"And for this reason does the smallest round
Seal with its signet Sodom and Cahors."
Lodovico Guicciardini in his Descrittione di tutti i Paesi Bassi (1581), p. 416, speaking of Cadsand, says: "This is the very place of which our great poet Dante makes mention in the fifteenth chapter of the Inferno, calling it incorrectly, perhaps by error of the press, Guizzante; where still at the present day great repairs are continually made upon the dikes, because here, and in the environs towards Bruges, the flood, or I should rather say the tide, on account of the situation and lowness of the land, has very great power, particularly during a northwest wind."
"Methinks her patient sons before me stand,
Where the broad ocean leans against the land,
And, sedulous to stop the coming tide,
Lift the tall rampire's artificial pride.
Onward, methinks, and diligently slow
The firm connected bulwark seems to grow;
Spreads its long arms amidst the watery roar,
Scoops out an empire and usurps the shore."
Boccaccio, Comento, speaks of him thus: "This Ser Brunetto Latini was a Florentine, and a very able man in some of the liberal arts, and in philosophy; but his principal calling was that of Notary; and he held himself and his calling in such great esteem, that, having made a mistake in a contract drawn up by him, and having been in consequence accused of fraud, he preferred to be condemned for it rather than to confess that he had made a mistake; and afterwards he quitted Florence in disdain, and leaving in memory of himself a book composed by him, called the Tesoretto, he went to Paris and lived there a long time, and composed a book there which is in French, and in which he treats of many matters regarding the liberal arts, and moral and natural philosophy, and metaphysics, which he called the Tesoro; and finally, I believe, he died in Paris."
He also wrote a short poem, called the Favoletto, and perhaps the Pataffio, a satirical poem in the Florentine dialect, "a jargon," says Nardini, "which cannot be understood even with a commentary." But his fame rests upon the Tesoretto and the Tesoro, and more than all upon the fact that he was Dante's teacher, and was put by him into a very disreputable place in the Inferno. He died in Florence, not in Paris, as Boccaccio supposes, and was buried in Santa Maria Novella, where his tomb still exists. It is strange than Boccaccio should not have known this, as it was in this church that the "seven young gentlewomen" of his Decameron met "on a Tuesday morning," and resolved to go together into the country, where they "might hear the birds sing, and see the verdure of the hills and plains, and the fields full of grain undulating like the sea."
The poem of the Tesoretto, written in a jingling metre, which reminds one of the Vision of Piers Ploughman, is itself a Vision, with the customary allegorical personages of the Virtues and Vices. Ser Brunetto, returning from an embassy to King Alphonso of Spain, meets on the plain of Roncesvalles a student of Bologna, riding on a day mule, who informs him that the Guelfs have been banished from Florence. Whereupon Ser Brunetto, plunged in meditation and sorrow, loses the highroad and wanders in a wondrous forest. Here he discovers the august and gigantic figure of Nature, who relates to him the creation of the world, and gives him a banner to protect him on his pilgrimage through the forest, in which he meets with no adventures, but with the Virtues and Vices, Philosophy, Fortune, Ovid, and the God of Love, and sundry other characters, which are sung at large through eight or ten chapters. He then emerges from the forest, and confesses himself to the monks of Montpellier; after which he goes back into the forest again, and suddenly finds himself on the summit of Olympus; and the poem abruptly leaves his discoursing about the elements with Ptolemy,
"Mastro di storlomia
E di filosofia."
It has been supposed by some commentators that Dante was indebted to the Tesoretto for the first idea of the Commedia. "If any one is pleased to imagine this," says the Abbate Zannoni in the Preface to his edition of the Tesoretto, (Florence, 1824,) "he must confess that a slight and almost invisible spark served to kindle a vast conflagration."
The Tesoro, which is written in French, is a much more ponderous and pretentious volume. Hitherto it has been known only in manuscript, or in the Italian translation of Giamboni, but at length appears as one of the volumes of the Collection de Documents inédits sur l'Histoire de France, under the title of Li Livres dou Tresor, edited by P. Chabaille, Paris, 1863; a stately quarto of some seven hundred pages, which it would assuage the fiery torment of Ser Brunetto to look upon, and justify him in saying
"Commended unto thee be my Tesoro,
In which I still live, and no more I ask."
The work is quaint and curious, but mainly interesting as being written by Dante's schoolmaster, and showing what he knew and what he taught his pupil. I cannot better describe it than in the author's own words, Book I. ch. I: --
"The smallest part of this Treasure is like unto ready money, to be expended daily in things needful; that is, it treats of the beginning of time, of the antiquity of old histories, of the creation of the world, and in fine of the nature of all things.....
"The second part, which treats of the vices and virtues, is of precious stones, which give unto man delight and virtue; that is to say, what things a man should do, and what he should not, and shows the reason why.....
"The third part of the Treasure is of fine gold; that is to say, it teaches a man to speak according to the rules of rhetoric, and how a ruler ought to govern those beneath him.....
"And I say not that this book is extracted from my own poor sense and my own naked knowledge, but, on the contrary, it is like a honeycomb gathered from diverse flowers; for this book is wholly compiled from the wonderful sayings of the authors who before our time have treated of philosophy, each one according to his knowledge.....
"And if any one should ask why this book is written in Romance, according to the languages of the French, since we are Italian, I should say it is for two reasons; one, because we are in France, and the other, because this speech is more delectable, and more common to all people."
Again, IV. 7, he attributes the Florentine dissensions to both the above-mentioned causes.
"Qu'à son gré désormais la fortune me joue,
On me verra dormir au branle de sa roue."
And Tennyson's Song of "Fortune and her Wheel": --
"Turn, Fortune, turn thy wheel and lower the proud;
Turn thy wild wheel thro' sunshine, storm, and cloud;
Thy wheel and thee we neither love nor hate.
"Turn, Fortune, turn thy wheel with smile or frown;
With that wild wheel we go not up or down;
Our hoard is little, but our hearts are great.
"Smile and we smile, the lords of many lands;
Frown and we smile, the lords of our own hands;
For man is man and master of his fate.
"Turn, turn thy wheel above the staring crowd;
Thy wheel and thou are shadows in the cloud;
Thy wheel and thee we neither love nor hate."