V. 72. If the power.] “If thou didst delay thy repentance to the last,

when thou hadst lost the power of sinning, how happens it thou art arrived here so early?” v. 76. Lower.] In the Ante-Purgatory. See Canto II. v. 80. My Nella.] The wife of Forese. v. 87. The tract most barb’rous of Sardinia’s isle.] The Barbagia is part of Sardinia, to which that name was given, on account of the uncivilized state of its inhabitants, who are said to have gone nearly naked. v. 91. The’ unblushing domes of Florence.] Landino’s note exhibits a curious instance of the changeableness of his countrywomen. He even goes beyond the acrimony of the original. “In those days,” says the commentator, “no less than in ours, the Florentine ladies exposed the neck and bosom, a dress, no doubt, more suitable to a harlot than a matron. But, as they changed soon after, insomuch that they wore collars up to the chin, covering the whole of the neck and throat, so have I hopes they will change again; not indeed so much from motives of decency, as through that fickleness, which pervades every action of their lives.” v. 97. Saracens.] “This word, during the middle ages, was indiscriminately applied to Pagans and Mahometans; in short, to all nations (except the Jew’s) who did not profess Christianity.” Mr. Ellis’s specimens of Early English Metrical Romances, vol. i. page 196, a note. Lond. 8vo. 1805. CANTO XXIV v. 20. Buonaggiunta.] Buonaggiunta Urbiciani, of Lucca. “There is a canzone by this poet, printed in the collection made by the Giunti, (p. 209,).land a sonnet to Guido Guinicelli in that made by Corbinelli, (p 169,) from which we collect that he lived not about 1230, as Quadrio supposes, (t. ii. p. 159,) but towards the end of the thirteenth century. Concerning, other poems by Buonaggiunta, that are preserved in MS. in some libraries, Crescimbeni may be consulted.” Tiraboschi, Mr. Matthias’s ed. v. i. p. 115. v. 23. He was of Tours.] Simon of Tours became Pope, with the title of Martin IV in 1281 and died in 1285. v. 29. Ubaldino.] Ubaldino degli Ubaldini, of Pila, in the Florentine territory. v. 30. Boniface.] Archbishop of Ravenna. By Venturi he is called Bonifazio de Fieschi, a Genoese, by Vellutello, the son of the above, mentioned Ubaldini and by Laudino Francioso, a Frenchman. v. 32. The Marquis.] The Marchese de’ Rigogliosi, of Forli. v. 38. gentucca.] Of this lady it is thought that our Poet became enamoured during his exile. v. 45. Whose brow no wimple shades yet.] “Who has not yet assumed the dress of a woman.” v. 46. Blame it as they may.] See Hell, Canto XXI. 39. v. 51. Ladies, ye that con the lore of love.]Donne ch’ avete intelletto d’amore.The first verse of a canzone in our author’s Vita Nuova. v. 56. The Notary.] Jucopo da Lentino, called the Notary, a poet of these times. He was probably an Apulian: for Dante, (De Vulg. Eloq. I. i. c 12.) quoting a verse which belongs to a canzone of his published by the Giunti, without mentioning the writer’s name, terms him one of “the illustrious Apulians,” praefulgentes Apuli. See Tiraboschi, Mr. Matthias’s edit. vol. i. p. 137. Crescimbeni (1. i. Della Volg. Poes p. 72. 4to. ed. 1698) gives an extract from one of his poems, printed in Allacci’s Collection, to show that the whimsical compositions called “Ariette “ are not of modern invention. v. 56. Guittone.] Fra Guittone, of Arezzo, holds a distinguished place in Italian literature, as besides his poems printed in the collection of the Giunti, he has left a collection of letters, forty in number, which afford the earliest specimen of that kind of writing in the language. They were published at Rome in 1743, with learned illustrations by Giovanni Bottari. He was also the first who gave to the sonnet its regular and legitimate form, a species of composition in which not only his own countrymen, but many of the best poets in all the cultivated languages of modern Europe, have since so much delighted. Guittone, a native of Arezzo, was the son of Viva di Michele. He was of the order of the “ Frati Godenti,” of which an account may be seen in the Notes to Hell, Canto XXIII. In the year 1293, he founded a monastery of the order of Camaldoli, in Florence, and died in the following year. Tiraboschi, Ibid. p. 119. Dante, in the Treatise de Vulg. Eloq. 1. i. c. 13, and 1. ii. c. 6., blames him for preferring the plebeian to the mor courtly style; and Petrarch twice places him in the company of our Poet. Triumph of Love, cap. iv. and Son. Par. See “Sennuccio mio” v. 63. The birds.] Hell, Canto V. 46, Euripides, Helena, 1495, and Statius; Theb. 1. V. 12. v. 81. He.] Corso Donati was suspected of aiming at the sovereignty of Florence. To escape the fury of his fellow citizens, he fled away on horseback, but failing, was overtaken and slain, A.D. 1308. The contemporary annalist, after relating at length the circumstances of his fate, adds, “that he was one of the wisest and most valorous knights the best speaker, the most expert statesman, the most renowned and enterprising, man of his age in Italy, a comely knight and of graceful carriage, but very worldly, and in his time had formed many conspiracies in Florence and entered into many scandalous practices, for the sake of attaining state and lordship.” G. Villani, 1. viii. c. 96. The character of Corso is forcibly drawn by another of his contemporaries Dino Compagni. 