[Footnote 45:  The passage respecting his past life is unequivocal testimony to the fact, confidently disputed by some, of Dante’s having availed himself of the license of the time; though, in justice to such candour, we are bound not to think worse of it than can be helped.  The words in the original are

  “Se ti riduci a mente
  Qual fosti meco, e quale io teco fui,
  Ancor fia grave il memorar presente.”

Literally:  “If thou recallest to mind what (sort of person) thou wast with me, and what I was with thee, the recollection may oppress thee still.”

His having been taken out of that kind of life by Virgil (construed in the literal sense, in which, among other senses, he has directed us to construe him), may imply, either that the delight of reading Virgil first made him think of living in a manner more becoming a man of intellect, or (possibly) that the Latin poet’s description of AEneas’s descent into hell turned his thoughts to religious penitence.  Be this as it may, his life, though surely it could at no time have been of any very licentious kind, never, if we are to believe Boccaccio, became spotless.]

[Footnote 46:  The mention of Gentucca might be thought a compliment to the lady, if Dante had not made Beatrice afterwards treat his regard for any one else but herself with so much contempt. (See page 216 of the present volume.) Under that circumstance, it is hardly acting like a gentleman to speak of her at all; unless, indeed, he thought her a person who would be pleased with the notoriety arising even from the record of a fugitive regard; and in that case the good taste of the record would still remain doubtful.  The probability seems to be, that Dante was resolved, at all events, to take this opportunity of bearding some rumour.]

[Footnote 47:  A celebrated and charming passage: 

  “Io mi son un, che quando
  Amore spira, noto; e a quel modo
  Che detta dentro, vo significando.”

  I am one that notes
  When Love inspires; and what he speaks I tell
  In his own way, embodying but his thoughts.

[Footnote 48:  Exquisite truth of painting! and a very elegant compliment to the handsome nature of Buonaggiunta.  Jacopo da Lentino, called the Notary, and Fra Guittone of Arezzo, were celebrated verse-writers of the day.  The latter, in a sonnet given by Mr. Cary in the notes to his translation, says he shall be delighted to hear the trumpet, at the last day, dividing mankind into the happy and the tormented (sufferers under crudel martire), because an inscription will then be seen on his forehead, shewing that he had been a slave to love!  An odd way for a poet to shew his feelings, and a friar his religion!]

[Footnote 49:  Judges vii. 6.]

[Footnote 50:  Summae Deus clementiae.  The ancient beginning of a hymn in the Roman Catholic church; now altered, say the commentators, to “Summae parens clementiae.”]