[THIS translation, of what is generally considered the most exquisitely pathetic episode in the Divina Commedia, was executed in March, 1820, at Ravenna, where, just five centuries before, and in the very house in which the unfortunate lady was born, Dante's poem had been composed. In mitigation of the crime of Francesca, Boccaccio relates, that "Guido engaged to give his daughter in marriage to Lanciotto, the eldest son of his enemy, the master of Rimini. Lanciotto, who was hideously deformed in countenance and figure, foresaw that, if he presented himself in person, he should be rejected by the lady. He therefore resolved to marry her by proxy, and sent as his representative his younger brother, Paolo, the handsomest and most accomplished man in all Italy. Francesca saw Paolo arrive, and imagined she beheld her future husband. That mistake was the commencement of her passion. The friends of Guido addressed him in strong remonstrances, and mournful predictions of the dangers to which he exposed a daughter, whose high spirit would never brook to be sacrificed with impunity. But Guido was no longer in a condition to make war; and the necessities of the politician overcame the feelings of the father.” In transmitting his version to Mr. Murray, Lord Byron says "Enclosed you will find, line for line, in third rhyme (terza rima), of which your British blackguard reader as yet understands nothing, Fanny of Rimini. You know that she was born here, and married, and slain, from Cary, Boyd, and such people. I have done it into cramp English, line for line, and rhyme for rhyme, to try the possibility. If it is published, publish it with the original." In one of the poet's MS. Diaries we find the following passage: January 29. 1821, past midnight—one of the clock. I have been reading Frederick Schlegel (1) till now, and I can make out nothing. He evidently shows a great power of (1) ["Lectures on the History of Literature, Ancient and Modern."] words, but there is nothing to be taken hold of. He is like Hazlitt in English, who talks pimples; a red and white corruption rising up (in little imitation of mountains upon maps), but containing nothing, and discharging nothing, except their own humours. I like him the worse (that is, Schlegel), because he always seems upon the verge of meaning; and, lo! he goes down like sunset, or melts like a rainbow, leaving a rather rich confusion. Of Dante, he says, that at no time has the greatest and most national of all Italian poets ever been much the favourite of his countrymen!' 'Tis false. There have been more editors and commentators (and imitators ultimately) of Dante than of all their poets put together. Not a favourite! Why, they talk Dante-write Dante-and think and dream Dante, at this moment (1821), to an excess which would be ridiculous, but that he deserves it. He says also that Dante's chief defect is a want, in a word, of gentle feelings.' Of gentle feelings! - and Francesca of Rimini. and the father's feelings in Ugolino-and Beatrice - and La Pia!' Why, there is a gentleness in Dante beyond all gentleness, when he is tender. It is true that, treating of the Christian Hades, or Hell, there is not much scope or site for gentleness but who but Dante could have introduced any ' gentleness' at all into Hell? Is there any in Milton's? Noand Dante's Heaven is all love, and glory, and majesty." This translation was first published in 1830. — E.] : FRANCESCA DA RIMINI. (1) DANTE, L'INFERNO. CANTO V. SIEDE la terra dove nata fui Su la marina, dove il Po discende, Che mi fu tolta; e il modo ancor m' offende. Che, come vedi, ancor non m'abbandona ; (1) [Francesca, daughter of Guido da Polenta, Lord of Ravenna and o Cervia, was given by her father in marriage to Lanciotto, son of Malatesta, Lord of Rimini, a man of extraordinary courage, but deformed in his person. His brother Paolo, who unhappily possessed those graces which the husband of Francesca wanted, engaged her affections; and being taken in adultery, they were both put to death by the enraged Lanciotto. The interest of this pathetic narrative is much increased, when it is recollected that the father of this unfortunate lady was the beloved friend and generous protector of Dante during his latter days. See antè, Vol. XI. p. 302., and also Canto xxvii. of the Inferno, where Dante, speaking of Ravenna, says L'aquila da Polenta là si cova, Sì che Cervia ricopre co' suoi vanni. There Polenta's eagle broods, And in his broad circumference of plume Guido was the son of Ostasio da Polenta, and made himself master of Ravenna in 1265. In 1322, he was deprived of his sovereignty, and died at Bologna in the year following. He is enumerated, by Tiraboschi, among the poets of his time. - E] FRANCESCA OF RIMINI. FROM THE INFERNO OF DANTE. CANTO V. "THE land where I was born (1) sits by the seas, Remits, seized me with wish to please, so strong, (1) Ravenna (2) [Among Lord Byron's unpublished letters we find the following: "Varied readings of the translation from Dante. Seized him for the fair person, which in its Bloom was ta'en from me, yet the mode offends. Seized him for the fair form, of which in its Love, which to none beloved to love remits, Seized me with wish of pleasing him } so strong, That, as thou see'st, not yet that passion quits, &c. You will find these readings vary from the MS. I sent you. They are closer, but rougher: take which is liked best; or, if you like, print them as variations. They are all close to the text." -B. Letters.] Caina attende chi in vita ci spense :(1) Fin che il Poeta mi disse: "Che pense ?" (1) [The whole history of woman's love is as highly and completely wrought, we think, in these few lines, as that of Juliet in the whole tragedy of Shakspeare. Francesca imputes the passion her brother-in-law conceived for her, not to depravity, but nobleness of heart in him, and to her own loveliness. With a mingled feeling of keen sorrow and complacent naïveté, she says she was fair, and that an ignominious death robbed him of her beauty. She confesses that she loved, because she was beloved, that charm had deluded her; and she declares, with transport, that joy had not abandoned her even in hell "piacer sì forte, Che, come vedi, ancor non m' abbandona." It is thus that Dante unites, perspicuity with conciseness, and the most naked simplicity with the profoundest observation of the heart. Her guilty passion survives its punishment by Heaven-but without a shade of impiety. How striking is the contrast of her extreme happiness in the midst of torments that can never cease; when, resuming her narrative, she looks at her lover, and repeats with enthusiasm — 66 Questi, che mai da me non fia diviso "— She nevertheless goes on to relieve her brother-in-law from all imputation of having seduced her. Alone, and unconscious of their danger, they read a love-story together. They gazed upon each other, pale with emotion; but the secret of their mutual passion never escaped their lips : "Per più fiate gli occhi ci sospinse Ma solo un punto fu qual che ci vinse." The description of two happy lovers in the story was the ruin of Francesca. It was the romance of Lancilot and Genevra, wife of Arthur, King of England: |