ANTEUS. Dante and Virgil, in the lowest gulf but one, find the ancient giants bound on rocks or wedged in caverns. From one of these they solicit help, namely,a lift downward into the last abyss, where Lucifer (three-faced, and eternally worrying at each of his mouths, Judas Iscariot, Brutus, and Cassius) is embedded in adamantine ice. The negotiation is conducted with great finesse on the part of Virgil, who assails the monster on his weak side, the “laudum immensa cupido," unextinguished even there, where "hope never comes;" the poet himself, at the same time, betraying, though from the lips of his guide, that pride of conscious power to praise or give renown, which often and unexpectedly throws a passing glory over his human nature, even when the infirmity of the latter is most frankly confessed. -WE journey'd on, and reach'd Anteus, Who stood above the pit's mouth five good ells, And 'tis believed, that, in their war with heaven, Hadst thou been with thy brethren they had triumph'd, -Land us below-(nay, scowl not thus askance)— Where cold congeals Cocytus. Force us not Aid to implore of Tithyus or of Typhon : Bow then, nor grin upon us like a griffin ;* So spake my Master, and in haste the giant Stretch'd forth the hand, whose gripe cramp'd Hercules, To take us up-when Virgil felt his grasp, 66 'Hither," he cried, 66 come hither, let me hold thee;" He caught me, and we both became one burden. Then, as the tower of Carisenda seems "Torcer lo grifo," an Italian phrase for "to make an ugly face." Itself in motion, to the eye beneath, Nor stooping stay'd he, but anon, erect, Rose like a ship's mast from the rocking surge. Dell' Inferno, canto xxxi. CAIN. If, in the scene with Anteus, the emphasis of silence, and the perspicuity of graphic delineation, are happily exemplified, in the following brief passage the force of mere sounds (where no image or personification is presented to the eye) is made to produce a surprising effect. On one of the sloping mazes of the spiral Hill of Purgatory, the travellers having parted with some agreeable company, which had long engaged them, it is said : We knew those friendly spirits heard us going, A voice beside us, lamentably crying, "Ah! every one that findeth me shall slay me!"* And then it fled, like thunder that explodes, All in a moment, from the riven cloud : -Scarce from that sound our ears had truce, when lo! Brake forth another, with astounding peal, "I am Aglauros who was turn'd to stone."+ Closer behind the poet's back I cower'd, -Then was the air in every quarter still. * Genesis iv. 14. Del Purgatorio, canto xiv. Ovid. Metam. lib. ii. FARINATA. In the tenth canto of the "Inferno," where heretics are described as being tormented in tombs of fire, the lids of which are suspended over them till the day of judgment, Dante finds Farinata D'Uberti, an illustrious commander of the Ghibellines, (the adherents of the emperor,) who, at the battle of Monte Aperto, in 1260, had so utterly defeated the Guelfs (the Pope's party) of Florence, that the city lay at the mercy of its enemies, by whom counsel was taken to rase it to the ground; but Farinata, because his bowels yearned towards the place of his nativity, stood up alone to oppose the barbarous design; and partly by monace-having drawn his sword in the midst of the assembly-and partly by persuasion, preserved it from destruction. Notwithstanding this patriotic interference, when the Guelfs afterwards regained the ascendency, he and his kindred were most inveterately proscribed there, and doomed to perpetual exile. The interview between Dante and this magnanimous foe, in those "Regions of sorrow, doleful shades, where peace That comes to all; but torture without end With ever-burning sulphur unconsumed," (Paradise Lost, book i.) is painted with transcendent power of colouring, and stern, undecorated energy of style. To prepare the reader for well understanding the episode, which abruptly breaks through the order of this high dramatic scene, it is necessary to state that Cavalcante Cavalcanti, whose head appears out of an adjacent sepulchre, was the father of Guido Cavalcanti, a poet, the particular friend of Dante, and chief of the Bianchi party, who were banished during his priorship. "O TUSCAN! Thou, who, through this realm of fire, Such sounds Suddenly issued forth from one of those Cried, "Turn again! what wouldst thou do? Behold There mayst thou see him, upward from the loins." Who stood, with bust and visage so erect, As though he look'd on hell itself with scorn. My Master then, with prompt and resolute hands, As in disdain; then loftily demanded,— -Eager to tell, Naught I conceal'd, but utter'd all the truth. "Bitter antagonists of mine, of me, And of my party, were thy sires; but twice "If scatter'd twice," said I, "Once and again they came from all sides back, A lesson, which thy friends have not well learn'd." Emerged to view; unveil'd above the chin, And kneeling, as methought.-It look'd around Some other with me; but, that hope dispell'd, Weeping it spake :-"If through this dungeon-gloom Taught me his name; my words were therefore pointed. Meanwhile that other most majestic form, 66 They have not well that lesson learn'd, the thought Torments me more than this infernal bed: And yet, not fifty times her changing face, Who here reigns sovereign, shall be re-illumined, "The slaughter and discomfiture," said I, "We see, like him that hath an evil eye, Hence mayst thou comprehend, how all our knowledge At that moment, Compunction smote me for my recent fault, And I cried out :-"O tell that fallen one, *He foretells Dante's own expulsion from his country, within fifty lunar months. |