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RUMP WHISTLE BLOWN
IT is a somewhat remarkable circumstance that outside of his own country
Dante has nowhere been so much read as in England. Next to Italy,
England possesses by far the largest number of Manuscripts of his great
poem, many of which have, no doubt, been in the country from early times.
Our own poet, Chaucer, born seven years after Dante's death, quotes him
several times by name, and borrows from him frequently. Many instances of
this will be found duly recorded in the notes to the present work. One
of the most interesting of the early commentaries on the Di:/ine Comedy
was written at the request of the English Bishops of Salisbury and Bath
and Wells, by the Italian Bishop of Rimini, whom they met at the Council
of Constance?‘ Spenser knew Dante, undoubtedly, and Milton was evidently
very familiar with his works. N0 actual translation into English, however,
appears to have existed till the end of the last century, when the Rev. Henry
Boyd produced a version which cannot be regarded as satisfactory. In
1805 the Rev. H. F. Cary, librarian at the British Museum, published a
translation in blank verse of the first seventeen Cantos of the Inferno,
following it up by other fragmentary issues until the whole appeared com
plete in three small volumes in 1814. Since then translations innumerable
of the whole poem, or portions, have appeared in every sort of metre and
in prose; but it is safe to say that Cary's holds its own. Its verse, if it
seldom rises much above mediocrity, never falls below it; as a translation
HELL.
CANTO I.
The writer, having lost his way in a gloomy forest, and being hindered by certain wild beasts from ascending a
mountain, is met by Virgil, who promises to show him the punishments of Hell, and afterwards of Purgatory ;
and that he shall then be conducted by Beatrice into Paradise. He follows the Roman poet . . . . 3
CANTO II.
After the invocation, which poets are used to prefix to their works, he shows that, on a consideration of his own
strength, he doubted whether it sufficed for the journey proposed to him, but that, being comforted by Virgil,
he at last took courage, and followed him as his guide and master . . . . . . . . . 19
CANTO III.
Dante, following Virgil, comes to the gate of Hell; where, after having read the dreadful words that are written
thereon, they both enter. Here, as he understands from Virgil, those were punished who had passed their
time (for living it could not be called) in a state of apathy and indifference both to good and evil. Then
pursuing their way, they arrive at the river Acheron ; and there find the old ferryman Charon, who takes the
spirits over to the opposite shore; which as soon as Dante reaches, he is seized with terror, and falls into a
trance . . . . . . . . . . ,. . . . . . . . . . . 26
CANTO IV.
The poet, being roused by a clap of thunder, and following his guide onwards, descends into Limbo, which is the
first circle of Hell, where he finds the souls of those who, although they have lived virtuously, and have not to
suffer for great sins, nevertheless, through lack of baptism, merit not the bliss of Paradise. Hence he is led on
by Virgil to descend into the second circle . . . . . . . . . . . . . . 37
CANTO V.
Coming into the second circle of Hell, Dante at the entrance beholds Minos the Infernal Judge, by whom he is
admonished to beware how he enters those regions. Here he witnesses the punishment of carnal sinners, who
are tost about ceaselessly in the dark air by the most furious winds. Amongst these, he meets with Francesca
of Rimini, through pity at whose sad tale he falls fainting to the ground . . . . . . . . 49
CANTO VI.
On his recovery, the poet finds himself in the third circle, where the gluttonous are punished. Their torment is, to
lie in the mire, under a continual and heavy storm of hail, snow, and discoloured water ; Cerberus meanwhile
barking over them with his threefold throat, and rending them piecemeal. One of these, who on earth was
named Ciacco, foretells the divisions with which Florence is about to be distracted. Dante proposes a question
to his guide, who solves it ; and they proceed towards the fourth circle . . . . . . . . 65
CANTO VII.
In the present canto Dante describes his descent into the fourth circle, at the beginning of which he sees Plntus
stationed. Here one like doom awaits the prodigal and the avaricious; which is to mett in direful conflict,
rolling great weights against each other with mutual upbraidings. From hence Virgil takes occasion to s-how
how vain the goods that are committed into the charge of Fortune ; and this moves our author to inquire what
being that Fortune is, of whom he speaks: which question be'ng resolved, they go down into the fifth circle,
where they find the wrathful and gloomy tormented in the Stygian lake. Having made a compass round great
part of this lake, they come at last to the base of a lofty tower . . . . . . . . . . 74
CANTO VIII.
