University of Virginia Library

Guido Guinicelli, in the canzone which begins, “Within the gentle heart Love shelters him.” (See page 432.)

Probably in allusion to Albert of Cologne. Giano (Janus), which follows, was in use as an Italian name, as for instance Giano della Bella; but it seems probable that Dante is merely playfully advising his preceptor to avail himself of the twofold insight of Janus the double-faced.

This and the six following pieces (with the possible exception of the canzone at page 349) seem so certainly to have been written at the same time as the poetry of the Vita Nuova, that it becomes difficult to guess why they were omitted from that work. Other poems in Dante's Canzoniere refer in a more general manner to his love for Beatrice, but each among those I allude to bears the impress of some special occasion.

See the Vita Nuova, at page 327.

This poem seems probably referable to the time during which Beatrice denied her salutation to Dante. (See the Vita Nuova, at page 317 et seq.)

This might seem to suggest that the present sonnet was written about the same time as the close of the Vita Nuova, and that an allusion may also here be intended to the first conception of Dante's great work.

That is, the pledge given at the end of the Vita Nuova. This may perhaps have been written in the early days of Dante's exile, before his resumption of the interrupted Commedia.

I have translated this piece both on account of its great and peculiar beauty, and also because it affords an example of a form of composition which I have met with in no Italian writer before Dante's time, though it is not uncommon among the Provencal poets (see Dante, De Vulg. Eloq.). I have headed it with the name of a Paduan lady, to whom it is surmised by some to have been addressed during Dante's exile; but this must be looked upon as a rather doubtful conjecture, and I have adopted the name chiefly to mark it at once as not referring to Beatrice.

I have separated this sonnet from the pieces bearing on the Vita Nuova, as it is naturally repugnant to connect it with Beatrice. I cannot, however, but think it possible that it may have been the bitter fruit of some bitterest moment in those hours when Dante endured her scorn.

See the Vita Nuova, at page 312.

This may refer to the belief that, towards morning, dreams go by contraries.

The Franciscans, in profession of deeper poverty and humility than belonged to other Orders, called themselves Fratres minores.

The ancient church of the Daurade still exists at Thoulouse. It was so called from the golden effect of the mosaics adorning it.

That is, his list of the sixty most beautiful ladies of Florence, referred to in the Vita Nuova; among whom Lapo Gianni's lady, Lagia, would seem to have stood thirtieth.

I should think, from the mention of Lady Lagia, that this might refer again to Lapo Gianni, who seems (one knows not why) to have fallen into disgrace with his friends. The Guido mentioned is probably Guido Orlandi.

I may take this opportunity of mentioning that, in every case where an abrupt change of metre occurs in one of my translations, it is so also in the original poem.

From a passage in Ubaldini's Glossary (1640) to the “Documenti d'Amore” of Francesco Barberino (1300), I judge that Guido answered the above sonnet, and that Alfani made a rejoinder, from which a scrap there printed appears to be taken. The whole piece existed, in Ubaldini's time, among the Strozzi MSS.

It is curious to find these poets perpetually rating one another for the want of constancy in love. Guido is rebuked, as above, by Dino Compagni; Cino da Pistoia by Dante (p. 353); and Dante by Guido (p. 370), who formerly, as we have seen (p. 363), had confided to him his doubts of Lapo Gianni.

In old representations, the unicorn is often seen with his head in a virgin's lap.

This interesting sonnet must refer to the same period of Dante's life regarding which he has made Beatrice address him in words of noble reproach when he meets her in Eden. (Purg. C. xxx.)

The glossary to Barberino, already mentioned, refers to the existence, among the Strozzi MSS., of a poem by Lapo di Farinata degli Uberti, written in answer to the above ballata of Cavalcanti. As this respondent was no other than Guido's brother-in-law, one feels curious to know what he said to the peccadilloes of his sister's husband. But I fear the poem cannot yet have been published, as I have sought for it in vain at all my printed sources of information.

This and the three following Canzoni are only to be found in the later collections of Guido Cavalcanti's poems. I have included them on account of their interest, if really his, and especially for the beauty of the last among them; but must confess to some doubts of their authenticity.

See ante, page 312.

Among Dante's Epistles there is a Latin letter to Cino, whch I should judge was written in reply to this Sonnet.

I have not examined Cino's poetry with special reference to this accusation; but there is a Canzone of his in which he speaks of having conceived an affection for another lady from her resemblance to Selvaggia. Perhaps Guido considered this as a sort of plagiarism de facto on his own change of love through Mandetta's likeness to Giovanna.

Between this poet and Cino various friendly sonnets were interchanged, which may be found in the Italian collections. There is also one sonnet by Onesto to Cino, with his answer, both of which are far from being affectionate or respectful. They are very obscure, however, and not specially interesting.

The Provencal poet, mentioned in C. xxvi of the Purgatory.

That is, sanctified the Apennines by her burial on the Monte della Sambuca.

See ante, page 312.

There exist no fewer than six answers by different poets, interpreting Dante da Maiano's dream. I have chosen Guido Orlandi's, much the most matter-of-fact of the six, because it is diverting to find the writer again in his antagonistic mood. Among the five remaining answers, in all of which the vision is treated as a very mysterious matter, one is attributed to Dante Alighieri, but seems so doubtful that I have not translated it. Indeed, it would do the greater Dante, if he really wrote it, little credit as a lucid interpreter of dreams; though it might have some interest, as giving him (when compared with the sonnet at page 388) a decided advantage over his lesser namesake in point of courtesy.

See ante, page 346.

Perhaps the names of his father's estates.

The year, according to the calendar of those days, began on the 25th March. The alteration to 1st January was made in 1582 by the Pope, and immediately adopted by all Catholic countries, but by England not till 1752. There is some added vividness in remembering that Cecco's unplatonic love-encounter dates eleven days after the first death-anniversary of Beatrice (9th of June 1291), when Dante tells us that he “drew the resemblance of an angel upon certain tablets.” (See ante, p. 340.)

This may be either Charles II., King of Naples and Count of Provence, or more probably his son Charles Martel, King of Hungary. We know from Dante that a friendship subsisted between himself and the latter prince, who visited Florence in 1295, and died in the same year, in his father's lifetime (Paradise, C. viii.)

I have thought it necessary to soften one or two expressions in this sonnet.

He means, possibly, that he should be more than ever tormented by his creditors on account of their knowing his ability to pay them; but the meaning seems very uncertain.

This puzzling sonnet is printed in Italian collections with the name of Guido Cavalcanti. It must evidently belong to Angiolieri, and it has certain fine points which make me unwilling to omit it; though partly as to rendering, and wholly as to application, I have been driven on conjecture.

It would almost seem as if Cecco, in his poverty, had at last taken refuge in a religious house under the name of Brother Henry (Frate Arrigo), and as if he here meant that Brother Henry was now decayed, so to speak, through the resuscitation of Cecco. (See Introduction to Part I., p. 307.)

In the original words, “Ma di tal cibo imbecchi lo suo becco,” a play upon the name of Becchina seems intended, which I have conveyed as well as I could.

Several other pieces by this author, addressed to Guido Cavalcanti and Dante da Maiano, will be found among their poems.

I.e. Florence.

That is, presented at the high altar on the feast-day of St. John the Baptist; a ceremony attending the release of criminals, a certain number of whom were annually pardoned on that day in Florence. This was the disgraceful condition annexed to that recall to Florence which Dante received when in exile at the court of Verona; which others accepted, but which was refused by him in a memorable epistle still preserved.