1. iii., Muratori, Rer. Ital. Script. t. ix. p. 523. v. 129. Creatures of the clouds.] The Centaurs. Ovid. Met. 1. fab. 4 v. 123. The Hebrews.] Judges, c. vii. CANTO XXV v. 58. As sea-sponge.] The fetus is in this stage is zoophyte. v. 66. -More wise Than thou, has erred.] Averroes is said to be here meant. Venturi refers to his commentary on Aristotle, De Anim 1. iii. c. 5. for the opinion that there is only one universal intellect or mind pervading every individual of the human race. Much of the knowledge displayed by our Poet in the present Canto appears to have been derived from the medical work o+ Averroes, called the Colliget. Lib. ii. f. 10. Ven. 1400. fol. v. 79. Mark the sun’s heat.] Redi and Tiraboschi (Mr. Matthias’s ed. v. ii. p. 36.) have considered this an anticipation of a profound discovery of Galileo’s in natural philosophy, but it is in reality taken from a passage in Cicero “de Senectute,” where, speaking of the grape, he says, “ quae, et succo terrae et calore solis augescens, primo est peracerba gustatu, deinde maturata dulcescit.” v. 123. I do, not know a man.] Luke, c. i. 34. v. 126. Callisto.] See Ovid, Met. 1. ii. fab. 5. CANTO XXVI v. 70. Caesar.] For the opprobrium east on Caesar’s effeminacy, see Suetonius, Julius Caesar, c. 49. v. 83. Guinicelli.] See Note to Canto XI. 96. v. 87. lycurgus.] Statius, Theb. 1. iv. and v. Hypsipile had left her infant charge, the son of Lycurgus, on a bank, where it was destroyed by a serpent, when she went to show the Argive army the river of Langia: and, on her escaping the effects of Lycurgus’s resentment, the joy her own children felt at the sight of her was such as our Poet felt on beholding his predecessor Guinicelli. The incidents are beautifully described in Statius, and seem to have made an impression on Dante, for he again (Canto XXII. 110.) characterizes Hypsipile, as her- Who show’d Langia’s wave. v. 111. He.] The united testimony of Dante, and of Petrarch, in his Triumph of Love, e. iv. places Arnault Daniel at the head of the Provencal poets. That he was born of poor but noble parents, at the castle of Ribeyrae in Perigord, and that he was at the English court, is the amount of Millot’s information concerning him (t. ii. p. 479). The account there given of his writings is not much more satisfactory, and the criticism on them must go for little better than nothing. It is to be regretted that we have not an opportunity of judging for ourselves of his “love ditties and his tales of prose “ Versi d’amore e prose di romanzi. Our Poet frequently cities him in the work De Vulgari Eloquentia. According to Crescimbeni, (Della Volg. Poes. 1. 1. p. 7. ed. 1698.) He died in 1189. v. 113. The songster of Limoges.] Giraud de Borneil, of Sideuil, a castle in Limoges. He was a troubadour, much admired and caressed in his day, and appears to have been in favour with the monarchs of Castile, Leon, Navarre, and Arragon He is quoted by Dante, De Vulg. Eloq., and many of his poems are still remaining in MS. According to Nostradamus he died in 1278. Millot, Hist. Litt. des Troub. t. ii. p. 1 and 23. But I suspect that there is some error in this date, and that he did not live to see so late a period. v. 118. Guittone.] See Cano XXIV. 56. v. 123. Far as needs.] See Canto XI. 23. v. 132. Thy courtesy.] Arnault is here made to speak in his own tongue, the Provencal. According to Dante, (De Vulg. Eloq. 1. 1. c. 8.) the Provencal was one language with the Spanish. What he says on this subject is so curious, that the reader will perhaps not be displeased it I give an abstract of it. He first makes three great divisions of the European languages. “One of these extends from the mouths of the Danube, or the lake of Maeotis, to the western limits of England, and is bounded by the limits of the French and Italians, and by the ocean. One idiom obtained over the whole of this space: but was afterwards subdivided into, the Sclavonian, Hungarian, Teutonic, Saxon, English, and the vernacular tongues of several other people, one sign remaining to all, that they use the affirmative io, (our English ay.) The whole of Europe, beginning from the Hungarian limits and stretching towards the east, has a second idiom which reaches still further than the end of Europe into Asia. This is the Greek. In all that remains of Europe, there is a third idiom subdivided into three dialects, which may be severally distinguished by the use of the affirmatives, oc, oil, and si; the first spoken by the Spaniards, the next by the French, and the third by the Latins (or Italians). The first occupy the western part of southern Europe, beginning from the limits of the Genoese. The third occupy the eastern part from the said limits, as far, that is, as the promontory of Italy, where the Adriatic sea begins, and to Sicily. The second are in a manner northern with respect to these for they have the Germans to the east and north, on the west they are bounded by the English sea, and the mountains of Arragon, and on the south by the people of Provence and the declivity of the Apennine.” Ibid. c. x. “Each of these three,” he observes, “has its own claims to distinction The excellency of the French language consists in its being best adapted, on account of its facility and agreeableness, to prose narration, (quicquid redactum, sive inventum est ad vulgare prosaicum suum est); and he instances the books compiled on the gests of the Trojans and Romans and the delightful adventures of King Arthur, with many other histories and works of instruction. The Spanish (or Provencal) may boast of its having produced such as first cultivated in this as in a more perfect and sweet language, the vernacular poetry: among whom are Pierre d’Auvergne, and others more ancient. The privileges of the Latin, or Italian are two: first that it may reckon for its own those writers who have adopted a more sweet and subtle style of poetry, in the number of whom are Cino, da Pistoia and his friend, and the next, that its writers seem to adhere to, certain general rules of grammar, and in so doing give it, in the opinion of the intelligent, a very weighty pretension to preference.” CANTO XXVII v. 1. The 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.