on a nail, and the
lady opening the door meantime, in the belief that all would be well by
reason of Polo's not being there, Gianciotto caught sight of Polo as
he was detained by the hem of the mantle, and straightway ran with his
dagger in his hand to kill him; whereupon the lady, to prevent it, ran
between them; but Gianciotto having lifted the dagger, and put the whole
force of his arm into the blow, there came to pass what he had not
desired--namely, that he struck the dagger into the bosom of the lady
before it could reach Polo; by which accident, being as one who had
loved the lady better than himself, he withdrew the dagger, and again
struck at Polo, and slew him; and so leaving them both dead, he hastily
went his way and betook him to his wonted affairs; and the next morning
the two lovers, with many tears, were buried together in the same
grave."

The reader of this account will have observed, that while Dante assumes
the guilt of all parties, and puts them into the infernal regions, the
good-natured Boccaccio is for doubting it, and consequently for sending
them all to heaven. He will ignore as much of the business as a
gentleman can; boldly doubts any guilt in the case; says nothing of the
circumstance of the book; and affirms that the husband loved his wife,
and was miserable at having slain her. There is, however, one negative
point in common between the two narrators; they both say nothing of
certain particulars connected with the date of Francesca's marriage, and
not a little qualifying the first romantic look of the story.

Now, it is the absence of these particulars, combined with the tradition
of the father's artifice (omitted perhaps by Dante out of personal
favour), and with that of the husband's ferocity of character (the
belief in which Boccaccio did not succeed in displacing), that has
left the prevailing impression on the minds of posterity, which is
this:--that Francesca was beguiled by her father into the marriage with
the deformed and unamiable Giovanni, and that the unconscious medium of
the artifice was the amiable and handsome Paulo; that one or both of
the victims of the artifice fell in love with the other; that their
intercourse, whatever it was, took place not long after the marriage;
and that when Paulo and Francesca were slain in consequence, they were
young lovers, with no other ties to the world.

It is not pleasant in general to dispel the illusions of romance, though
Dante's wi