Whether such a sentiment is part of the nature of the poet or whether he understood the sentiment in all its complex structure and with its implications, can be discussed, but it is certain that he knew how to distill the most significant aspects of private justice, applying in his poem the law of contrapasso and creating a work that represents a sublime vendetta against his numerous adversaries. Now the pilgrim becomes the source of wonder to the damned souls. If thou wouldst have me bear up news of thee, 53s’arrestaron nel fosso a riguardarmi S. Botticelli, Struttura dell'Inferno dantesco È il primo dei tre regni dell'Oltretomba cristiano visitato da Dante nel corso del viaggio, con la guida di Virgilio . whose face is opened wide from chin to forelock. [30] Alessandro Niccoli and Giovanni Diurni make the connection between contrapasso and the culture of vendetta in the essay “Vendetta” in the Enciclopedia Dantesca (vendetta will be discussed further in the Commento on Inferno 29): Dante non si sottrae a questo modo di sentire; anzi, immerso nella realtà del suo tempo, ne percepisce con geniale intuizione i motivi più nascosti. When, instead, Guido da Montefeltro says that he heard Virgilio say “Istra ten va, più non t’adizzo” (Go away now, I urge you no more [Inf. That, notwithstanding it was made of brass, Unless too great similitude deceive me. The tiny particle “mo” is the crux of matter: it signals that Guido accepts the idea that he can receive prior absolution for the sin that he will only “now” — “mo” — commit. 129 e sì vestito, andando, mi rancuro». had mourned their blood, shed at the Trojans’ hands, as well as those who fell in the long war The city which once made the long resistance, I surely saw, and it still seems I see, Beside him, Pier di Medicina, with his throat pierced. ©2000—2020 Skuola Network s.r.l. 134sappi ch’i’ son Bertram dal Bornio, quelli The flame already was erect and silent- alive from this abyss, then without fear 36 «O anima che se’ là giù nascosta. of him who shaped it with his instruments). And saw a thing which I should be afraid, Who is this person of the bitter vision.”. 71e cu’ io vidi su in terra latina, [50] Guido uses the lexicon of repentance and conversion, but he scrambles the order — fatally. 28.20-21]). and I said: ‘Since you cleanse me of the sin, that I must now fall into, Father, know: There, where my silence was the worst advice; 116la buona compagnia che l’uom francheggia Down here through Hell, from circle unto circle; (Monarchia 3.1.3; translation Prue Shaw, emphasis mine). Lingua e figure retoriche This is the concept that undergirds the Commedia’s first political canto, Inferno 6. Dante would further have believed, according to the thesis he lays out in his linguistic treatise De vulgari eloquentia, that the literary Latin of the classical poets was abstracted from spoken Latin, in the same way that literary Italian was abstracted from spoken Italian (see Paratore, “Il latino di Dante,” cited in Coordinated Reading). 113e vidi cosa ch’io avrei paura, Dante knew and admired Bertran’s poetry: he cites Bertran de Born as a great poet of arms in De vulgari eloquentia 2.2.9 and praises the troubadour in the Convivio for his liberality (4.11.14). Registro degli Operatori della Comunicazione. those of the lion but those of the fox. . When the pilgrim, speaking to Guido da Montefeltro in Inferno 27, refers to the ‘‘lunga prova’’ endured by Forlì before it reduced the French to a ‘‘sanguinoso mucchio,’’ he is referring to events in which historians assign that same Guido da Montefeltro the central role. In other words, popes sometimes took advantage of the gullibility of Christians and let their delegates suggest the promise of absolution for political advantage. would wish his sight had never seen, will call, Guido and Angiolello to a parley, My voice, and who but now wast speaking Lombard, 18dove sanz’ arme vinse il vecchio Alardo; 19e qual forato suo membro e qual mozzo Thou seest it irks not me, and I am burning. By the betrayal of a tyrant fell. The theatricality also reminds us that conversion is precisely not a performance art: conversion happens not outside, as performed by Guido da Montefeltro in Inferno 27, but inside, and we cannot read what is happening inside the soul. since then, I’ve kept close track, to snatch his scalp; one can’t absolve a man who’s not repented, The law of non-contradiction — which Dante states explicitly in Paradiso 6, verse 21, also in the context of conversion (see Appendix 2 below) — holds that a true statement and its opposite cannot both be true at the same time in the same sense. And one his limb transpierced, and one lopped off, Will make thee triumph in thy lofty seat.’