That this dark wave resounded, roaring loud,
So that the ear its clamour soon had stunn’d.
I had a cord9 that brac’d my girdle round,
Wherewith I erst had thought fast bound to take
The painted leopard. This when I had all
Unloosen’d from me (so my master bade)
I gather’d up, and stretch’d it forth to him.
Then to the right he turn’d, and from the brink
Standing few paces distant, cast it down
Into the deep abyss. “And somewhat strange,”
Thus to myself I spake, “signal so strange
Betokens, which my guide with earnest eye
Thus follows.” Ah! what caution must men use
With those who look not at the deed alone,
But spy into the thoughts with subtle skill!
“Quickly shall come,” he said, “what I expect,
Thine eye discover quickly, that whereof
Thy thought is dreaming.” Ever to that truth,
Which but the semblance of a falsehood wears,
A man, if possible, should bar his lip;
Since, although blameless, he incurs reproach.
But silence here were vain; and by these notes
Which now I sing, reader! I swear to thee,
So may they favour find to latest times!
That through the gross and murky air I spied
A shape come swimming up, that might have quell’d
The stoutest heart with wonder, in such guise
As one returns, who hath been down to loose
An anchor grappled fast against some rock,
Or to aught else that in the salt wave lies,
Who upward springing close draws in his feet.
Footnotes
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 overhearing this, she arose from her seat, and blushing, desired her father that he would not be so liberal in his offers. The Emperor was delighted by her resolute modesty, 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 was father of Guidoguerra, who, at the head of four hundred Florentines of the Guelf party, was signally instrumental to the victory of Charles of Anjou at Benevento, over Manfredi, King of Naples, in 1265. One consequence of this was the expulsion of the Ghibellini and the re-establishment of the Guelfi at Florence.
2 Tegghiaio Aldobrandi endeavored to dissuade the Florentines from the attack which they meditated against the Siennese; the rejection of his counsel occasioned the defeat which the former sustained at Montaperto, and the consequent banishment of the Guelfi from Florence.
3 Giacopo Rusticucci, a Florentine, remarkable for his opulence and generosity of spirit.
4 Guglielmo Borsiere, a Florentine, whom Boccaccio terms “a man of courteous and elegant manners, and of great readiness in conversation.”
5 “Quando ti gioverà dicere io fui.” So Tasso, “G.L.” c. xv. st. 38: “Quando mi gioverà narrar altrui Le novità vedute, e dire; io fui.”
6 He compares the fall of Phlegethon to that of the Montone (a river in Romagna) form 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 There it loses the name of Acquacheta, and takes that of Montone.
8 Either because the abbey was capable of containing more than those who occupied it, or because (says Landino) the lords of that territory had intended to build a castle near the water-fall, and to collect within its walls the population of the neighboring villages.
9 “A cord.” It is believed that our poet in early life, had entered into the order of St. Francis. By observing the rules of that profession he had designed “to take the painted leopard” (that animal represented Pleasure) “with this cord.”)
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 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.
“LO! the fell monster1 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 expos’d 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 armpits, and the back and breast,
And either side, were painted o’er with nodes
And orbits. Colours variegated more
Nor Turks nor Tartars e’er on cloth of state
With