The Divine Comedy - Dante Alighieri (good e books to read txt) 📗

sun.] At Jerusalem it was dawn, in Spain midnight, and in India noonday, while it was sunset in Purgatory v. 10. Blessed.] Matt. c. v. 8.

 

v. 57. Come.] Matt. c. xxv. 34.

 

v. 102. I am Leah.] By Leah is understood the active life, as Rachel figures the contemplative. The divinity is the mirror in which the latter looks. Michel Angelo has made these allegorical personages the subject of two statues on the monument of Julius II. in the church of S. Pietro in Vincolo. See Mr. Duppa’s Life of Michel Angelo, Sculpture viii. And x. and p 247.

 

v. 135. Those bright eyes.] The eyes of Beatrice.

 

CANTO XXVIII

 

v. 11. To that part.] The west.

 

v. 14. The feather’d quiristers] Imitated by Boccaccio, Fiammetta, 1. iv. “Odi i queruli uccelli,” &c. —“Hear the querulous birds plaining with sweet songs, and the boughs trembling, and, moved by a gentle wind, as it were keeping tenor to their notes.”

 

v. 7. A pleasant air.] Compare Ariosto, O. F. c. xxxiv. st. 50.

 

v. Chiassi.] This is the wood where the scene of Boccaccio’s sublimest story is laid. See Dec. g. 5. n. 8. and Dryden’s Theodore and Honoria Our Poet perhaps wandered in it daring his abode with Guido Novello da Polenta.

 

v. 41. A lady.] Most of the commentators suppose, that by this lady, who in the last Canto is called Matilda, is to be understood the Countess Matilda, who endowed the holy see with the estates called the Patrimony of St. Peter, and died in 1115. See G. Villani, 1. iv. e. 20 But it seems more probable that she should be intended for an allegorical personage.

 

v. 80. Thou, Lord hast made me glad.] Psalm xcii. 4

 

v. 146. On the Parnassian mountain.]

In bicipiti somniasse Parnasso.

Persius Prol.

 

CANTO XXIX

 

v. 76. Listed colours.]

Di sette liste tutte in quel colori, &c.

—a bow

Conspicuous with three listed colours gay.

Milton, P. L. b. xi. 865.

 

v. 79. Ten paces.] For an explanation of the allegorical meaning of this mysterious procession, Venturi refers those “who would see in the dark” to the commentaries of Landino, Vellutello, and others: and adds that it is evident the Poet has accommodated to his own fancy many sacred images in the Apocalypse. In Vasari’s Life of Giotto, we learn that Dante recommended that book to his friend, as affording fit subjects for his pencil.

 

v. 89. Four.] The four evangelists.

 

v. 96. Ezekiel.] Chap. 1. 4.

 

v. 101. John.] Rev. c. iv. 8.

 

v. 104. Gryphon.] Under the Gryphon, an imaginary creature, the forepart of which is an eagle, and the hinder a lion, is shadowed forth the union of the divine and human nature in Jesus Christ.

The car is the church.

 

v. 115. Tellus’ prayer.] Ovid, Met. 1. ii. v. 279.

 

v. 116. ‘Three nymphs.] The three evangelical virtues: the first Charity, the next Hope, and the third Faith. Faith may be produced by charity, or charity by faith, but the inducements to hope must arise either from one or other of these.

 

v. 125. A band quaternion.] The four moral or cardinal virtues, of whom Prudence directs the others.

 

v. 129. Two old men.] Saint Luke, characterized as the writer of the Arts of the Apostles and Saint Paul.

 

v. 133. Of the great Coan.] Hippocrates, “whom nature made for the benefit of her favourite creature, man.”

 

v. 138. Four others.] “The commentators,” says Venturi; “suppose these four to be the four evangelists, but I should rather take them to be four principal doctors of the church.”

Yet both Landino and Vellutello expressly call them the authors of the epistles, James, Peter, John and Jude.

 

v. 140. One single old man.] As some say, St. John, under his character of the author of the Apocalypse. But in the poem attributed to Giacopo, the son of our Poet, which in some MSS, accompanies the original of this work, and is descriptive of its plan, this old man is said to be Moses.

 

E’l vecchio, ch’ era dietro a tutti loro Fu Moyse.

 

And the old man, who was behind them all, Was Moses.

See No. 3459 of the Harl. MSS. in the British Museum.

 

CANTO XXX

 

v. 1. The polar light.] The seven candlesticks.

 

v. 12. Come.] Song of Solomon, c. iv. 8.

 

v. 19. Blessed.] Matt. c. xxi. 9.

 

v. 20. From full hands.] Virg. Aen 1. vi. 884.

 

v. 97. The old flame.]

Agnosco veteris vestigia flammae

Virg. Aen. I. I. 23.

 

Conosco i segni dell’ antico fuoco.

Giusto de’ Conti, La Bella Mano.

 

v. 61. Nor.] “Not all the beauties of the terrestrial Paradise; in which I was, were sufficient to allay my grief.”

 

v. 85. But.] They sang the thirty-first Psalm, to the end of the eighth verse.

 

v. 87. The living rafters.] The leafless woods on the Apennine.

 

v. 90. The land whereon no shadow falls.] “When the wind blows, from off Africa, where, at the time of the equinox, bodies being under the equator cast little or no shadow; or, in other words, when the wind is south.”

 

v. 98. The ice.] Milton has transferred this conceit, though scarcely worth the pains of removing, into one of his Italian poems, son.

 

CANTO XXXI

 

v. 3. With lateral edge.] The words of Beatrice, when not addressed directly to himself, but speaking to the angel of hell, Dante had thought sufficiently harsh.

