CANTO VII.
1. In this Canto is described the punishment of the Avaricious and the Prodigal, with Plutus as their jailer. His outcry of alarm is differently interpreted by different commentators, and by none very satisfactorily. The curious student, groping among them for a meaning, is like Gower's young king, of whom he says, in his Confessio Amantis:—
"Of deepe ymaginations
And straunge interpretations,
Problemes and demaundes eke
His wisedom was to finde and seke,
Whereof he wolde in sondry wise
Opposen hem, that weren wise;
But none of hem it mighte bere
Upon his word to give answere."
But nearly all agree, I believe, in construing the strange words into a cry of alarm or warning to Lucifer, that his realm is invaded by some unusual apparition.
Of all the interpretations given, the most amusing is that of Benvenuto Cellini, in his description of the Court of Justice in Paris, Roscoe's Memoirs of Benvenuto Cellini, Chap. XXII.:—
"I stooped down several times to observe what passed: the words which I heard the judge utter, upon seeing two gentlemen who wanted to hear the trial, and whom the porter was endeavoring to keep out, were these: 'Be quiet, be quiet, Satan, get hence, and leave off disturbing us.' The terms were, Paix, paix, Satan, allez, paix. As I had by this time thoroughly learnt the French language, upon hearing these words, I recollected what Dante said, when he with his master, Virgil, entered the gates of hell; for Dante and Giotto the painter were together in France, and visited Paris with particular attention, where the court of justice may be considered as hell. Hence it is that Dante, who was likewise perfect master of the French, made use of that expression; and I have often been surprised, that it was never understood in that sense; so that I cannot help thinking, that the commentators on this author have often made him say things which he never so much as dreamed of."
Dante himself hardly seems to have understood the meaning of the words, though he suggests that Virgil did.
11. The overthrow of the Rebel Angels. St. Augustine says, "Idolatria et quælibet noxia superstitio fornicatio est."
24. Must dance the Ridda, a round dance of the olden time. It was a Roundelay, or singing and dancing together. Boccaccio's Monna Belcolore "knew better than any one how to play the tambourine and lead the Ridda."
27. As the word honor resounds in Canto IV., and the word love in Canto V., so here the words rolling and turning are the burden of the song, as if to suggest the motion of Fortune's wheel, so beautifully described a little later.