A signal having been made from the tower, Phlegy|m, the ferryman of the lake, speedily crosses it, and conveys
Virgil and Dante to the other side. On their passage they meet with Filippo Argenti, whose fury and torment
are described. They then arrive at the city of Dis, the entrance whereto is denied, and the portals closed
against them by many demons . . . . . . . . . . . . . . . .
CANTO IX. _
After some hindrances, and having seen the hellish furies and other monsters, the poet, by the help of an angel, enters
the city of Dis, wherein he discovers that the hereties are punished in tombs burning with intense fire ; and he,
together with Virgil, passes onwards between the sepulchres and the walls of the city . . . , .
CANTO X
Dante, having obtained permission from his guide, holds discourse with Farinata degli Uberti and Cavalcante Caval
canti, who lie in their fiery tombs that are yet open, and not to be closed up till after the last judgment.
Farinata predicts the poet's exile from Florence ; and shows him that the condemned have knowledge of future
things, but are ignorant of what is at present passing, unless it be revealed by some new comer from earth .
CANTO XI.
Dante arrives at the verge of a rocky precipice which encloses the seventh circle, where he sees the sepulchre of
Anastasius the heretic ; behind the lid of which pausing a little, to make himself capable by degrees of enduring
the fetid smell that steamed upward from the abyss, he is instructed by Virgil concerning the manner in which
the three following circles are disposed, and what description of sinners is punished in each. He then inquires
the reason why the carnal, the gluttonous, the avaricious and prodigal, the wrathful and gloomy, suffer not
their punishments within the city of Dis. He next asks how the crime of usury is an offence against God; and
at length the two poets go towards the place from whence a passage leads down to the seventh circle . .
CANTO XII.
Descending by a very rugged way into the seventh circle, where the violent are punished, Dante and his leader find
it guarded by the Minotattr ; whose fury being pacified by Virgil, they step downwards from crag to crag ; till,
drawing near the bottom, they descry a river of blood, wherein are tormented such as have committed violence
against their neighbour. At these, when they strive to emerge from the blood, a troop of Centaurs, running
along the side of the river, aim their arrows; and three of their band opposing our travellers at the foot of the
steep, Virgil prevails so far, that one consents to carry them both across the stream ; and on their passage Dante
is informed by him of the course of the river, and of those that are punished therein . , ,
CANTO XIII.
Still in the seventh circle, Dante enters its second compartment, which contains both those who have done violence on
their own persons and those who have violently consumed their goods ; the first changed into rough and knotted
trees whereon the harpies build their nests, the latter chased and torn by black female mastiffs. Among the
former, Pietro delle Vigne is one, who tells him the cause of his having committed suicide, and moreover in
what manner the souls are transformed into those trunks. Of the latter crew he recognises Lano, a Siennese,
and Giacomo, a Paduan ; and lastly, a Florentine, who had hung himself from his own roof. speaks to him of
the calamities of his countrymen . . . . . . . . . . . . .
CANTO XIV.
arrive at the beginning of the third of those compartments into which this seventh circle is divided. It is
plain of dry and hot sand, where three kinds of violence are punished ; namely, against God, against Nature.
and against Art ; and those who have thus sinned are tormented by flakes of fire, which are eternally showering
down upon them. Among the violent against God is found Capaneus, whose blasphemies they hear. Next,
turning to the left along the forest of self-slayers, and having journeyed a little onwards, they meet with a
streamlet of blood that issues from the forest and traverses the sandy plain. Here Virgil speaks to our poet of
a huge ancient statue that stands within Mount Ida in Crete, front a fissure in which statue there is a dripping
of tears, from which the said streamlet, together with the three other infernal rivers, are formed
They
CA NTO X V.
