In general, these poems are good in proportion to the sparing use of the sentimental and the general. Some of the smaller epic poems, even of recognized masters, unintentionally produce, by the ill-timed introduction of mythological elements, an impression that is indescribably ludicrous. Such, for instance, is the lament of Ercole Strozzi on Cesare Borgia. We there listen to the complaint of Roma, who had set all her hopes on the Spanish Popes, Calixtus III and Alexander VI, and who saw her promised deliverer in Cesare. His history is related down to the catastrophe of 1503. The poet then asks the Muse what were the counsels of the gods at that moment, and Erato tells how, upon Olympus, Pallas took the part of the Spaniards, Venus of the Italians, how both then embrace the knees of Jupiter, how thereupon he kisses them, soothes them, and explains to them that he can do nothing against the fate woven by the Parc, but that the divine promises will be fulfilled by the child of the House of Este-Borgia.60 After relating the fabulous origin of both families, he declares that he can confer immortality on Cesare as little as he could once, in spite of all entreaties, on Memnon or Achilles; and concludes with the consoling assurance that Cesare, before his own death, will destroy many people in war. Mars then hastens to Naples to stir up war and confusion, while Pallas goes to Nepi, and there appears to the dying Cesare under the form of Alexander VI. After giving him the good advice to submit to his fate and be satisfied with the glory of his name, the papal goddess vanishes 'like a bird.'
