This same story is told of Virgil in Comparetti’s collection; but the present tale in the original has about it a smack or tone of the people which is wanting in the older version. Thus, the song of the bell is a peculiarly quaint conception, and probably an adaptation of some popular jest to the effect that bells proclaim the name and shame of certain persons. I have found that, with rare exception, the legends which I have given, as preserved by a class to whom tradition has a special value, are more complete in every respect than the variants drawn from other sources.
VIRGILIO AND THE BALL-PLAYER.
“Ima subit, resilit. Ventosi prælia vento,
Exagitant juvenes: pellunt dextra atque repellunt,
Corruit ille iterùm; levisque aere truditur aer;
Ictibus impatiens obmurmurat; altaque rursus
Nubila metitur cursu; si forte globosa
Excipiant miserata globum patiturque repulsam.”P. Car. de Luca, 1. 19, Ex. J. B. Gandutio: Harpastum Florentinum; or, On the Florentine Game of Ball (1603).
“Jamque calent lusorum animi; color ardet in ore
In vultu sanguis rubet, omnesque occupat artus;
Præcipites hinc, inde ruunt, cursuque sequaci
Atque oculis sphæræ volucri vigilantibus justant.”Pilæ Ludus: The Game of Ball. Auctor Incertus. XVIth Century.
“Now the playing at ball is allowed to Christians, because, like chess, draughts, billiards, bowls, trucca, and the like, it is a game of skill and not of chance, which latter makes illicit the most innocent play.”—Trattato di Giochi, etc., Rome, 1708.
There was once upon a time a grand signore in Florence who had a clever servant, a young man, who, whether he had a fairy god-mother or a witch grandmother is not told; but it is certain that he had such luck at playing ball as to always win and never lose. And his master so arranged it with him as to bet and win immense sums.
One day Virgilio, being present at a match in which this young man played, observed that there sat upon his ball a tiny invisible goblin, who directed its course as he pleased.
“Beautiful indeed is thy play,” said Virgilio to the youth, “and thy ball—ha tutta la finezza dell’ arte—hath all the refinement of its art; but ’tis a pity that it is not an honest ball.”
“Thou art mistaken,” replied the young man; but he reddened as he spoke.
“Ah, well,” answered Virgil, “I will show thee anon whether I have made a mistake or told the truth. A carne di lupo dente di cane—A dog’s teeth to a wolf’s hide. My young friend and his old master need a bite or two to cure them of their evil ways.”
There was in Florence the next day a great fair, or festa, and Virgil, passing where young people were diverting themselves, saw a very beautiful, bold-faced girl, who looked like a gipsy, or as if she belonged to some show, playing ball. Then Virgil, calling a goblin not bigger than a babe’s finger, [109] bade it go and sit on the girl’s ball, and inhabit and inspire it to win. It did so, and the girl won every time. Then Virgilio said to her:
“Come with me, and I will show you how to win one hundred crowns. There is a young man who carries all before him at playing; thou must drive him before thee; e render la pariglia—pay him back in his own money. Then shalt thou have one hundred crowns.”