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CONTENTS

About the Authors v

Preface xvii
Acknowledgments xxiii

CHAPTER 1
Looking at Movies 1
Learning Objectives 2
Looking at Movies 2
What Is a Movie? 3
The Movie Director 6
Ways of Looking at Movies 6
Invisibility and Cinematic Language 8
Cultural Invisibility 10
Implicit and Explicit Meaning 11
Viewer Expectations 13
Formal Analysis 15
Alternative Approaches to Analysis 20
Cultural and Formal Analysis in the Star Wars Series 23
Analyzing Looking at Movies 28
Screening Checklist: Looking at Movies 28
Questions for Review 29

CHAPTER 2
Principles of Film Form 31
Learning Objectives 32
Film Form 32
Form and Content 32
Form and Expectations 35
Patterns 36
Fundamentals of Film Form 40
Movies Depend on Light 40
Movies Provide an Illusion of Movement 41
Movies Manipulate Space and Time in Unique Ways 43
Realism, Antirealism, and Formalism 49
Verisimilitude 54

vii
viii Contents

Cinematic Language 55
Looking at Film Form: Donnie Darko 57
Content 57
Expectations 57
Patterns 58
Manipulating Space 59
Manipulating Time 60
Realism, Antirealism, and Verisimilitude 60
Analyzing Principles of Film Form 61
Screening Checklist: Principles of Film Form 61
Questions for Review 61

CHAPTER 3
Types of Movies 63
Learning Objectives 64
The Idea of Narrative 64
Types of Movies 67
Narrative Movies 68
Documentary Movies 69
Experimental Movies 74
Hybrid Movies 81
Genre 82
Genre Conventions 85
Story Formulas 85
Theme 85
Character Types 86
Setting 86
Presentation 86
Stars 87

Six Major American Genres 88

Gangster 88
Film Noir 90
Science Fiction 93
Horror 95
The Western 98
The Musical 100
Evolution and Transformation of Genre 102
What about Animation? 105
Looking at the Types of Movies in The Lego Movie 109
Analyzing Types of Movies 113
Screening Checklist: Types of Movies 113
Questions for Review 114
 Contents ix

CHAPTER 4
Elements of Narrative 115
Learning Objectives 116
What Is Narrative? 116
Characters 120
Narrative Structure 124
The Screenwriter 129
Elements of Narrative 129
Story and Plot 129
Order 134
Events 136
Duration 136
Suspense versus Surprise 140
Repetition 141
Setting 142
Scope 143
Looking at Narrative in Stagecoach 143
Story 144
Narration and Narrator 144
Characters 144
Narrative Structure 146
Plot 147
Order 147
Diegetic and Nondiegetic Elements 147
Events 148
Duration 148
Suspense 149
Setting 149
Scope 149
Analyzing Elements of Narrative 151
Screening Checklist: Elements of Narrative 151
Questions for Review 152

CHAPTER 5
Mise-en-Scène 153
Learning Objectives 154
What Is Mise-en-Scène? 154
Design 155
The Production Designer 155
Elements of Design 156
Setting, Decor, and Properties 157
Costume, Makeup, and Hairstyle 160

Lighting 166
Quality 167
Lighting Ratios 168
Direction 169
x Contents

Composition 171
Kinesis 176
Approaches to Mise-en-Scène 178
Looking at Mise-en-Scène in Sleepy Hollow 181
Lighting and Setting 182
Costumes, Makeup, and Hairstyle 184
Analyzing Mise-en-Scène 186
Screening Checklist: Mise-en-Scène 186
Questions for Review 186

CHAPTER 6
Cinematography 187
Learning Objectives 188
What Is Cinematography? 188
The Director of Photography 188
Production Terms and Tasks 188
Cinematographic Properties of the Shot 190
Film and Digital Formats 191
Black and White 193
Color 194
Lighting Sources 198
Lenses 199
Framing of the Shot 201
Implied Proximity to the Camera 204
Depth 207
Camera Angle and Height 209
Eye Level 209
High Angle 210
Low Angle 210
Dutch Angle 211
Bird’s-Eye View 211
Camera Movement 211
Pan and Tilt Shots 213
Dolly Shot 214
Zoom 215
Crane Shot 216
Handheld Camera 217
Steadicam 217
Framing: What We See on the Screen 218
Open and Closed Framing 220
Framing and Point of View 222
Speed and Length of the Shot 223
Speed of the Shot 223
Length of the Shot 226
Special Effects 227
Looking at Cinematography in Moonlight 230
Analyzing Cinematography 233
Screening Checklist: Cinematography 233
Questions for Review 234
 Contents xi

