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Showing posts with label Ugolino. Show all posts
Showing posts with label Ugolino. Show all posts

Sunday, January 29, 2012

Sunday Poetry LII -- The Most Beautiful Lines in Poetry

Gustave Dore
I don't remember who said it.  I read the quotation somewhere along the line.  Someone important.  You know, like all quotations.  At least the ones we remember.

Anyway, whoever the important person was, he said that the lines from Canto 33 of L'Inferno in which Count Ugolino recounts his story, between chomps at the back of Ruggieri's head, are the most beautiful lines in poetry.  Or else, that's how I remember the quotation going.  

Whatever the quotation, though, and whoever said it, you are the only judge who counts.

From the Longfellow translation –

“Thou hast to know I was Count Ugolino,
  And this one was Ruggieri the Archbishop;
  Now I will tell thee why I am such a neighbour.

That, by effect of his malicious thoughts,
  Trusting in him I was made prisoner,
  And after put to death, I need not say;

 But ne'ertheless what thou canst not have heard,
  That is to say, how cruel was my death,
  Hear shalt thou, and shalt know if he has wronged me.

A narrow perforation in the mew,
  Which bears because of me the title of Famine,
  And in which others still must be locked up,

Had shown me through its opening many moons
  Already, when I dreamed the evil dream
  Which of the future rent for me the veil.

This one appeared to me as lord and master,
  Hunting the wolf and whelps upon the mountain
  For which the Pisans cannot Lucca see.

With sleuth-hounds gaunt, and eager, and well trained,
  Gualandi with Sismondi and Lanfianchi
  He had sent out before him to the front.

After brief course seemed unto me forespent
  The father and the sons, and with sharp tushes
  It seemed to me I saw their flanks ripped open.

When I before the morrow was awake,
  Moaning amid their sleep I heard my sons
  Who with me were, and asking after bread.

Cruel indeed art thou, if yet thou grieve not,
  Thinking of what my heart foreboded me,
  And weep'st thou not, what art thou wont to weep at?

They were awake now, and the hour drew nigh
  At which our food used to be brought to us,
  And through his dream was each one apprehensive;

And I heard locking up the under door
  Of the horrible tower; whereat without a word
  I gazed into the faces of my sons.

I wept not, I within so turned to stone;
  They wept; and darling little Anselm mine
  Said: 'Thou dost gaze so, father, what doth ail thee?'

Still not a tear I shed, nor answer made
  All of that day, nor yet the night thereafter,
  Until another sun rose on the world.

As now a little glimmer made its way
  Into the dolorous prison, and I saw
  Upon four faces my own very aspect,

Both of my hands in agony I bit;
  And, thinking that I did it from desire
  Of eating, on a sudden they uprose,

And said they: 'Father, much less pain 'twill give us
  If thou do eat of us; thyself didst clothe us
  With this poor flesh, and do thou strip it off.'

I calmed me then, not to make them more sad.
  That day we all were silent, and the next.
  Ah! obdurate earth, wherefore didst thou not open?

When we had come unto the fourth day, Gaddo
  Threw himself down outstretched before my feet,
  Saying, 'My father, why dost thou not help me?'

And there he died; and, as thou seest me,
  I saw the three fall, one by one, between
  The fifth day and the sixth; whence I betook me,

Already blind, to groping over each,
  And three days called them after they were dead;
  Then hunger did what sorrow could not do."

Thursday, March 24, 2011

The Mysterious Flame of Queen Loana XI -- chapter 10: TIME'S TEMPLE, IMMURED

"Ugolino' by Carpeaux
According to Brer Rabbit, everyone needs a laughing place, which, as far as I'm concerned, is really about as crucial to life and existence as water and food and air and whatever else.  Everyone--more especially, or at visibly, kids, but all adults have them as well, just with more variation in form and location--needs a brier patch, a hiding place, a closet or tree-house or attic or, in this case, a wall-up former-chapel now forgotten where treasures can be stored, secret prayers offered, dark rites performed, etcetera; but how many have such a fantastical treasure house--Cave of Wonders--as does Yambo?  Having such a place is as cliche' a fantasy as immurement is a terror, and here in chapter ten, both coexist and balance, almost symbiotically.  I've hopefully check every attic of every house I've lived in, hoping for that escapist's window to the past, and felt the vicarious thrill of reading about it in books or watching it in movies (Harry Potter's Room of Requirement, the attic here, The Bridge to Terabithia, and even corny movies like The Lake House).  This is why I hope someday to build a house with a private library at the top of a tower accessible exclusively by an iron spiral staircase.  This is why I have family members who love old rundown barns or houses.  This is why I keep a flashlight in the car.  I think I speak for everyone: we all want to discover and possess a secret place grander or more romantic than our current, likely inadequate, laughing place.


  1. Based on Paola's psychologist's explanation, are Yambo's fears and insecurities regarding his past valid?  Along the same lines, cross-textually, who was/is more affected by the Alice books, Alice Liddell or Lewis Carroll/children or adults?  Is Paula over-simplifying?
  2. "This one knows you always bring him chewing gum.  That's all."
  3. How is it appropriate that the doorway is walled up and was also once the entrance to the chapel?
  4. "...and I often hid there and did God knows what."  (Haha!  Get it!?)
  5. This is a circumstantial connection of course, as immurement is among the most primal of fears (and Poe's bread and butter, no less), but this reminds me, at least on the outset, of Count Ugolino from L'Inferno, not to mention all those Poe stories.
  6. "At that moment a thunderstorm was gathering."  In just the last chapter, Yambo (if not Eco, but here I think indistinguishable), criticizes Romance-period writers for their manipulation of the elements to echo a book's plot and circumstances.  Isn't that what he's doing right here?

Monday, January 17, 2011

Jane Eyre XXII -- chapter 22: EMOTIONAL MASONRY

  1. "You are not without sense, Cousin Eliza; but what you have, I suppose in another year will be walled up alive in a French convent. However, it is not my business, and, so it suits you, I don't much care."  Immurement is an ugly thing.  I imagine this reference to masonry isn't exactly how Jane or Bronte intended it, but I think it's indeed rather fitting.
  2. Interesting that the death of Mrs. Reed and the dispersion of the Reed family happen roughly the same time as the death of Jane's relationship--or hopes for one--with Mr. Rochester.
So.  Chapter 22: a surprisingly--or uncharacteristically--short chapter!  It leaves me thinking about the idea of immurement.  (If you haven't clicked the link, do so and read up, unless you already know all about it.)  Forget for a minute the capital-punishment element, and even the literal walling-up element (especially since wikipedia has listed all the stuff--the literary and folkloric references to this particular and very romantic act and mode of death--I would be talking about otherwise); is there a connection within the confines of our book here between a potentially figurative immurement and our modern notion of putting up and tearing down walls--emotional walls?

"Count Ugolino and His Sons in Prison," by William Blake
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