Taking their way upon one of the mounds by which the streamlct, spoken of in the last canto, was embanked, and
having gone so far that they could no longer have discemed the fcrest if they had turned round to look for it,
they meet a troop of spirits that come along the sand by the side of the pier. These are they who have done
violence to Nature; and amongst them Dante distinguishes Bruztetto Latini, who had been formerly his master;
with whom, turning a little backward, he holds a discourse which occupies the remainder of this canto .
CANTO XVI.
Journeying along the pier, which crosses the sand, they are now so near the end of it as to hear the noise of the
stream falling into the eighth circle, when they meet the spirits of three military men; who judging Dante,
from his dress, to be a countryman of theirs, entreat him to stop. He complies, and speaks with them.
two poets then reach the place where the water descends, being the termination of this third compartment in
the seventh circle ; and here Virgil having thrown down into the hollow a cord, wherewith Dante was girt, they
behold at that signal a monstrous and horrible figure come swimming up to them
CANTO XVII.
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
CANTO XVIII.
The poet describes the situation and form of the eighth circle, divided into ten gulfs, which contain as many
different descriptions of fraudulent sinners ; but in the present canto he treats only of two sorts : the first is of
those who, either for their own pleasure or for that of another, have seduced any woman from her duty ; and
these are scourged of demons in the first gulf; the other sort is of fiatterers, who in the second gulf are con
demned to remain immersed in filth
CANTO XIX.
They come to the third gulf, wherein are punished those who have been guilty of simony. These are fixed with the
head downwards in certain apertures, so that no more of them than the legs appears without, and on the soles
of their feet are seen burning flames. Dante is taken down by his guide into the bottom ofthe gulf; and
there finds Pope Nicholas V., whose evil deeds, together with those of other pontiffs, are bitterly reprchended.
Virgil then carries him up again to the arch, which affords them a passage over the following gulf
CANTO XX.
The poet relates the punishment of such as presumed. while living, to predict future events. It is to have their faces
reversed and set the contrary way on their limbs, so that, being deprived of the power to see before them, they
are constrained ever to walk backwards. Among these Virgil points out to him Amphiaratis, Tiresias, Aruns,
and Manto (from the mention of whom he takes occasion to speak of the origin of Mantua), together with
several others, who had practised the arts of divination and astrology.
C.,.'TO XXI.
Still in the eighth circle, which bears the name of Malebolge, they look down from the bridge that passes over its
fifth gulf. upon the barterers or public peculators. These are plunged in a lake of boiling piteh, and guarded
by demons, to whom Virgil, leaving Dante apart, presents himself; and licence being obtained to pass
onward, both pursue their way
CANTO XXII.
Virgil and Dante proceed, accompanied by the demons, and see other sinners of the same ‘description in the same
gulf. The device of Ciampolo, one of these, to escape from the demons, who had laid hold on him
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The enraged demons pursue Dante, but he is preserved from them by Virgil. On reaching the sixth gulf, he beholds
the punishment of the hypocrites ; which is, to pace continually round the gulf under the pressure of caps and
hoods that are gilt on the outside, but leaden within. I-Ie is addressed by two of these, Catalano and
Loderingo. knights of Saint Mary, otherwise called Joyous Friars of Bologna. Caiaphas is seen fixed toa
cross on the ground, and lies so stretehed along the way, that all tread on him in passing
CANTO XXIV.
Under the escort of his faithful master, Dante, not without difficulty, makes his way out of the sixth gulf, and in the
seventh sees the robbers tormented by venomous and pestilent serpents. The soul of Vanni Fucci, who had
pillaged the sacristy of Saint James in Pistoia, predicts some calamities that impended over that city, and over
the Florentines .
CANTO XXV.
The sacrilegious Fucci vents his fury in blasphemy, is seized by serpents, and flying is pursued.by Cacus in the form
of a centaur, who is described with a swarm of serpents on his haunch, and a dragon on his shoulders
breathing forth fire. Our poet then meets with the spirits of three of his countrymen, two of whom undergo a
marvellous transformation in his presence
CANTO XXVI.
Remounting by the steps, down which they had descended to the seventh gulf, they go forward to the arch that
stretehes over the eighth, and from thence behold numberless flames wherein are punished the evil
counsellors, each flame containing a sinner, save one, in which were Diomede and Ulysses, the latter of whom
relates the manner of his death
CANTO XXVII.
