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But in verses the matter is more evident. And some of our countrymen are like them. Like that line in Thyestes: "Quemnam te esse dicam, qui tarda in senectute" ... And so on; for except when the flute-player is at hand to accompany them, those verses are very like prose.
When we consider how much matter is daily brought into a great city for building, fuel, clothing and food, and that in old times when the roads were bad and the work of the scavenger was neglected, a comparatively small amount was carried away, we may agree with Elie de Beaumont, who, in discussing this subject, says, "pour une voiture de materiaux qui en sort, on y en fait entrer cent."
Le sang tombe des airs: il dechire, il devore Le reptile acharné, qui le combat encore; Il le perçe, il le tient sous ses ongles vainqeurs, Par cent coups rédoublés il venge ses douleurs; Le Monstre en expirant, se debat, se replie; Il exhale en poison le reste de sa vie; Et l'aigle tout sanglant, fier et victorieux, Le rejette en fureur, et plane au haut des cieux.
The comment on Canto XIX. of the "Inferno" affords several instances of this unfair procedure. "Among the Cardinals," says Benvenuto, "was Benedict of Anagni, a man most skilful in managing great affairs and in the rule of the world; who, moreover, sought the highest dignity." "Vir astutissimus ad quseque magna negotia et imperia mundi; qui etiam affectabat summam dignitatem."
'Mignonne allons voir si la rose Qui ce matin avoit desclose Sa robe de pourpre au soleil A point perdu ceste vespree I as plis de sa robe pourpree Et son teint au votre pareil . . . She discerned in Isabel that quality of beauty, noble, spirited, and yet wistful, which requires a most expensive setting of simplicity. And that was why Isabel opened her coat.
Et prope altare tribus gradibus in altitudine, habetur capsa, seu Tumba Alabastri, sanctissima continens ossa Virginis. Christiani qui ibidem morantur, cum magna reuerentia aduenientibus peregrinis, a Monachorum praelato, seu ab alio in hoc instituto, excipiuntur.
In the curious figure of the Tournament, we have a characteristic play of mediaeval fancy. As Langland puts it, a little differently: "Then was Faith in a fenestre, and cryed: Ah! Fili David! As doth an heraude of armes when adventrous cometh to jousts. Olde Jewes of Jerusalem for joy they sungen, Benedictus qui venit in nomine Domini.
C'est dans Adène que je vis pour la première fois les deux jeunes gens qui
But, Bulstrode was a man of the world, and he knew how to command the exhibition of his feelings, if not to command the feelings themselves. "I told you, once, Corny," he said, offering his hand, "that we must remain friends, coute qui coute you have been successful, and I have failed.
It is true that Saviozzo da Siena tells us: "Qui comincio a leggere Dante in pria Retorica vulgare e molti aperti Fece di sua Poetica armonia" and that Manetti, an early biographer, seems to support the theory. But the best evidence, if evidence it can be called, which we have for this theory is to be found in a codex in the Laurentian Library, quoted by Bandini and cited by Dr.
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