. Not even a church dignitary can do so: hence the archbishop of Cosenza, delegate of Pope Clement IV, mistakenly condemned the saved Manfredi, as Dante carefully points out in Purgatorio 3. Saying: “Speak thou: this one a Latian is.”. Going city by city through the region, Dante explains that, although there is no outright war at present, Romagna is never free of war “in the hearts of its tyrants”: “Romagna tua non è, e non fu mai, / sanza guerra ne’ cuor de’ suoi tiranni” (Your Romagna is not now and never was / quite free of war inside its tyrants’ hearts [Inf. 9di Puglia, fu del suo sangue dolente. 8 col pianto di colui, e ciò fu dritto, 108 e dissi: “Padre, da che tu mi lavi. WHO ever could, e’en with untrammelled words, 37Un diavolo è qua dietro che n’accisma 114sanza più prova, di contarla solo; 115se non che coscïenza m’assicura, 25 Se tu pur mo in questo mondo cieco We have noted Dante’s love of the telling periphrasis, and Guido now uses a linguistic periphrasis to address Virgilio: Virgilio is the one “who was just now speaking Lombard“ (“che parlavi mo lombardo” [Inf. weighed down with stones, near La Cattolica, 2018. 112 Francesco venne poi com’ io fu’ morto, As thou dost know; therefore the keys are two, Urbino and the yoke whence Tiber bursts.”, I still was downward bent and listening, if what I hear is true-ever returned [44] Guido da Montefeltro put great effort into taking the steps that he thought would guarantee his salvation, renouncing his worldly life to become a Franciscan. More than a hundred, when they heard him, stopped he set it on the ground and off he went. I saw myself arrived, when each one ought [6] The simile of the Sicilian bull functions as a transforming medium. to lock and unlock Heaven; for the keys In The Malatesta of Rimini and the Papal State, historian P. J. Jones notes that the ‘‘transformation of local into regional signoria was mainly the work of one man”: this man was Guido da Montefeltro. 58 Poscia che ’l foco alquanto ebbe rugghiato but that he may gain full experience, I, who am dead, must guide him here below, 55 Ora chi se’, ti priego che ne conte; To lower the sails, and coil away the ropes. 127 disse: “Questi è d’i rei del foco furo”; 23com’ io vidi un, così non si pertugia, If it is surprising to learn that Virgilio, who had addressed Ulysses with such manifest respect in Inferno 26, should dismiss him with the words “Go away now”, it is even more surprising to find these words recorded in a coarse Lombard dialect: [10] As I wrote in Dante’s Poets, “We now see what transformation the Sicilian bull has prepared us to accept: Vergil’s ‘S’io meritai di voi’ has become ‘Istra ten va’; the high style has been converted to the low style” (p. 231). and also covers Cervia with his wings. [39] Dante and his peers believed that the Buondelmonte murder of 1216, precipitated by Mosca de’ Lamberti, unleashed the factional strife that still afflicted the city in Dante’s day. Yet he fails, because his heart did not change. And, if so, what form of Lombard did Ciampolo hear? I tr... Recensione di Iolandagallotti - 17-12-2017, Effettua il login o registrati per lasciare una recensione, Skuola.net News è una testata giornalistica iscritta al That which before had pleased me then displeased me; this is as true as that I speak to you.”. 78 ch’al fine de la terra il suono uscie. 132vedi s’alcuna è grande come questa. 