CANTO V11. imply that the shades were rolling stones, which, as I have already observed, the original does not absolutely oblige us to understand, and which it is simpler not to understand. With regard to the second question (perchè burli?): it is proper to remark that both the etymology and metaphorical meaning of the verb burlare are contested. The Vocabulary gives neither; but contents itself with the literal explanation 'to squander prodigally ().' Velutello derives it from burella, which in the Lombard dialect means a little ball usually tied to the tail of a monkey to prevent its running away; whence the proverb wherever the monkey goes there goes also the burella.' Hence burlare signi fies to let any thing slip from your fingers; as the small, round burella would from a careless band. Landino seeks for it in another provincialism, bu iare, by which the people of Arezzo mean gettare or throw away'. Some interpret it roll; but the signification they give is the dullest of any making it' why roll your weight?' in reply to why keep back my weight?' The exact history of burlare is certainly to be looked for in the East (2). My idea of the whole passage is then, that Dante intended to represent those mad ghosts as jolting at each other with unspeakable fury, one party (1) Gittar via, usar prodigalmente § 1. Thus Mr Cary translates: but though his "why castest thou away ?" preserves the sense, it does not the imagery-the poetry of the text. (a) Ab. M. A. Lanei, Dissertazione, ec. p. 39. GANTO VII. › having their hands extended rigidly and the other nervously contracted, so that the force with which their breasts struck, sent each of them spinning back to his pristine post. This is clearer and simpler and (at least it seems so to me) more in the style of my Author, than to diversify (may I not say, clog?) the sketch with the introduction of huge stones. I repeat, turning weights' is all that is in the original. I may suppose them what weights I please: and in making my choice recollect simplicity is one of Dante's characteristics. Spinning their weights around, around, While breasts strike breasts with pangs condign. Ho! foe to foe, and line to line! Each cursing each, and madly crying Why closed thy palm? ""why open thine?" Then thwart the sooty cavern flying Still, still they bandy railing, raging, That savage taunt that fierce replying; And face about and form engaging For ever in that rude, unvaried tilt. The ontoso metro of the Italian means the contumelious language which they directed against each other; and which the poet does not condes'cend to specify. All he repeats is the burthen of their mutual reproaches, perchè tieni? ec. Virgil CANTO VII. is next asked whether all those tonsured things' (questi chercuti ) which are seen were clergymen? open Virgil's reply is twofold. The first part is not an answer to Dante's question: but tells him that all the occupants of this circle, whether misers or prodigals, were alike 'mentally blind (1)' on earth (in la vita primaja ); and that the opposite nature of their guilt is plainly expressed by their rival howl as to their clench'd and hands. I may add (what I seldom do) a grammatical observation on the word ferci in v. XLII; because to understand the last syllable ci as a mere expletive particle, is a slur upon the writer. The commentators are too fond of making him distort words for the sake of rhyme. This ci is an adverb meaning there, and is almost necessary to render the syntax plain; it refers to vita primaja (2): they were so blind of the mind on earth, that they kept no order in their expenses there.' This there renders the whole passage clearer, by showing they had no riches either to hold or cast away here below in hell; (1) Mr. Cáry does not even attempt preserving this fine expression guerci della mente. Shakespere's example might have emboldened him to do so Hamb... Methinks, I see my father. Hor. O where, my lord? Ham. In my mind's eye, Horatio. (2) Biagioli, Comento, Vol. 1. Hamlet. Act. 1. Scene. 2. P. 144. CANTO VII and thus corroborates my former observations on perchè tieni? (1). 0. ILVI. This is the second, and direct part of the reply to Dante's demand. All those whose crowns appear shaven were Popes and Cardinals; for it is with regard to these that avarice uses its fullest measure (2).' Lombardi accuses the Academy of introducing the false reading of uses' (usa) instead of (usò)' used; ' but in this he seems to be very wrong. It was not merely on the authority of the majority of M. S. S. nor to avoid elision of an accented vowel (for that such a poetic licence was sometimes admissable, they well knew ), but because the context pointed it out as the true reading, that the Academicians preferred it. The clerical delicacy which thus interposes to lessen the 'scandal' of Dante is futile; except it could at the same time erase the other much harsher invectives, which are up and down in the poem, against the clergy of his day. He must be justified not by softening down his expressions, but by showing he had reason to employ the harshest: and that his great ancestor tells him positively to speak the whole truth without reserve (3).' (2) Soverchio, quasi andante sopra lo cerchio, cioè all'orlo del vaso, Biagioli, Comento, Vol. 1. p. 146. Mr. Cary leaves out this metaphor. Neither does he introduce the characteristic term ⋆ tonsures' (chercuti) any where in his version of the passage. (3) Paradise, Canto xv11. Biagioli, Comento, vol. 1. p 146. CANTO VII. That a monstrous portion of the Catholic clergy, though free from the cares of wife and family, had so far receded from evangelical simplicity during several ages previous to the reformation, as to be a class notorious for avarice and prodigality, is a fact not more severely denounced by any than by Catholic writers themselves; and it is to those vices some of them attribute the reformation.' Irresistible is the impulse' (says Madame de Staël) 'which men of talents feel to attack the strongest; and such indeed is the sign by which we may ever distinguish the effervescence of real genius. When therefore we recollect the potency of the Church in Dante's day and his own rigid morals and profound piety, it is no wonder that he expressed himself with vehemence against Priests, Cardinals, and Popes; if their conduct was really rui nous to the State and disgraceful to religion. 'It was holy and honest indignation,' writes Landino, 'that made both Dante and Petrarch thunder against the dignitaries of their own communion. But Alas! the evils they combated exist still: for who does not behold men rather brutes than men without either learning or morals, who, though too ignorant and vicious to merit a curacy in the smallest village, are raised to elevated stations; which they prostitute in the vilest manner, amassing with most exorbitant avarice, by the most atrocious injustice, huge treasure; and soon spend. ing it prodigally in such unheard-of debauchery |