Thus peel'd with flame, do call forth scorn on us Incline thee to inform us who thou art, That dost imprint, with living feet unharm'd, 1" Gualdrada." Gualdrada was the daughter of Bellincione Berti, of whom mention is made in the Paradise, Cantos xv. and xvi. He was of the family of Ravignani, a branch of the Adimari. The Emperor Otho IV being at a festival in Florence, where Gualdrada was present, was struck with her beauty; and inquiring who she was, was answered by Bellincione, that she was the daughter of one who, if it was his Majesty's pleasure, would make her admit the honor of his salute. On over. hearing this, she arose from her seat, and blushing, in an animated tone of voice desired her father that he would not be so liberal in his offers, for that no man should ever be allowed that freedom except him who should be her lawful husband. The Emperor was not less delighted by her resolute modesty than he had before been by the loveliness of her person; and calling to him Guido, one of his barons, gave her to him in marriage; at the same time raising him to the rank of a count, and bestowing on her the whole of Casentino, and a part of the territory of Romagna, as her portion. Two sons were the offspring of this union, Guglielmo and Ruggieri; the latter of whom was father of Guidoguerra, a man of great military skill and prowess; who, at the head of four hundred Florentines of the Guelf party, was signally instrumental to the victory obtained at Benevento by Charles of Anjou, over Manfredi, King of Naples, in 1265. One of the consequences of this victory was the expulsion of the Ghibellini, and the re-establishment of the Guelfi at Florence. ents. 2" Aldobrandi.' Tegghiaio Aldobran di was of the noble family of Adimari, and much esteemed for his military talHe endeavored to dissuade the Florentines from the attack which they meditated against the Siennese; and the rejection of his counsel occasioned the memorable defeat which the former sustained at Montaperto, and_the_conse quent banishment of the Guelfi from Florence. a" Rusticucci." Giacopo Rusticucci, a Florentine, remarkable for his opulence and the generosity of his spirit. Fix'd deep within me, soon as this my lord Spake words, whose tenor taught me to expect Your deeds and names renown'd. Leaving the gall, "So may long space thy spirit guide thy limbs," Dwell in our city, or have vanish'd clean: "An upstart multitude and sudden gains, This said, they broke the circle, and so swift a "Borsiere." Guglielmo Borsiere, another Florentine, whom Boccaccio, in a story which he relates of him, terms man of courteous and elegant manners, and of great readiness in conversation." "Dec." G. i. N. 8. "When thou with pleasure shalt retrace the past." "Quando ti gioverà dicere io fui." So Tasso, "G. L." c. xv. st. 38: Quando mi gioverò narrar altrui Le novità vedute, e dire; io fui." Had we past onward, when the water's sound E'en as the river, that first holds its course From the Alpine summit down a precipice, 8 Where space enough to lodge a thousand spreads; Thy thought is dreaming." Ever to that truth, "E'en as the river." He compares the fall of Phlegethon to that of the Montone (a river in Romagna) from the Apennines above the Abbey of St. Benedict. All the other streams that rise between the sources of the Po and the Montone, and fall from the left side of the Apennines join the Po and accompany it to the sea. 7 At Forli." Because there it loses the name of Acquacheta, and takes that of Montone. 8" Where space." Either because the abbey was capable of containing more than those who occupied it, or because (says Landino) the lords of that terri tory, as Boccaccio related on the authority of the abbot, had intended to build a castle near the water-fall, and to col. lect within its walls the population of the neighboring villages. "A cord.' It is believed that our poet, in the earlier part of his life, had entered into the order of St. Francis. By observing the rules of that profes sion he had designed to mortify his carnal appetites, or, as he expresses it, "to take the painted leopard (that animal, which, as we have seen in a note to the first Canto, represented Pleasure) with this cord.' Which but the semblance of a falsehood wears, Since, although blameless, he incurs reproach. That through the gross and murky air I spied CANTO XVII ARGUMENT.-The monster Geryon is described; to whom while Virgil is speaking in order that he may carry them both down to the next circle, Dante, by permission, goes a little further along the edge of the void, to descry the third species of sinners contained in this compartment, namely, those who have done violence to art; and then returning to his master, they both descend, seated on the back of Geryon. "L 1 O! the fell monster 1 with the deadly sting, Who passes mountains, breaks through fenced walls And firm embattled spears, and with his filth Taints all the world." Thus me my guide address'd, And beckon'd him, that he should come to shore, Near to the stony causeway's utmost edge. Forthwith that image vile of Fraud appear'd, His head and upper part exposed on land, But laid not on the shore his bestial train. His face the semblance of a just man's wore, So kind and gracious was its outward cheer; The rest was serpent all: two shaggy claws Reach'd to the arm-pits; and the back and breast, And either side, were painted o'er with nodes And orbits. Colors variegated more 1" The fell monster." Fraud. Nor Turks nor Tartars e'er on cloth of state With sting like scorpion's arm'd. Then thus my guide, Thereat, toward the right our downward course We shaped, and, better to escape the flame Near to the void. Forthwith my master spake: Will parley, that to us he may vouchsafe The aid of his strong shoulders." Thus alone, Yet forward on the extremity I paced Of that seventh circle, where the mournful tribe. Against the vapors and the torrid soil Alternately their shifting hands they plied. Thus use the dogs in summer still to ply Their jaws and feet by turns, when bitten sore "A pouch." A purse, whereon the armorial bearings of each were emblazoned. According to Landino, our Poet implies that the usurer can pretend to no other honor than such as he derives from his purse and his family. The description of persons by their heraldic insignia is remarkable both on the present and several other occasions in this poem. |