28.118-19]). Richard’s older brother, Prince Henry (known by contemporaries as “the young king”, or “re giovane” as Dante calls him in Inf. My Master made reply, “to be tormented; Arrivarono al 3° e ultimo cerchio del 7°girone( usurai e bestemmiatori): un deserto infuocato e dal cielo cadeva una nevicata di fuoco. Believing thus begirt to make amends; In the ninth bolgia of the eighth circle, Dante and Virgilio meet the sowers of scandal and schism. twisted his tail eight times around his hide and surely what I thought would have been true. 28.21). who once was so audacious in his talk! 109E io li aggiunsi: «E morte di tua schiatta»; Between his legs were hanging down his entrails; The lexical saturation of these two canti can be compared visually in the charts below: [6] Inferno 28 signals its virtuosic focus from the outset, opening with a rhetorical question that highlights the narrator and his abilities: [7] In this passage, Dante is saying that he is able to accomplish within the constraints of verse what other writers would not be able to carry off even within the relatively less constrained, and hence easier, medium of prose. But, as this is hidden from us, I speak according to that which appears, and I say that he ought rather to be in the hands of the devil in hell than in Paradise. [16] The Sicilian bull is a likely historical instrument of torture recorded by classical authors as devised for Phalaris, the real tyrant of Agrigento, in Sicily. 88 ché ciascun suo nimico era cristiano, [47] Petrarch, who writes of his “primo giovenile errore” (first youthful error) in the first poem of the Rerum vulgarium fragmenta and tells us repeatedly in poem after poem that he is never truly able to leave the “primo alloro” (first laurel [Rvf 23.167]), adapts the deep logic of Guido’s story to himself. 30dicendo: «Or vedi com’ io mi dilacco! except that I am reassured by conscience, 76 Li accorgimenti e le coperte vie Dante here aligns Mohammed and Fra Dolcino: two religious schismatics, as he sees them. 16a Ceperan, là dove fu bugiardo 46 E ’l mastin vecchio e ’l nuovo da Verrucchio, [35] According to Guido, Boniface sought counsel from the old warrior on how to conquer Palestrina, the stronghold of his Colonna enemies. Governs the Lioncel of the white lair, [52] In Boniface’s impossible sequence, which Guido accepts only because he has not lost the desire to sin, the words are robbed of meaning and have become formal shells, to be manipulated at will. 15 si convertïan le parole grame. 20 la voce e che parlavi mo lombardo, Heaven have I power to lock and to unlock, While Dante goes to great lengths in Inferno 27 to embed conversion and its causality in a temporal process that follows the arrow of time, Petrarch deliberately subverts time and forward motion in his Rerum vulgarium fragmenta, the lyric sequence that recounts his own failure to achieve conversion. In Inferno 25 we find the poet intervening to address the reader: [13] Similarly, in Inferno 28 the following emphatic intervention precedes the arrival of Bertran de Born: “Io vidi certo, ed ancor par ch’io ’l veggia, / un busto sanza capo” (I surely saw, and it still seems I see, / a trunk without a head [Inf. Nor would I deny that it is possible that he is of the number of the blessed in the presence of God, seeing that, though his life was evil and depraved, yet he might in his last moments have made so complete an act of contrition that perchance God had mercy on him and received him into His kingdom. 73rimembriti di Pier da Medicina, Still it appeared with agony transfixed; Thus, by not having any way or issue 48ma per dar lui esperïenza piena. who ever could return into the world, . In a replication of Guido’s failed logic, Petrarch places a poem of “repentance” before a lyric sequence that subsequently and repeatedly celebrates the very act for which he has “already”, in sonnet 1, declared his repentance. 28 dimmi se Romagnuoli han pace o guerra; L'inferno, il purgatorio e il paradiso sono i tre regni della Divina Commedia percorsi durante il viaggio di Dante. insisting that the one who is prepared 27.71]), for sending him back to the state he was in before he became a Franciscan, he effectively acknowledges that he did not truly convert. Then to depart upon the ground he stretched it. Because of the contradiction which consents not. Parted do I now bear my brain, alas ! We note the telling emphasis on the outer vestments of conversion, as though being girt with the Franciscan cord is tantamount to conversion. 