 

v. 39. Counter to the edge.] “The weapons of divine justice are blunted by the confession and sorrow of the offender.”

 

v. 58. Bird.] Prov. c. i. 17

 

v. 69. From Iarbas’ land.] The south.

 

v. 71. The beard.] “I perceived, that when she desired me to raise my beard, instead of telling me to lift up my head, a severe reflection was implied on my want of that wisdom which should accompany the age of manhood.”

 

v. 98. Tu asperges me.] A prayer repeated by the priest at sprinkling the holy water.

 

v. 106. And in the heaven are stars.] See Canto I. 24.

 

v. 116. The emeralds.] The eyes of Beatrice.

 

CANTO XXXII

 

v. 2. Their ten years’ thirst.] Beatrice had been dead ten years.

 

v. 9. Two fix’d a gaze.] The allegorical interpretation of Vellutello whether it be considered as justly terrible from the text or not, conveys so useful a lesson, that it deserves our notice. “The understanding is sometimes so intently engaged in contemplating the light of divine truth in the scriptures, that it becomes dazzled, and is made less capable of attaining such knowledge, than if it had sought after it with greater moderation”

 

v. 39. Its tresses.] Daniel, c. iv. 10, &c.

 

v. 41. The Indians.]

Quos oceano proprior gerit India lucos.

Virg. Georg. 1. ii. 122,

Such as at this day to Indians known.

Milton, P. L. b. ix. 1102.

 

v. 51. When large floods of radiance.] When the sun enters into Aries, the constellation next to that of the Fish.

 

v. 63. Th’ unpitying eyes.] See Ovid, Met. 1. i. 689.

 

v. 74. The blossoming of that fair tree.] Our Saviour’s transfiguration.

 

v. 97. Those lights.] The tapers of gold.

 

v. 101. That true Rome.] Heaven.

 

v. 110. The bird of Jove.] This, which is imitated from Ezekiel, c. xvii. 3, 4. appears to be typical of the persecutions which the church sustained from the Roman Emperors.

 

v. 118. A fox.] By the fox perhaps is represented the treachery of the heretics.

 

v. 124. With his feathers lin’d.]. An allusion to the donations made by the Roman Emperors to the church.

 

v. 130. A dragon.] Probably Mahomet.

 

v. 136. With plumes.] The donations before mentioned.

 

v. 142. Heads.] By the seven heads, it is supposed with sufficient probability, are meant the seven capital sins, by the three with two horns, pride, anger, and avarice, injurious both to man himself and to his neighbor: by the four with one horn, gluttony, lukewarmness, concupiscence, and envy, hurtful, at least in their primary effects, chiefly to him who is guilty of them.

 

v. 146. O’er it.] The harlot is thought to represent the state of the church under Boniface VIII and the giant to figure Philip IV of France.

 

v. 155. Dragg’d on.] The removal of the Pope’s residence from Rome to Avignon is pointed at.

 

CANTO XXXIII

 

v. 1. The Heathen.] Psalm lxxix. 1.

 

v. 36. Hope not to scare God’s vengeance with a sop.] “Let not him who hath occasioned the destruction of the church, that vessel which the serpent brake, hope to appease the anger of the Deity by any outward acts of religious, or rather superstitious, ceremony, such as was that, in our poet’s time, performed by a murderer at Florence, who imagined himself secure from vengeance, if he ate a sop of bread in wine, upon the grave of the person murdered, within the space of nine days.”

 

v. 38. That eagle.] He prognosticates that the Emperor of Germany will not always continue to submit to the usurpations of the Pope, and foretells the coming of Henry VII Duke of Luxembourg signified by the numerical figures DVX; or, as Lombardi supposes, of Can Grande della Scala, appointed the leader of the Ghibelline forces. It is unnecessary to point out the imitation of the Apocalypse in the manner of this prophecy.

 

v. 50. The Naiads.] Dante, it is observed, has been led into a mistake by a corruption in the text of Ovid’s Metam. I. vii.

75, where he found—

Carmina Naiades non intellecta priorum; instead of Carmina Laiades, &c. as it has been since corrected.

Lombardi refers to Pansanias, where “the Nymphs” are spoken of as expounders of oracles for a vindication of the poet’s accuracy.

Should the reader blame me for not departing from the error of the original (if error it be), he may substitute Events shall be the Oedipus will solve, &c.

 

v. 67. Elsa’s numbing waters.] The Elsa, a little stream, which flows into the Arno about twenty miles below Florence, is said to possess a petrifying quality.

 

v. 78. That one brings home his staff inwreath’d with palm.]

“For the same cause that the pilgrim, returning from Palestine, brings home his staff, or bourdon, bound with palm,” that is, to show where he has been.

 

Che si reca ‘I bordon di palma cinto.

 

“In regard to the word bourdon, why it has been applied to a pilgrim’s staff, it is not easy to guess. I believe, however that this name has been given to such sort of staves, because pilgrims usually travel and perform their pilgrimages on foot, their staves serving them instead of horses or mules, then called bourdons and burdones, by writers in the middle ages.”

Mr. Johnes’s Translation of Joinville’s Memoirs.

Dissertation xv, by M. du Cange p. 152. 4to. edit.

The word is thrice used by Chaucer in the Romaunt of the Rose.

 

PARADISE

 

CANTO I

 

His glory, by whose might all things are mov’d, Pierces the universe, and in one part Sheds more resplendence, elsewhere less. In heav’n, That largeliest of his light partakes, was I, Witness of things, which to relate again Surpasseth power of him who comes from thence; For that, so near approaching its desire Our intellect is to such depth absorb’d, That memory cannot follow. Nathless all, That in my thoughts I of that sacred realm Could store, shall now be matter of my song.

Benign Apollo! this last