The poet, treating of the same punishment as in the last canto, relates that he turned towards a flame in which was
the Count Guido da Montefeltro, whose inquiries respecting the state of Romagna he answers; and Guido is
thereby induced to declare who he is, and why condemned to that torment . _ . _ _
CANTO XXVIII.
They arrive in the ninth gulf, where the sowers of scandal, schismaties, and hereties are seen with their limbs
miserably maimed or divided in different ways. Among these the poet finds Mahomet, Piero da Medicina,
Curio, Mosca, and Bertrand de Born . . . . . . . . , . _ , _ _ _
CANTO XXIX.
Dante, at the desire of Virgil, proceeds onward to the bridge that crosses the tenth gulf, from whence he hears the
cries of the alchemists and forgers, who are tormented therein; but not being able to discern anything
on account of the darkness, they descend the rock, that bounds this the last of the Compartments in
which the eighth circle is divided, and then behold the spirits who are afflicted with divers plagues and diseases.
Two of them, namely, Grifolino of Arezzo, and Capocchio of Sienna, are introduced speaking
CANTO XXX.
In the same gulf, other kinds of impostors, as those who have counterfeited the persons of others, or debased the
current coin, or deceived by speech under false pretences, are described as suffering various diseases. Simon
of Troy, and Adamo of Brescia, mutually reproach each other with their several impostures . . ,
CANTO X X X I.
The poets, following the sound ofa loud horn, are led by it to the ninth circle, in which there are four rounds, one
enclosed within the other, and containing as many sorts of traitors; but the present canto shows only that
the circle is encompassed with giants, one of whom, Antzeus, takes them both in his arms and places them at
the bottom of the circle . . . . . . . . . .
CANTO XXXII.
This canto treats of the first, and, in part, of the second of those rounds, into which the ninth and last, or frozen
circle. is divided. In the former, called Caina, Dante finds Camiccione de' Pazzi, who gives him an account
ofother sinners who are there punished; and in the next, named Antenora, he hears in like manner from
Bocca degli Abbati who his fellow-sufferers are . . . . . . . .
>he turned towards a flame
> where the sowers of scandal, schismaties, and hereties are seen with their limbs
>miserably maimed or divided in different ways
> who are tormented therein; but not being able to discern anything
>on account of the darkness,
> other kinds of impostors, as those who have counterfeited the persons of others, or debased the
>current coin, or deceived by speech under false pretences, are described as suffering various diseases.
> many sorts of traitors; but the present canto shows only that
>the circle is encompassed with giants,
>>20581554
> he hears in like manner from
>Bocca degli Abbati who his fellow-sufferers are . . . . . . . .
CANTO XXXIII
The poet is told by Count Ugolino de‘ Gherardeschi of the cruel manner in which he and his children were famished
in the tower at Pisa, by command of the Archbishop Ruggieri. He next discourses of the third round, called
Ptolomea, wherein those are punished who have betrayed others under the semblance of kindness ; and among
these he finds the Friar Alberigo de‘ Manfredi, who tells him of one whose soul was already tormented in that
place, though his body appeared still to be alive upon the earth, being yielded up to the governance of a
fiend .
C.-;'TO XXXIV.
In the fourth and last round of the ninth circle, those who have betrayed their benefactors are wholly covered with
ice. And in the midst is Lucifer, at whose back Dante and Virgil ascend, till by a secret path they reach the
surface of the other hemisphere of the earth, and once more obtain sight of _the stars . .>>20581534
>they go forward to the arch that
>stretehes over the eighth, and from thence behold numberless flames wherein are punished the evil
>counsellors, each flame containing a sinner, save one,
> sees the robbers tormented by venomous and pestilent serpents.
> beholds
>the punishment of the hypocrites ; which is, to pace continually round the gulf under the pressure of caps and
>hoods that are gilt on the outside, but leaden within.
