[650] Pistoia: The Pistoiese bore the reputation of being hard and pitiless. The tradition was that their city had been founded by such of Catiline’s followers as survived his defeat on the Campo Piceno. ‘It is no wonder,’ says Villani (i. 32) ‘that, being the descendants as they are of Catiline and his followers, the Pistoiese have always been ruthless and cruel to strangers and to one another.’
[651] Who down Thebes’ wall: Capaneus (Inf. xiv. 63).
[652] Maremma: See note, Inf. xiii. 8.
[653] Cacus: Dante makes him a Centaur, but Virgil (Æn. viii.) only describes him as half human. The pool was fed with the blood of his human victims. The herd was the spoil Hercules took from Geryon. In the Æneid Cacus defends himself from Hercules by vomiting a fiery smoke; and this doubtless suggested the dragon of the text.
[654] His brethren: The Centaurs who guard the river of blood (Inf. xii. 56). In Fucci, as a sinner guilty of blood and violence above most of the thieves, the Centaur Cacus takes a special malign interest.
[655] Our tale: Of Cacus. It is interrupted by the arrival of three sinners whom Dante does not at first recognise as he gazes down on them, but only when they begin to speak among themselves. They are three noble citizens of Florence: Agnello Brunelleschi, Buoso degli Abati, and Puccio Sciancatto de’ Galigai—all said to have pilfered in private life, or to have abused their tenure of high office by plundering the Commonwealth. What is certainly known of them is that they were Florentine thieves of quality.
[656] Cianfa: Another Florentine gentleman, one of the Donati. Since his companions lost sight of him he has been transformed into a six-footed serpent. Immediately appearing, he darts upon Agnello.
[657] On chin, etc.: A gesture by which silence is requested. The mention of Cianfa shows Dante that he is among Florentines.
[658] Papyrus: The original is papiro, the word used in Dante’s time for a wick made out of a reed like the papyrus; papér being still the name for a wick in some dialects.—(Scartazzini.) It cannot be shown that papiro was ever employed for paper in Italian. This, however, does not prove that Dante may not so use it in this instance, adopting it from the Latin papyrus. Besides, he says that the brown colour travels up over the papiro; while it goes downward on a burning wick. Nor would the simile, if drawn from a slowly burning lamp-wick, agree with the speed of the change described in the text.
[659] A little snake: As transpires from the last line of the Canto, this is Francesco, of the Florentine family of the Cavalcanti, to which Dante’s friend Guido belonged. He wounds Buoso in the navel, and then, instead of growing into one new monster as was the case with Cianfa and Agnello, they exchange shapes, and when the transformation is complete Buoso is the serpent and Francesco is the human shade.