Οὐδὲ ἐῴκει
Ἀνδρός γε θνητοῦ παῖς ἔμμεναι, ἀλλὰ θεοῖο.
(Iliad, xxiv. 258.)
[10.] “I am thy master.”
[11.] “Behold thy heart.”
[12.] The friend of whom Dante here speaks was Guido Cavalcanti.
[13.] i.e., in a church.
[14.] It will be observed that this poem is not what we now call a sonnet. Its structure, however, is analogous to that of the sonnet, being two sextetts followed by two quatrains, instead of two quatrains followed by two triplets. Dante applies the term sonnet to both these forms of composition, and to no other.
[15.] The commentators assert that the last two lines here do not allude to the dead lady, but to Beatrice. This would make the poem very clumsy in construction; yet there must be some covert allusion to Beatrice, as Dante himself intimates. The only form in which I can trace it consists in the implied assertion that such person as had enjoyed the dead lady’s society was worthy of heaven, and that person was Beatrice. Or indeed the allusion to Beatrice might be in the first poem, where he says that Love “in forma vera” (that is, Beatrice), mourned over the corpse: as he afterwards says of Beatrice, “Quella ha nome Amor.” Most probably both allusions are intended.
[16.] “My son, it is time for us to lay aside our counterfeiting.”