The Divine Comedy by Dante Alighieri (13 inch ebook reader .txt) 📕

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Hecuba, wife of Priam of Troy, and mother of Polyxena and Polydorus. Ovid, XIII, Stanyan’s Tr.:⁠—

“When on the banks her son in ghastly hue
Transfixed with Thracian arrows strikes her view,
The matrons shrieked; her big swoln grief surpassed
The power of utterance; she stood aghast;
She had nor speech, nor tears to give relief:
Excess of woe suppressed the rising grief.
Lifeless as stone, on earth she fix’d her eyes;
And then look’d up to Heav’n with wild surprise,
Now she contemplates o’er with sad delight
Her son’s pale visage; then her aking sight
Dwells on his wounds: she varies thus by turns,
Till with collected rage at length she burns,
Wild as the mother-lion, when among
The haunts of prey she seeks her ravished young:
Swift flies the ravisher; she marks his trace,
And by the print directs her anxious chase.
So Hecuba with mingled grief and rage
Pursues the king, regardless of her age.
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Fastens her forky fingers in his eyes;
Tears out the rooted balls; her rage pursues,
And in the hollow orbs her hand imbrues.

“The Thracians, fired at this inhuman scene,
With darts and stones assail the frantic queen.
She snarls and growls, nor in an human tone;
Then bites impatient at the bounding stone;
Extends her jaws, as she her voice would raise
To keen invectives in her wonted phrase;
But barks, and thence the yelping brute betrays.”

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Griffolino d’Arezzo, mentioned in Canto XXIX 109. ↩

The same “mad sprite,” Gianni Schicchi, mentioned in line 32. “Buoso Donati of Florence,” says Benvenuto, “although a nobleman and of an illustrious house, was nevertheless like other noblemen of his time, and by means of thefts had greatly increased his patrimony. When the hour of death drew near, the sting of conscience caused him to make a will in which he gave fat legacies to many people; whereupon his son Simon, (the Ottimo says his nephew,) thinking himself enormously aggrieved, suborned Vanni Schicchi dei Cavalcanti, who got into Buoso’s bed, and made a will in opposition to the other. Gianni much resembled Buoso.” In this will Gianni Schicchi did not forget himself, while making Simon heir; for, according to the Ottimo, he put this clause into it: “To Gianni Schicchi I bequeath my mare.” This was the “lady of the herd,” and Benvenuto adds, “none more beautiful was to be found in Tuscany; and it was valued at a thousand florins.” ↩

Messer Adamo, a false-coiner of Brescia, who at the instigation of the Counts Guido, Alessandro, and Aghinolfo of Romena, counterfeited the golden florin of Florence, which bore on one side a lily, and on the other the figure of John the Baptist. ↩

Tasso, Gerusalemme, XIII 60, Fairfax’s Tr.:⁠—

“He that the gliding rivers erst had seen
Adown their verdant channels gently rolled,
Or filling streams, which to the valleys green,
Distilled from tops of Alpine mountains cold,
Those he desired in vain, new torments been
Augmented thus with wish of comforts old;
Those waters cool he drank in vain conceit,
Which more increased his thirst, increased his heat.”

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The upper valley of the Arno is in the province of Cassentino. Quoting these three lines. Ampère, Voyage Dantesque, 246, says:⁠—

“In these untranslatable verses, there is a feeling of humid freshness, which almost makes one shudder. I owe it to truth to say, that the Cassentine was a great deal less fresh and less verdant in reality than in the poetry of Dante, and that in the midst of the aridity which surrounded me, this poetry, by its very perfection, made one feel something of the punishment of Master Adam.”

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Forsyth, Italy, 116, says:⁠—

“The castle of Romena, mentioned in these verses, now stands in ruins on a precipice about a mile from our inn, and not far off is a spring which the peasants call Fonte Branda. Might I presume to differ from his commentators, Dante, in my opinion, does not mean the great fountain of Siena, but rather this obscure spring; which, though less known to the world, was an object more familiar to the poet himself, who took refuge here from proscription, and an image more natural to the coiner who was burnt on the spot.”

Ampère is of the same opinion, Voyage Dantesque, 246:⁠—

“The Fonte Branda, mentioned by Master Adam, is assuredly the fountain thus named, which still flows not far from the tower of Romena, between the place of the crime and that of its punishment.”

On the other hand, Mr. Barlow, Contributions, remarks:⁠—

“This little fount was known only to so few, that Dante, who wrote for the Italian people generally, can scarcely be thought to have meant this, when the famous Fonte Branda at Siena was, at least by name, familiar to them all, and formed an image more in character with the insatiable thirst of Master Adam.”

Poetically the question is of slight importance; for, as Fluellen says:⁠—

“There is a river in Macedon, and there is also moreover a river at Monmouth,⁠ ⁠… and there is salmons in both.”

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This line and line 11 of Canto XXIX are cited by Gabrielle Rossetti in confirmation of his theory of the “Principal Allegory of the Inferno,” that the city of Dis is Rome. He says, Spirito Antipapale, I 62, Miss Ward’s Tr.:⁠—

“This well is surrounded by a high wall, and the wall by a vast trench; the circuit of the trench is twenty-two miles, and that of the wall eleven miles. Now the outward trench of the walls of Rome (whether real or imaginary we say not) was reckoned by Dante’s contemporaries to be exactly twenty-two miles; and the walls of the city were then, and still are, eleven miles round. Hence it is clear, that the wicked time which looks into Rome, as into a mirror, sees there the corrupt place which is the final goal to its waters or people, that is, the figurative Rome, ‘dread seat of Dis.’ ”

The trench here