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Behold Francesca Who Speaks So Well (Inferno V) MARK MUSA The majority of scholars who have treated the figure of Francesca have presented her in a highly favorable light. To such an extent is this true, in some cases, that they seem to suggest that the attractiveness of her personality is great enough to atone for her sin.' Since they treat her only on the surface, this favorable picture is surely understandable, as is their tone of affection, respect and compassion. For on the surface she is truly one of the most charming creatures to appear (though hers was such a brief appearance) in world literature. What her words most dearly reveal is the good breeding of the speaker: hers is an aristocratic nature, now fired by ardent memories, now tempered by sweetness and feminine grace. Toward the Pilgrim she shows the quintessence of courtesy and graciousness-as is already revealed in her opening words, "0 animal grazioso ..." (88), themselves an echo of the Pilgrim's address to the pair of lovers "0 anime affiannate ..." (80); indeed, it was surely her gratitude for the Pilgrim's tender greeting that inspired her gracious response. And in the wish suggested by her offer "noi pregheremmo ... della tua pace," her graciousness seems to be inspired by true magnanimity: it is precisely that "peace" which she craves so ardently (and which is surely reflected in her description of the waters of the river Po: "dove '1 Po discende I per aver pace"), a peace which she will never know, that she would like to have assured for the Pilgrim. And how ready she is to comply with his requests; to his summons (81), "Venite a noi parlar," she answers. "Di quel che udire e che parlar vi piace noi udiremo e parleremo a voi ..." (94-95) ("Whatever pleases you to hear or speak we will hear and we will speak about with you .. .W). And when he asks her to tell him how Paolo and she had allowed themselves to confess their love to each other (118-120), she acquiesces, even though the telling will cause her pain: 310 E quella a me: "Nessun maggior dolore che ricordarsi del tempo felice ne la miseria; e do sa 'I tuo dottore. Ma s'a conoscer la prima radice del nostro amor tu hai cotanto affetto, diro come colui che piange e dice ...w (121-126) (And she to me: "There is no greater pain than to remember, in our present grief. past happiness-as well your teacher knows! But if your great desire is to learn the very root of such a love as ours, I shall tell you, but in words of flowing tears ..."). Nor is she sparing with her words-which seem. to flow naturally from her heart. Her courtesy extends also to Virgil, though he has not addressed her; on two occasions she shows her awareness of his presence. In lines 94-95, when she promises to answer the Pilgrim's first request, she shifts from the tu with which she had been addressing him to the vi and voi that would include Virgil (remembering, no doubt, the form of the Pilgrim's request: "Venite a noi parlar"); and before she begins her second confession , she ends her aphorism "Nessun maggior dolore," with a reference to the Pilgrim's "dottore" that she sees before her.2 Francesca's aristocratic background is suggested not only by her delicate manners but also by her delicate and often noble language (revealing her familiarity with contemporary literature)-a feature which has impressed most critics, though in describing her style they do little more than point out the "dolce stil nuovo" flavor of her two characterizations of "Love" (100 and 103): "Amor, ch'al cor gentil ratto s'apprende" and "Amor, ch'a nullo amato amar perdona." But her style is not limited to the preciosity of the two lines just mentioned; it reveals a considerable variety of nuances. There is the powerful impact of the entire passage (100-106) beginning with '"Amor" and ending"ad una morte," which contains the threefold description of the (sinister) part played by Love in the development of the feelings between her young kinsman and herself, and in the tragic outcome of their feelings. There is the lofty, yet graceful and tender tone of the description of her birthplace (97-99): "Siede la terra dove nata fui. ..." And there is the delicacy, one might even say the femininity, of her words...

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