Stories from the Italian Poets: with Lives of the Writers Volume I Part 17

[Footnote 8: Charles Martel, son of the king of Naples and Sicily, and crowned king of Hungary, seems to have become acquainted with Dante during the poet's youth, when the prince met his royal father in the city of Florence. He was brother of Robert, who succeeded the father, and who was the friend of Petrarch.

"The adventures of Cunizza, overcome by the influence of her star," says Cary, "are related by the chronicler Rolandino of Padua, lib. i. cap. 3, in Muratori, Rer. Ital. Script. tom. viii. p. 173. She eloped from her first husband, Richard of St. Boniface, in the company of Sordello (see Purg. canto vi. and vii.); with whom she is supposed to have cohabited before her marriage: then lived with a soldier of Trevigi, whose wife was living at the same time in the same city; and, on his being murdered by her brother the tyrant, was by her brother married to a n.o.bleman of Braganzo: lastly, when he also had fallen by the same hand, she, after her brother's death, was again wedded in Verona."--_Translation of Dante_, ut sup. p. 147. See what Foscolo says of her in the _Discorso sul Testo_, p. 329.

Folco, the gallant Troubadour, here placed between Cunizza and Rahab, is no other than Folques, bishop of Thoulouse, the persecutor of the Albigenses. It is of him the brutal anecdote is related, that, being asked, during an indiscriminate attack on that people, how the orthodox and heterodox were to be distinguished, he said, "Kill all: G.o.d will know his own."

For Rahab, see _Joshua_, chap. ii. and vi.; and _Hebrews_. xi. 31]

[Footnote 9: The reader need not be required to attend to the extraordinary theological disclosures in the whole of the preceding pa.s.sage, nor yet to consider how much more they disclose, than theology or the poet might have desired.]

[Footnote 10: These fifteen personages are chiefly theologians and schoolmen, whose names and obsolete writings are, for the most part, no longer worth mention. The same may be said of the band that comes after them.

Dante should not have set them dancing. It is impossible (every respectfulness of endeavour notwithstanding) to maintain the gravity of one's imagination at the thought of a set of doctors of the Church, Venerable Bede included, wheeling about in giddy rapture like so many dancing dervises, and keeping time to their ecstatic anilities with voices tinkling like church-clocks. You may invest them with as much light or other blessed indistinctness as you please; the beards and the old ages will break through. In vain theologians may tell us that our imaginations are not exalted enough. The answer (if such a charge must be gravely met) is, that Dante's whole Heaven itself is not exalted enough, how ever wonderful and beautiful in parts. The schools, and the forms of Catholic worship, held even his imagination down. There is more heaven in one placid idea of love than in all these dances and tinklings.]

[Footnote 11:

"Benigno a' suoi, ed a' nimici crudo."

Cruel indeed;--the founder of the Inquisition! The "loving minion"

is Mr. Cary's excellent translation of "_amoroso drudo_." But what a minion, and how loving! With fire and sword and devilry, and no wish (of course) to thrust his own will and pleasure, and bad arguments, down other people's throats! St. Dominic was a Spaniard. So was Borgia.

So was Philip the Second. There seems to have been an inherent semi-barbarism in the character of Spain, which it has never got rid of to this day. If it were not for Cervantes, and some modern patriots, it would hardly appear to belong to the right European community. Even Lope de Vega was an inquisitor; and Mendoza, the entertaining author of Lazarillo de Tormes, a cruel statesman. Cervantes, however, is enough to sweeten a whole peninsula.]

[Footnote 12: What a pity the reporter of this advice had not humility enough to apply it to himself!]

[Footnote 13:

"O sanguis meus, o superinfusa Gratia Dei, sicut tibi, cui Bis unquam coeli janua reclusa?"

The spirit says this in Latin, as if to veil the compliment to the poet in "the obscurity of a learned language." And in truth it is a little strong.]

[Footnote 14:

"Che dentro a gli occhi suoi ardeva un riso Tal, ch' io pensai co' miei toccar lo fondo De la mia grazia e del mio Paradiso."

That is, says Lombardi, "I thought my eyes could not possibly be more favoured and imparadised" (Pensai che non potessero gli occhi miei essere graziati ed imparadisati maggiormente)--_Variorum edition of Dante_, Padua, 1822, vol. iii. p. 373.]

[Footnote 15: Here ensues the famous description of those earlier times in Florence, which Dante eulogises at the expense of his own. See the original pa.s.sage, with another version, in the Appendix.]

[Footnote 16: Bellincion Berti was a n.o.ble Florentine, of the house of the Ravignani. Ciangh.e.l.la is said to have been an abandoned woman, of manners as shameless as her morals. Lapo Salterelli, one of the co-exiles of Dante, and specially hated by him, was a personage who appears to have exhibited the rare combination of judge and fop. An old commentator, in recording his attention to his hair, seems to intimate that Dante alludes to it in contrasting him with Cincinnatus. If so, Lapo might have reminded the poet of what Cicero says of his beloved Caesar;--that he once saw him scratching the top of his head with the tip of his finger, that he might not discompose the locks.]

