"The Emperor Otho IV., being by chance in Florence and having gone to the festival of St. John, to make it more gay with his presence, it happened that to the church with the other city dames, as our custom is, came the wife of Messer Berto, and brought with her a daughter of hers called Gualdrada, who was still unmarried. And as they sat there with the others, the maiden being beautiful in face and figure, nearly all present turned round to look at her, and among the rest the Emperor. And having much commended her beauty and manners, he asked Messer Berto, who was near him, who she was. To which Messer Berto smiling answered: `She is the daughter of one who, I dare say, would let you kiss her if you wished.' These words the young lady heard, being near the speaker; and somewhat troubled by the opinion her father seemed to have of her, that, if he wished it, she would suffer herself to be kissed by any one in this free way, rising, and looking a moment at her father, and blushing with shame, said: `Father, do not make such courteous promises at the expense of my modesty, for certainly, unless by violence, no one shall ever kiss me, except him whom you shall give me as my husband.' The Emperor, on hearing this, much commended the words and the young lady..... And calling forward a noble youth named Guido Beisangue, who was afterwards called Guido the Elder, who as yet had no wife, he insisted upon his marrying her; and gave him as her dowry a large territory in Cassentino and the Alps, and made him Count thereof." Ampère says in his Voyage Dantesque, page 242: "Near the battle-field of Campaldino stands the little town of Poppi, whose castle was built in 1230 by the father of the Arnolfo who built some years later the Palazzo Vecchio of Florence. In this castle is still shown the bedroom of the beautiful and modest Gualdrada."
Francesco Sansovino, an Italian novelist of the sixteenth century, has made Gualdrada the heroine of one of his tales, but has strangely perverted the old tradition. His story may be found in Roscoe's Italian Novelists, III. p. 107.
"It came to pass, that whilst by spending nothing he went on accumulating wealth, there came to Genoa a well-bred and witty gentleman called Gulielmo Borsiere, one nothing like the courtiers of the present day; who, to the great reproach of the debauched dispositions of such as would now be reputed fine gentlemen, should more properly style themselves asses, brought up amidst the filthiness and sink of mankind, rather than in courts.....
"This Gulielmo, whom I before mentioned, was much visited and respected by the better sort of people at Genoa; when having made some stay here, and hearing much talk of Ermino's sordidness, he became desirous of seeing him. Now Ermino had been informed of Gulielmo's worthy character, and having, however covetous he was, some small sparks of gentility, he received him in a courteous manner, and, entering into discourse together, he took him, and some Genoese who came along with him, to see a fine house which he had lately built: and when he had showed every part of it, he said: `Pray, sir, can you, who have heard and seen so much, tell me of something that was never yet seen, to have painted in my hall?' To whom Gulielmo, hearing him speak so simply, replied: `Sir, I can tell you of nothing which has never yet been seen, that I know of; unless it be sneezing, or some thing of that sort; but if you please, I can tell you of a thing which, I believe, you never saw.' Said Ermino (little expecting such an answer as he received), `I beg you would let me know what that is.' Gulielmo immediately replied, `Paint Liberality.' When Ermino heard this, such a sudden shame seized him, as quite changed his temper from what it had hitherto been; and he said: `Sir, I will have her painted in such a manner that neither you, nor any one else, shall be able to say, hereafter, that I am unacquainted with her.' And from that time such effect had Gulielmo's words upon him, he became the most liberal and courteous gentleman, and was the most respected, both by strangers and his own citizens, of any in Genoa."
Doubtless grammatically the words will bear this meaning. But evidently the idea in the author's mind, and which he wished to impress upon the reader's, was that of a waterfall plunging at a single leap down a high precipice. To this idea, the suggestion of buildings and inhabitants is wholly foreign, and adds neither force nor clearness. Whereas, to say that the river plunged at once bound over a precipice high enough for a thousand cascades, presents at one a vivid picture to the imagination, and I have interpreted the line accordingly, making the contrast between una scesa and mille. It should not be forgotten that, while some editions read dovea, others read dovria, and even potria.
"the panther with the painted skin." Lombardi is of opinion that, "by girding himself with the Franciscan cord, he had endeavored to restrain his sensual appetites, indicated by the panther; and still wearing the cord as a Tertiary of the Order, he makes it serve here to deceive Geryon, and bring him up." Biagioli understands by it "the humility with which a man should approach Science, because it is she that humbles the proud." Fraticelli thinks it means vigilance; Tommaseo, "the good faith with which he hoped to win the Florentines, and now wishes to deal with their fraud, so that it may not harm him"; and Gabrielli Rossetti says, "Dante flattered himself, acting as a sincere Ghibelline, that he should meet with good faith from his Guelf countrymen, and met instead with horrible fraud."
Dante elsewhere speaks of the cord in a good sense. In Purgatorio, VII.114, Peter of Aragon is "girt with the cord of every virtue." In Inferno, XXVII. 92, it is mortification, "the cord that used to make those girt with it more meagre"; and in Paradiso, XI. 87, it is humility, "that family which had already girt the humble cord."
It will be remembered that St. Francis, the founder of the Cordeliers (the wearers of the cord), used to call his body asino, or ass, and to subdue it with the capestro, or halter. Thus the cord is made to symbolize the subjugation of the animal nature. This renders Lombardi's interpretation the most intelligible and satisfactory, though Virgil seems to have thrown the cord into the abyss simply because he had nothing else to throw, and not with the design of deceiving.