The ninth stanza has puzzled commentators exceedingly. It has been pointed out that the River Po does not sweep beneath the walls of Ravenna. That is, of course, indisputable. But Byron, in all probability, did not then know the exact course of that river, and blindly followed Dante's geographical description, and almost used his very words: 'Siede la terra, _dove nata fui, Su la marina dove il Po discende_, Per aver pace co' seguaci sui.' It is, of course, well known that the Po branches off into two streams to the north-west of Ferrara, and flows both northward and southward of that city. The southern portion--the Po di Primaro--is fed by four affluents--the Rheno, the Savena, the Santerno, and the Lamone--and flows into the Adriatic south of Comachio, about midway between that place and Ravenna. It was obviously to the _Po di Primaro_ that Dante referred when he wrote _seguaci sui_. Unless Francesca was born close to the mouth of the Po, which is not impossible, Byron erred in good company. In any case, we may fairly plead poetic licence. That Byron crossed the Po di Primaro as well as the main river admits of no doubt. In the eleventh stanza Byron is wondering what will be the result of his journey? Will the Guiccioli return to him? Will all be well with the lovers, or will he return to Venice alone? In his fancy they are both wandering on the banks of that river. He is near its source, where the Po di Primaro branches off near Pontelagascuro, while she was on the shore of the Adriatic. The twelfth stanza would perhaps have been clearer if the first and second lines had been, 'A stranger, born far beyond the mountains, Loves the Lady of the land,' which was Byron's meaning. The poet excuses himself for his fickleness on the plea that 'his blood is all meridian'--in short, that he cannot help loving someone. But we plainly see that his love for Mary Chaworth was still paramount. 'In spite of tortures ne'er to be forgot'--tortures of which we had a glimpse in 'Manfred'--he was still her slave. Finally, Byron tells us that it was useless to struggle against the misery his heart endured, and that all his hopes were centred on an early death. The episode of Francesca and Paolo had made a deep impression on Byron. He likened it to his unfortunate adventure with Mary Chaworth in June and July, 1813. In 'The Corsair'--written after their intimacy had been broken off--Byron prefixes to each canto a motto from 'The Inferno' which seemed to be appropriate to his own case. In the first canto we find: 'Nessun maggior dolore, Che ricordarsi del tempo felice Nella miseria.' In the second canto: 'Conoscesti i dubbiosi desire?' In the third canto: 'Come vedi--ancor non m' abbandona.'