[Footnote 17:

"Chi ei si furo, e onde venner quivi, Piu e tacer che ragionare onesto."

Some think Dante was ashamed to speak of these ancestors, from the lowness of their origin; others that he did not choose to make them a boast, for the height of it. I suspect, with Lombardi, from his general character, and from the willingness he has avowed to make such boasts (see the opening of canto xvi., Paradise, in the original), that while he claimed for them a descent from the Romans (see Inferno, canto xv. 73, &c.), he knew them to be] poor in fortune, perhaps of humble condition. What follows, in the text of our abstract, about the purity of the old Florentine blood, even in the veins of the humblest mechanic, may seem to intimate some corroboration of this; and is a curious specimen of republican pride and scorn. This horror of one's neighbours is neither good Christianity, nor surely any very good omen of that Italian union, of which "Young Italy" wishes to think Dante such a harbinger.

All this too, observe, is said in the presence of a vision of Christ on the Cross!]

[Footnote 18: The _Column, Verrey_ (vair, variegated, checkered with argent and azure), and the _b.a.l.l.s_ or (Palle d'oro), were arms of old families. I do not trouble the reader with notes upon mere family-names, of which nothing else is recorded.]

[Footnote 19: An allusion, apparently acquiescent, to the superst.i.tious popular opinion that the peace of Florence was bound up with the statue of Mars on the old bridge, at the base of which Buondelmonte was slain.

With this Buondelmonte the dissensions in Florence were supposed to have first begun. Macchiavelli's account of him is, that he was about to marry a young lady of the Amidei family, when a widow of one of the Donati, who had designed her own daughter for him, contrived that he should see her; the consequence of which was, that he broke his engagement, and was a.s.sa.s.sinated. _Historie Fiorentine_, lib. ii.]

[Footnote 20:

"Tu lascerai ogni cosa diletta Piu caramente; e questo e quello strale Che l'arco de l'esilio pria saetta.

Tu proverai s come sa di sale Lo pane altrui, e com'e duro calle Lo scendere e 'l salir per l'altrui scale.

E quel che piu ti gravera le spalle, Sara la compagnia malvagia e scempia Con la qual tu cadrai in questa valle:

Che tutta ingrata, tutta matta ed empia Si fara contra te: ma poco appresso Ella, non tu, n'avra rossa la tempia.

Di sua b.e.s.t.i.a.litate il suo processo Fara la pruova, s ch' a te fia bello Averti fatta parte per te stesso."

[Footnote 21: The Roman eagle. These are the arms of the Scaligers of Verona.]

[Footnote 22: A prophecy of the renown of Can Grande della Scala, who had received Dante at his court.]

[Footnote 23: "Letizia era ferza del paleo"]

[Footnote 24: Supposed to be one of the early Williams, Princes of Orange; but it is doubted whether the First, in the time of Charlemagne, or the Second, who followed G.o.dfrey of Bouillon. Mr. Cary thinks the former; and the mention of his kinsman Rinaldo (Ariosto's Paladin?) seems to confirm his opinion; yet the situation of the name in the text brings it nearer to G.o.dfrey; and Rinoardo (the name of Rinaldo in Dante) might possibly mean "Raimbaud," the kinsman and a.s.sociate of the second William. Robert Guiscard is the Norman who conquered Naples.]

[Footnote 25: Exquisitely beautiful feeling!

[Footnote 29: Most beautiful is this simile of the lark:

"Prima cantando, e poi tace contenta De l'ultima dolcezza che la sazia."

In the _Pentameron and Pentalogia_, Petrarch is made to say, "All the verses that ever were written on the nightingale are scarcely worth the beautiful triad of this divine poet on the lark [and then he repeats them]. In the first of them, do you not see the trembling of her wings against the sky? As often as I repeat them, my ear is satisfied, my heart (like hers) contented.

"_Boccaccio._--I agree with you in the perfect and unrivalled beauty of the first; but in the third there is a redundance. Is not _contenta_ quite enough without _che la sazia?_The picture is before us, the sentiment within us; and, behold, we kick when we are full of manna.

"_Petrarch._--I acknowledge the correctness and propriety of your remark; and yet beauties in poetry must be examined as carefully as blemishes, and even more."--p. 92.

Perhaps Dante would have argued that _sazia_ expresses the satiety itself, so that the very superfluousness becomes a propriety.]

[Footnote 30:

"E come a buon cantor buon citarista Fa seguitar to guizzo de la corda In che piu di piacer lo canto acquista;

S, mentre che parl, mi si ricorda, Ch'io vidi le due luci benedette, Pur come batter d'occhi si concorda,

Con le parole muover le fiammette." ]

[Footnote 31: A corrector of clerical abuses, who, though a cardinal, and much employed in public affairs, preferred the simplicity of a private life. He has left writings, the eloquence of which, according to Tiraboschi, is "worthy of a better age." Petrarch also makes honourable mention of him. See _Cary_, ut sup. p. 169. Dante lived a good while in the monastery of Catria, and is said to have finished his poem there.--_Lombardi in loc._ vol. III. p. 547.]