DOI Page / Citation link:
https://doi.org/10.11588/diglit.61902#0045
THE MAKERS OF FLORENCE.
23
which wisdom labored, for the most part ineffectually, to
make an end of, or at least soften, the virulency of faction.
Either for this reason, or because his “ disdainful ” mind
got weary of unswerving adherence to the party in which
he had been born, Guido, Guelf by origin, joined that
party of Bianchi who inclined toward the almost extinct
doctrines of Ghibellinism, and drew Dante with him into
it—a very momentous result of their friendship. Perhaps
also because of this state-marriage the gallant Guido seems
to have been somewhat light of love, the names of two
ladies, Giovanna and Mandetta, being associated with his,
neither of them, it is to be supposed, his Ghibelline wife.
Giovanna, however, at least must have been a gentil donna,
and object of pure and chivalrous adoration, since we find
her in the society of the spotless Beatrice in those lovely
visionary groups of the “ Vita Nuova,” which was com-
posed especially, as the poet afterward informs us, for the
ear of Guido, the first of his friends.
Others of the best known trovatori of the time—those
poets whose songs were sung about the streets when all
Florence danced and sung the sweet May in, and nothing
but delights were heard of—replied to the young Alighieri’s
verses, some of them in lighter mood, laughing at him and
his vision; but from this period it is evident the popular
knowledge of him as a poet began. We can trace him
only through a few of the transports, now joyful, now
melancholy, of his love-life. One scene, all thrilling with
sensations ineffable, love-agonies and languishments be-
yond the reach of words, shows the young poet to us, faint
and trembling, leaning against a painting which went
round the walls of the house, so confused by the sudden
sight of his lady among the other gentili donne present that
he had no longer any strength in him. He had been
brought to this assembly, whatever its purpose was—a
marriage feast apparently—by one of his friends. “ To
23
which wisdom labored, for the most part ineffectually, to
make an end of, or at least soften, the virulency of faction.
Either for this reason, or because his “ disdainful ” mind
got weary of unswerving adherence to the party in which
he had been born, Guido, Guelf by origin, joined that
party of Bianchi who inclined toward the almost extinct
doctrines of Ghibellinism, and drew Dante with him into
it—a very momentous result of their friendship. Perhaps
also because of this state-marriage the gallant Guido seems
to have been somewhat light of love, the names of two
ladies, Giovanna and Mandetta, being associated with his,
neither of them, it is to be supposed, his Ghibelline wife.
Giovanna, however, at least must have been a gentil donna,
and object of pure and chivalrous adoration, since we find
her in the society of the spotless Beatrice in those lovely
visionary groups of the “ Vita Nuova,” which was com-
posed especially, as the poet afterward informs us, for the
ear of Guido, the first of his friends.
Others of the best known trovatori of the time—those
poets whose songs were sung about the streets when all
Florence danced and sung the sweet May in, and nothing
but delights were heard of—replied to the young Alighieri’s
verses, some of them in lighter mood, laughing at him and
his vision; but from this period it is evident the popular
knowledge of him as a poet began. We can trace him
only through a few of the transports, now joyful, now
melancholy, of his love-life. One scene, all thrilling with
sensations ineffable, love-agonies and languishments be-
yond the reach of words, shows the young poet to us, faint
and trembling, leaning against a painting which went
round the walls of the house, so confused by the sudden
sight of his lady among the other gentili donne present that
he had no longer any strength in him. He had been
brought to this assembly, whatever its purpose was—a
marriage feast apparently—by one of his friends. “ To