77 io seppi tutte, e sì menai lor arte, that in the world your name may still endure.”. Now in Inferno 28 we learn that the counsel of Mosca de’ Lamberti that led to the killing of Buondelmonte de’ Buondelmonti “was the seed of evil for the Tuscans”: “fu mal seme per la gente tosca” (Inf. 1.68]). E io li aggiunsi: «E morte di tua schiatta»” (, I added: “and brought death to your own kinsmen”, http://www.treccani.it/enciclopedia/vendetta_(Enciclopedia-Dantesca)/, a schematic and exemplary canto, in which the souls are more, Dante’s post-Geryon infernal poetics: an emphasis on truth-telling that causes social discomfort and shame, the arc of history can bend toward evil for an entire people: the Jews (in. At his right, Mosca de’ Lamberti, lifting his stumps. and in this garb I move in bitterness.”. 26 caduto se’ di quella dolce terra and with his nose hacked off up to his eyebrows, 21 dicendo “Istra ten va, più non t’adizzo”. 28.108). [40] The encounter with Mosca de’ Lamberti must be added to previous encounters with Florentines who speak to Dante of civic strife and turmoil, going back to Ciacco in Inferno 6. Who put me back into my former sins; How that can be, He knows who so ordains it. Were you to reassemble all the men [25] Bertran, Viscount of Hautefort, soldier, and poet famous for his martial verse, was born circa 1140 and died circa 1212-1215. 21il modo de la nona bolgia sozzo. [1] Inferno 27 is the second of two canti devoted to the sin of fraudulent counsel. where old Alardo conquered without weapons; and then, were one to show his limb pierced through 27che merda fa di quel che si trangugia. And all the others here whom you can see I mean both Messer Guido and Angiolello— 99sempre con danno l’attender sofferse». 27.71]). His conversion did not “take”: he was tempted and he fell. 28.57]). . 17ciascun Pugliese, e là da Tagliacozzo, 28.135), nearly overthrew his father Henry II in 1173. [20] What is a man to do when he is obliged to recount an unbelievable truth? 2 per non dir più, e già da noi sen gia https://digitaldante.columbia.edu/dante/divine-comedy/inferno/inferno-28/ That good companion which emboldens man the hideousness of the ninth abyss. [27] Guido begins his address to Dante with a conditional contrary to fact (verses 61-63), followed by a mistaken deduction from a false premise (verses 64-66). my predecessor did not prize are two.’, Then his grave arguments compelled me so, In Inferno 23.66 Dante compares the leaden capes worn by the hypocrites to the lead mantle supposedly devised as an instrument of torture by Frederick II (there is no documentary confirmation of this torture, whose alleged connection to Frederick is repeated by all the ancient commentators). Which were: “Behold now the sore penalty, And truly my belief had been fulfilled. Rent from the chin to where one breaketh wind. I added: “—and brought death to your own kinsmen”; 25Tra le gambe pendevan le minugia; [22] The human shapes of the sinners of the ninth bolgia are mutilated in ways that represent their mutilation of the body politic, the corporate body of the state or institution that they wounded and harmed. That if foreseeing here be not in vain. [3] These figures also span the globe geographically, as testified by the presence of the two great figures that lend Inferno 28 its notoriety: Mohammed, whom Dante considers responsible for dividing Christianity, and his son-in-law Alì (does Dante consider him responsible for dividing Islam?). Wherefrom I bring the whole of my transgression, Say, if the Romagnuols have peace or war, remember Pier da Medicina if 75che da Vercelli a Marcabò dichina. 