> the barterers or public peculators. These are plunged in a lake of boiling piteh, and guarded
>by demons,
>they
>behold at that signal a monstrous and horrible figure come swimming up to them
>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,
> the first is of
>those who, either for their own pleasure or for that of another, have seduced any woman from her duty ; and
>these are scourged of demons in the first gulf; the other sort is of fiatterers, who in the second gulf are con
>demned to remain immersed in filth
>punished those who have been guilty of simony. These are fixed with the
>head downwards in certain apertures, so that no more of them than the legs appears without, and on the soles
>of their feet are seen burning flames. Dante is taken down by his guide into the bottom ofthe gulf; and
>there finds Pope Nicholas V., whose evil deeds, together with those of other pontiffs, are bitterly reprchended.
" To every heart that fee's the gentle flame,
To whom this present saying comes in sight,
In that to me their thoughts they may indite,
All health! in Love, our lord and master's name.
Now on its way the sesond quarter came
Of those twelve hours, wherein the stars are bright,
When Love was seen before me, in such might,
As to remember shakes with awe my frame.
Suddenly came he, seeming glad, and keeping
My heart in hand ; and in his arms he had
My lady in a folded garment sleeping
He waked her; and that heart all burning bade
Her feed upon, in lowly guise and sad
Then from my view he tumed; and parted, weeping."
To this sonnet Guido Cavalcanti, amongst others, returned an ansver in a composition of the same
form, endeavouring to give a happy turn to the dream, by which the mind of the poet had been so
deeply impressed. From the intercourse thus begun, when Dante was eighteen years of age, arose that
friendship which terminated only with the death of Guido.
The other sonnet is one that was written after the death of Beatrice :
" Ah, pilgrims! ye that, haply musing, go,
On ought save that which on your road ye meet,
From land so distant, tell me, I entreat,
Come ye, as by your mien and looks ye show?
Why mourn ye not, as through these gates of woe
Ye wend along our city's midmost street,
Even like those who nothing seem to weet
What chance hath fall‘n, why she is grieving so
If ye to listen but a while would stay,
Well knows this heart, which inly sigheth sore,
That ye would then pass, weeping on your way.
Oh, hear: her Beatrice is no more
And words there are a man of her might say,
Would make a stranger's eye that loss deplore.
>>20581595
OH NO
JOHN FORE GOT A JOB AT LIQUR STORE TO HIDE INHERITANCE
he thus describes it as acting throughout the several stages of life :
“ L' anlma, cui adorna," &c.
“ The soul, that goodness like to this adorns,
Holdeth it not conceal'd;
But, from her first espousal to the frame,
Shows it, till death, reveal'd.
Obedient, sweet, and full of seemly shame,
She, in the primal age,
The person decks with beauty; moulding it
Filly through every part.
In ripcr manhood, temperate, firm of heart
With love replenish'd, and with courteous praise,
In loyal deeds alone she hath delight.
And, in her elder days,
For prudent and just largeness is she known ;
Rejoicing with herself,
That wisdom in her staid discourse be shown.
Then, in life's fourth division, at the last
She weds with God again.
Contemplating the end she shall attain:
And looketh back; and blesseth the time past.
His lyric poems, indeed, generally stand much in need of a comment to explain them ; but the
difficulty arises rather from the thoughts themselves, than from any imperfection of the language in
which those thoughts are conveyed. Yet they abound not only in deep moral reflections, but in
touches of tenderness and passion.
Some, it has been already intimated, have supposed that Beatrice was only a creature of Dante's
imagination ; and there can be no question but that he has invested her, in the “ Divina Commedia,”
with the attributes of an allegorical being. But who can doubt of her having had a real existence, when
she is spoken of in such a strain of passion as in these lines?
" Quel ch‘ ella par, quando un poco sorride,
Non si pub dicer ne tenere a mente,
Si E: nuovo miracolo e gentile."—I1ira Nuoz"a
>20k mortgages catch duh juwish lighening frum tom hanks fault dwayne duz oprahrocks
>an duh gahy cowboy kant chuut straight eithur
>20k mortgages catch duh juwish lighening frum tom hanks fault dwayne duz oprahrocks
>an duh gahy cowboy kant chuut straight eithur
>>20k mortgages catch duh juwish lighening frum tom hanks fault dwayne duz oprahrocks