV Orlando Furioso. Firenze, 1900. 
 
 Peinscli, P., Das Thierbuch des Normannischen Dichters 
 Guillaume le Clerc. Leipzig, 1892. 
 
 Reynaud, G., Le Poeme Moralise sur les Proprietes des 
 Choses, in Romania xiv, 442 (1885). 
 
 iSolinus, Caius lulius, Collectanea Rerum Memorabilium, ed. 
 Mommsen. Berlin, 1895. 
 
 Sudre, L., Les Sources du Roman de Renart. Paris, 1893. 
 
 Thaiin, Philippe de, Livre des Creatures, ed. Wright. Lon- 
 don, 1841. In Popular Treatises on Science Written During 
 the Middle Ages. 
 
 Thaiin, Philippe de, The Same, ed. Mann, in Anglia vii, 420. 
 
 Todt, A., Die Franco-Italienischen Renart-Branchen. Darm- 
 stadt, 1903. 
 
 Toynbee, P., Concise Dante Dictionary. Oxford, 1914. 
 
 Ulrich, G., Trattati Religiosi e Libro de li Exempli. Bologna, 
 1891.
 
 118 Luigi Pulci and the Animal Kingdom 
 
 Vinci, Leonardo da, Frammenti Letterari e Filosofici, ed. 
 Solmi. Firenze, 1913. 
 
 Willems, L., Etude sur VYsengrinus. Gand, 1895. 
 
 D. Dictionaries 
 
 Florio, J., Vocaholario Fnglese e Italiano. London, 1659. 
 
 Godefroj, F., Dictionnaire de VAncienne Langue Frangaise. 
 Paris, 1880-1902. 
 
 Grande Encyclopedie. Paris, 1886-1902, 
 
 Hoare, A., Italian Dictionary. Cambridge, 1915. 
 
 Murray, J. A. H., Oxford Dictionary. Oxford, 1888- 
 
 Tommaseo, N. e Bellini, B., Dizionario delta Lingua Italiana. 
 Torino, 1861-1879. 
 
 Tramater, Vocaholario Universale Italiano. ITapoli, 1829. 
 
 Veneroni, Nouveau Dictionnaire Italien et Franqois. Basle, 
 1750. 
 
 Vocaholario degli Academici delta Crusca (4th ed.). Vene- 
 zia, 1729. 
 
 The Same, edition now appearing. Firenze, 1863-
 
 ERRATA. 
 
 Page 24 ; note 68, read p. 9. 
 
 Page 46; under Beeeafico, XXV, 216, read Posti a sedere, eeco 
 
 g'iunto un piatello. 
 Page 4!); under Cammello, XVTIT, 129, read p. 42. 
 Page 62; under Dragone, Xl\, 81, read p. 11. Note 27, read p. 41. 
 
 Note 28, read p. 11. 
 Page 71 ; under Leofante, XIV, 81, read p. 11. 
 Page 87; under Pecora, XIA", 77, read p. 17. 
 Page 99 ; under Vegliantino XXIV, read 131 : v. Baiardo, p. 44. 
 Page 107; (index) Agotile, p. 28. Balestruccio, House-martin. 
 Page 109; (index) Curuea, p. 22. 
 Page 110; (index) Lodoletta, p. 16. 
 Page 111; (index) Mulaechia, p. 16.
 
 VITA 
 
 I was born in Bristol, New York, February 10, 1881, a son 
 of Julius and Maria Louise (Woolston) Shnlters. I received 
 my preparatory education in the Canandaigua (N. Y.) Acad- 
 emy, graduating in 1900. The following year I continued my 
 studies in the same school and received an advanced diploma in 
 1901. During the academic year 1901-1902 I was a special 
 student in music for two terms at Syracuse University, taking 
 courses in Piano and Theory of music. In 1906 I entered the 
 University of Illinois, from which I received the degrees of 
 Bachelor of Arts in 1910 and Master of Arts in 1911 (Thesis: 
 Bomanticism Versus Realism in the Works of Jean Richepin) . 
 I continued my graduate study in this university during the 
 years 1911-1912 and 1912-1913, passing the summer of 1912 
 in France, where I attended lectures for five weeks in the Sum- 
 mer School of the University of Grenoble and spent some time 
 studying in Paris, principally at the Bibliotheque Nationale. 
 In 1913 I received an appointment as Assistant in Romance 
 Languages at the University of Illinois and taught during the 
 year in that Department. I was appointed Instructor in Ro- 
 mance Languages at the University of Michigan in 1914 but 
 was forced by ill-health to resign my position early in the year. 
 In 1915 I was again appointed to my former position at the 
 University of Illinois, where I have since continued my study 
 and teaching. During my graduate work I have followed 
 courses with Dr. A. R. Seymour, Dr. J. D. Fitz^Gcrald, Dr. 
 D. H. Carnahan, Dr. D. S. Blondheim, Dr. J. B. Beck, Dr. 
 J. Goebel, Dr. O. E. Lessing and Dr. K. McKenzie, to all of 
 whom I am indebted for valuable instruction and kindly direc- 
 tion of my studies. The subject of this thesis was suggested to 
 me by Dr. McKenzie and it was prepared under his careful and 
 scholarly guidance.
 
 UNIVERSITY OF CALIFORNIA LIBRARY 
 
 Los Angeles 
 
 This book is DUE on the last date stamped below. 
 
 DEC 5 1863 
 
 i-tbiU 13bi 
 
 :i VuiA. 
 
 TOTOTPOHC 
 
 APR g f"^ 
 
 REC'D LO-UB! 
 
 MAY 9 1973 
 
 NOV 2 ^ 
 
 ^rn W-^W 
 
 REC'D LD-URL 
 4WK JUN0 8 
 
 19^6 
 
 \^\ 
 
 pni t t\n^C ' 
 
 'Ri 
 
 fgT ^"3 
 
 m 
 
 Form L9-100m-9,'52(A3105)444 
 
 UNIVERSiTY . ti""'*"^"^ 
 U)S ANGELES
 
 m 
 
 im 
 
 m 
 
 (fw<« 
 
 im'w 
 
 iM 
 
 tow 
 
 
 m 
 
 ..UUTHERN RE 
 
 GIONALLIBRAH/f AGILITY 
 
 llllillHllllil'' 
 
 AA 000 437 827 9 
 
 J
 
 
 
 • I