39 ma ’n palese nessuna or vi lasciai. I made the son and father enemies: If he is Dante, he feels the weight of social stigma but nonetheless puts on his breastplate of purity and plows ahead, actually upping the ante by troping the already enormous self-consciousness of the original Geryon episode with a new variation. Registrazione: n° 20792 del 23/12/2010 Staying to look in wonder with the others, And of the French a sanguinary heap, A devil is behind here, who doth cleave us 87 e non con Saracin né con Giudei. As the Sicilian bull (that bellowed first 24rotto dal mento infin dove si trulla. Thou, who perhaps wilt shortly see the sun, 131tu che, spirando, vai veggendo i morti: Chiavacci Leonardi cites the tradition according to which Mohammed was believed to have originally been a Christian priest: “Secondo la tradizione medievale dell’Occidente, Maometto era infatti in origine un prete cristiano” (Inferno, p. 836). In Inferno 23 we learned that the counsel of the Pharisees that led to the killing of Christ “was an evil seed for the Jews”: “fu per li Giudei mala sementa” (Inf. With the lament of him, and that was right, Another one, who had his throat pierced through, which is within my trunk. 63 questa fiamma staria sanza più scosse; 64 ma però che già mai di questo fondo 116 perché diede ’l consiglio frodolente, its words might be more near us, words that said: “Now you can see atrocious punishment, to circle after circle, throughout Hell: 97 a guerir de la sua superba febbre; 108che fu mal seme per la gente tosca». 17 su per la punta, dandole quel guizzo Where without arms the old Alardo conquered. The sinners are covered in blood and gore, some even having been eviscerated, as punishment for the discord and conflict they wrought in life. In him regarded, nor in me that cord [11] The suggestive label modo sozzo could be seen as another way of describing the special hybridity that characterizes Malebolgian poetics. Be not more stubborn than the rest have been, 124Di sé facea a sé stesso lucerna, [49] But, as the devil reminds us, absolution requires repentance, and it is not possible to repent for an act that one has not yet committed: the logic of sin and repentance, and therefore of conversion, is temporal. Call to remembrance Pier da Medicina, 91 né sommo officio né ordini sacri Boniface says “finor t’assolvo” — “from now I absolve you” — and Guido echoes in response, making his fatal error when he links the causal conjunction “da che” (since) with the temporal adverb “mo” (now): “Padre, da che tu mi lavi / di quel peccato ov’ io mo cader deggio” (Father, since you cleanse me of the sin / that I must now fall into [Inf. [14] Linguistic issues are inevitably represented by stylistic shifts in Inferno 26 and 27, for Dante does not have the means to represent real linguistic change. And let the two best men of Fano know— 5per lo nostro sermone e per la mente 27.14-15]). And I, who had my answer set already, Departed, like a person sad and crazed. [57] Justinian explains that he once wrongly believed that Christ possessed only a single, divine, nature. And nose cut off close underneath the brows, Arming himself for battle with those who will resent his truth-telling, the author of the political treatise puts on “‘the breastplate of faith’, as Paul exhorts us”: But since truth from its unchangeable throne implores us, and Solomon too, entering the forest of Proverbs, teaches us by his own example to meditate on truth and loathe wickedness; and since our authority on morals, Aristotle, urges us to destroy what touches us closely for the sake of maintaining truth; then having taken heart from the words of Daniel cited above, in which divine power is said to be a shield of the defenders of truth, and putting on “the breast-plate of faith” as Paul exhorts us, afire with that burning coal which one of the seraphim took from the heavenly altar to touch Isaiah’s lips, I shall enter the present arena, and, by his arm who freed us from the power of darkness with his blood, before the eyes of the world I shall cast out the wicked and the lying from the ring. Which otherwise to gain would not be easy.”. when, just behind it, came another flame 68con li altri, innanzi a li altri aprì la canna, As in the pouch of the thieves, here we find a foully realistic matter wedded to virtuosic rhetoric, conjoined in a hybrid style. Because I severed those so joined, I carry— Dante was not exempt from this manner of feeling; in fact, immersed in the reality of his time, he perceived the hidden motivations of vendetta with genial intuition. 