The Divine Comedy of Dante Alighieri: The Inferno — John Shaqi
The Divine Comedy of Dante Alighieri: The InfernoDante Alighieri
ReligionJewish
The Divine Comedy of Dante Alighieri: The Inferno
Dante Alighieri
Epic poetry, Italian -- Translations into English; Hell; Italian poetry -- To 1400 -- Translations into English
Long before they were adopted in Italy, the names of Guelf and Ghibeline
had been employed in Germany to mark the partisans of the Bavarian Welf
and of the Hohenstaufen lords of Waiblingen. On Italian soil they
received an extended meaning: Ghibeline stood for Imperialist; Guelf for
anti-Imperialist, Papalist, or simply Nationalist. When the names began
to be freely used in Florence, which was towards the close of
Frederick's reign and about a century after their first invention, they
denoted no new start in politics, but only supplied a nomenclature for
parties already in existence. As far as Florence was concerned, the
designations were the more convenient that they were not too closely
descriptive. The Ghibeline was the Emperor's man, when it served his
purpose to be so; while the Guelf, constant only in his enmity to the
Ghibelines, was free to think of the Pope as he chose, and to serve him
no more than he wished or needed to. Ultimately, indeed, all Florence
may be said to have become Guelf. To begin with, the name distinguished
the nobles who sought alliance with the citizens, from the nobles who
looked on these as they might have done on serfs newly thriven into
wealth. Each party was to come up in turn. Within a period of twenty
years each was twice driven into banishment, a measure always
accompanied with decrees of confiscation and the levelling of private
strongholds in Florence. The exiles kept well together, retreating, as
it were in the order of war, to camps of observation they found ready
prepared for them in the nearest cities and fortresses held by those of
their own way of thinking. All their wits were then bent on how, by dint
of some fighting and much diplomacy, they might shake the strength and
undermine the credit of their successful rivals in the city, and secure
their own return in triumph. It was an art they were proud to be adepts
in.[8]
Public-domain text, read in full here on John Shaqi.
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