To be exalted with the threat’ning clouds.”
Again, the earthquake is mentioned in close connection with the raging of the waters, a feature missing in the other possible sources, while Casca’s statement regarding the anger of the gods finds its counterpart not only in this portion of Pescetti’s recital, but later where the dramatist, detailing other manifestations of the gods’ displeasure, says,
“Giunon . . . . . . . . . .
. . . . . . . hà mostro, quanto
Sia contra noi d’ira e di sdegno accessa.”
Such a condition of affairs is only faintly adumbrated in Ovid or Lucan.
The slave with the burning hand is from Plutarch. The “hundred ghastly women transformèd with their fear” seems a specification of the terror inspired by the ghosts as recorded by Pescetti,
“Si son viste grand’ombre, de’ sepolcri
Uscite, andar per la Città vagando
Nelle persone alto terror mettendo.”[[42]]—P. 75.