23.123). Indeed, Boniface takes pride in his manipulation of people, announcing “Lo ciel poss’io serrare e diserrare”: “Heaven can I lock and unlock” (Inf. The pope promises absolution for a sin not yet committed, and Dante in turn has promised him damnation for a life not yet fulfilled. Columbia University. Il metro è la terzina incatenata. 27.71]) had he truly converted and left those sins behind. Did any one return, if I hear true, 110 lunga promessa con l’attender corto And had no longer but a single ear. [24] Disconversion is a necessary predicate to a meditation on conversion, and in the Commedia Guido da Montefeltro tells a devastating story of failed conversion. The contemporary Christian heretic Fra Dolcino will be here after he dies in 1307; the classical Roman Curio, as well as the moderns Pier da Medicina, Bertran de Born, and Mosca de’ Lamberti, are already present. This principle is stated in logic as A ≠ not A: [41] A final thought on Boniface VIII. 8che già, in su la fortunata terra As discussed in the Commento on Inferno 19, Boniface did not die until 1303, and Dante therefore has to go to great lengths to insert him into a Hell that the pilgrim visited in April of 1300. A trunk without a head walk in like manner to cure his leprosy, sought out Sylvester, 42prima ch’altri dinanzi li rivada. 114 li disse: “Non portar: non mi far torto. Then will do so, that to Focara’s wind I knew them all, and practised so their craft, (“Only Historicize,” pp. [3] The canto of Guido da Montefeltro functions in many ways as an unmasking of the canto of Ulysses. “O soul, that down below there art concealed. With tongue asunder in his windpipe slit, Ulysses recounts his death and the deaths of men in a shipwreck. [12] Although linguistic diversity is a fictional premise of Dante’s afterlife, inhabited by people who speak “Diverse lingue, orribili favelle” (Different languages, horrible tongues [Inf. Here prose is described with the phrase “parole sciolte”, literally “loosened words”. 106gridò: «Ricordera’ti anche del Mosca, And all the rest, whose bones are gathered still. 115 Venir se ne dee giù tra ’ miei meschini La struttura dell'Inferno di Dante - L’inferno descritto da Dante ha la forma di un imbuto. 27.15]). The logic here is simple: commission of a sin requires the soul to will to carry out the sin, and it is not possible to will an act and repent of that act simultaneously. that otherwise they would not find too easy.”. 90 né mercatante in terra di Soldano. In other words he now sees Christ’s dual nature as clearly as on earth we can grasp this elementary principle of logic: [59] The Aristotelian law of non-contradiction is cited by the devil in Inferno 27 in order to prove Guido da Montefeltro’s culpability: Guido’s non-conversion is obvious according to the most basic principles of human logic. 19 udimmo dire: «O tu a cu’ io drizzo 54 tra tirannia si vive e stato franco. 56 non esser duro più ch’altri sia stato, Who changes sides ‘twixt summer—time and winter; And that of which the Savio bathes the flank, That traitor, who sees only with one eye, 101 finor t’assolvo, e tu m’insegna fare and scandal, and for this they now are split. As the tortured victims in the bull attempt to wail, but have their human cries transformed into a bull’s bellowing (a further degradation to amuse the tyrant), so the soul within the flame attempts to speak, but can find no outlet for his voice (Inf. 9 che l’avea temperato con sua lima. We note, too, how the placement of Mohammed picks up from the previous canto’s reference to “Saracens” and the fall of Acre to the Muslims in 1291 (Inf. the law of contradiction won’t allow it.’, O miserable me, for how I started [27] Bertran de Born abetted the rebellions of the sons of King Henry II against their father. “Now say to Fra Dolcino, then, to arm him, 111 ti farà trïunfar ne l’alto seggio”. See now how maimed Mohammed is! [28] Now, Bertran de Born explains that his