ccasioned the defeat of the Guelfs at Montaperto, in the year 1260, by
treacherously cutting off the hand of the standard-bearer.]

[Footnote 48: This is the famous story of Ugolino, who betrayed the
castles of Pisa to the Florentines, and was starved with his children in
the Tower of Famine.]

[Footnote 49: I should be loath to disturb the inimitable pathos of this
story, if there did not seem grounds for believing that the poet was too
hasty in giving credit to parts of it, particularly the ages of some of
his fellow-prisoners, and the guilt of the archbishop. See the Appendix
to this volume.]

[Footnote 50: This is the most tremendous lampoon, as far as I am aware,
in the whole circle of literature.]

[Footnote 51: "Cortesia fu lui esser villano." This is the foulest blot
which Dante has cast on his own character in all his poem (short of the
cruelties he thinks fit to attribute to God). It is argued that he is
cruel and false, out of hatred to cruelty and falsehood. But why then
add to the sum of both? and towards a man, too, supposed to be suffering
eternally? It is idle to discern in such barbarous inconsistencies any
thing but the writer's own contributions to the stock of them. The
utmost credit for right feeling is not to be given on every occasion to
a man who refuses it to every one else.]

[Footnote 52: "La creatura ch'ebbe il bel sembiante."

This is touching; but the reader may as well be prepared for a total
failure in Dante's conception of Satan, especially the English reader,
accustomed to the sublimity of Milton's. Granting that the Roman
Catholic poet intended to honour the fallen angel with no sublimity,
but to render him an object of mere hate and dread, he has overdone and
degraded the picture into caricature. A great stupid being, stuck up in
ice, with three faces, one of which is yellow, and three mouths, each
eating a sinner, one of those sinners being Brutus, is an object
for derision; and the way in which he eats these, his everlasting
_bonnes-bouches,_ divides derision with disgust. The passage must be
given, otherwise the abstract of the poem would be incomplete; but I
cannot help thinking it the worst anti-climax ever fallen into by a
great poet.]

[Footnote 53: This silence is, at all events, a compliment to Brutus,
especially from a man like Dante, and the more because it is extorted.
Dante, no doubt, hated all treachery, particularly treachery to the
leader of his beloved Roman e