sundering of father from son in life is reflected in the sundering of his head from his torso in the afterlife: [29] The concept contrapasso is a shorthand for expressing the principle that governs the relationship between what the sinner did in life and what the sinner experiences in the afterlife. [13] What language did Dante imagine the historical Vergil spoke? So that she covers Cervia with her vans. 27.21]). But I remained to look upon the crowd; so cruelly, re—placing every one 28.35). [21] Years later, in the Monarchia, Dante uses a similar image in a similar truth-telling context, an echo that I discuss in the essay “Dante Squares the Circle: Textual and Philosophical Affinities of Monarchia and Paradiso (Solutio Distinctiva in Mon. Ravenna stands as it long years has stood; 53 così com’ ella sie’ tra ’l piano e ’l monte 141dal suo principio ch’è in questo troncone. If all those wounded warriors were assembled and each demonstrated his wounds, the accumulated carnage would in no way equal the foulness of this place: “d’aequar sarebbe nulla / il modo de la nona bolgia sozzo” (it would be nothing to equal the foul mode of the ninth pouch [Inf. Comprende 34 canti. he law of non-contradiction — which Dante states explicitly in. told him: ‘Don’t bear him off; do not cheat me. it had no more to say. (Decameron 1.1.89), So lived, so died Ser Cepperello da Prato, and came to be reputed a saint, as you have heard. Guido uses the lexicon of repentance and conversion, but he scrambles the order — fatally. Only now do we understand the physical effort that is implied by “gittò voce di fuori” (he threw forth his voice [Inf. Inferno di Dante Alighieri: Inferno di Dante riassunto; analisi della struttura e schema dei gironi della prima cantica dell'Inferno di Dante. He is taking the opportunity to underscore his rhetorical virtuosity. 130che fuoro: «Or vedi la pena molesta, No barrel, even though it’s lost a hoop it bring the Novarese the victory But just as Constantine, on Mount Soracte, His conversion did not “take”: he was tempted and he fell. On tirannia, and on Malatesta da Verucchio and Malatestino as quintessential Romagnol typrants, see the Commento on Inferno 12. But the issue is not truly Boniface; the issue is what Boniface revealed about Guido. 94Allor puose la mano a la mascella Who in the moat stood still to look at me, For I was from the mountains there between In other words, the strife that afflicts his Florence, and that has cost him dearly in his own life, is for Dante the bitter fruit grown from the seed sown by Mosca de’ Lamberti. In Hell he is furious at the man who outwitted him and regretful that his brilliant plans to achieve salvation were thwarted. 85 Lo principe d’i novi Farisei, Each tongue that tried would certainly fall short we have returned to meet his blade once more. Of Puglia were lamenting for their blood. and so employed their arts that my renown within the ditch and turned / to look at me. [51] In the above logically sequential order, the words are not mere shells, like poker chips in a game. so that his face was hideous with blood, cried out: “You will remember Mosca, too, 6c’hanno a tanto comprender poco seno. Without war in the bosom of its tyrants; my silence seemed a worse offense than speech, Because I come perchance a little late, 27.20]) and who was saying “‘Istra ten va, più non t’adizzo” (Go away now, I urge you no more [Inf. 86e tien la terra che tale qui meco [34] While Ulysses‘ journey to death and damnation is one of isolated grandeur in both decision-making and execution (the crew are but his pawns, in his telling), Guido da Montefeltro’s story involves a second actor. Behold if any be as great as this. I truly saw, and still I seem to see it, [26] Guido prefaces his story with lines made famous by the poet T. S. Eliot, who uses Inferno 27.61-66 as the epigraph to “The Love Song of J. Alfred Prufrock”, thus offering me and many others our first encounter with Dante’s poetry. The story Guido tells is therefore in some ways more layered and complex, involving a double set of motivations.
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