CHAPTER 7
ACTING 235
Learning Objectives 236
What Is Acting? 236
Movie Actors 237
The Evolution of Screen Acting 242
Early Screen-Acting Styles 242
D. W. Griffith and Lillian Gish 243
The Influence of Sound 244
Acting in the Classical Studio Era 246
Method Acting 249
Screen Acting Today 251
Technology and Acting 256
Casting Actors 257
Factors Involved in Casting 258
Aspects of Performance 258
Types of Roles 258
Preparing for Roles 260
Naturalistic and Nonnaturalistic Styles 262
Improvisational Acting 264
Directors and Actors 265
How Filmmaking Affects Acting 266
Framing, Composition, Lighting, and the Long Take 267
The Camera and the Close-up 270
Acting and Editing 272
Looking at Acting 272
Michelle Williams 275
Analyzing Acting 278
Screening Checklist: Acting 278
Questions for Review 279

CHAPTER 8
EDITING 281
Learning Objectives 282
What Is Editing? 282
The Film Editor 283
Functions of Editing 285
Fragmentation 286
Juxtaposition and Meaning 289
Spatial Relationships between Shots 292
Temporal Relationships between Shots 293
Duration, Pace, and Rhythm 297
xii Contents

Major Approaches to Editing: Continuity and Discontinuity 300

Conventions of Continuity Editing 301
Shot Types and Master Scene Technique 302
The 180-Degree Rule and Screen Direction 303
Editing Techniques That Maintain Continuity 304
Match Cuts 304
Point-of-View Editing 307
Other Transitions between Shots 307
Jump Cut 307
Fade 308
Dissolve 311
Wipe 311
Iris Shot 312

Looking at Editing: City of God 312

The Opening Sequence 313
Sharpening the Knife 313
The Chicken gets the Gist 314
The Chicken Escapes 315
The Chase, Part 1 315
Parallel Editing 316
The Chase, Part 2 316
The Standoff in the Street 316
Analyzing Editing 317
Screening Checklist: Editing 317
Questions for Review 318

CHAPTER 9
SOUND 319
Learning Objectives 320
What Is Sound? 320
Sound Production 321
Design 322
Recording 323
Editing 323
Mixing 324
Describing Film Sound 324
Pitch, Loudness, Quality 324
Fidelity 325
Sources of Film Sound 326
Diegetic versus Nondiegetic 326
On-screen versus Offscreen 327
Internal versus External 328
Types of Film Sound 329
Vocal Sounds 329
Environmental Sounds 331
Music 332
 Contents xiii

Silence 338
Types of Sound in Steven Spielberg’s War of the Worlds 340
Functions of Film Sound 343
Audience Awareness 344
Audience Expectations 345
Expression of Point of View 346
Rhythm 347
Characterization 348
Continuity 348
Emphasis 349
Looking at (and Listening to) Sound in Orson Welles’s
Citizen Kane 350
Sources and Types 352
Functions 352
Characterization 353
Themes 355
Analyzing Sound 356
Screening Checklist: Sound 356
Questions for Review 356

CHAPTER 10
FILM HISTORY 357
Learning Objectives 358
What Is Film History? 358
Basic Approaches to Studying Film History 359
The Aesthetic Approach 359
The Technological Approach 359
The Economic Approach 360
The Social History Approach 360
A Short Overview of Film History 361
Precinema 361
Photography 361
Series Photography 362
1891–1903: The First Movies 363
1908–1927: Origins of the Classical Hollywood Style—The Silent Period 366
1919–1931: German Expressionism 370
1918–1930: French Avant-Garde Filmmaking 372
1924–1930: The Soviet Montage Movement 373
1927–1947: Classical Hollywood Style in Hollywood’s Golden Age 376
1942–1951: Italian Neorealism 380
1959–1964: French New Wave 382
1947–Present: Movements and Developments in
International Cinema 385
England and the Free Cinema Movement 386
Denmark and the Dogme 95 Movement 387
xiv Contents

Germany and Austria 388

Japan 389
China 392
The People’s Republic 392
Hong Kong 393
Taiwan 394
India 394
Contemporary Middle Eastern and North African Cinema 396
Algeria 396
Egypt 396
Iraq 396
Iran 396
Israel 397
Lebanon 397
Palestine 397
Latin American Filmmaking 397
Argentina 397
Brazil 397
Cuba 398
Mexico 398

1965–1995: The New American Cinema 399

Looking at Citizen Kane and Its Place in Film History 404
Analyzing Film History 406
Screening Checklist: Film History 406
Questions for Review 407

CHAPTER 11
How the Movies Are Made 409
Learning Objectives 410
Money, Methods, and Materials: The Whole Equation 410
Film and Digital Technologies: An Overview 412
Film Technology 412
Digital Technology 415
Film versus Digital Technology 416
How a Movie Is Made 417
Preproduction 417
Production 418
Postproduction 420
The Studio System 420
Organization before 1931 420
Organization after 1931 421
Organization during the Golden Age 422
The Decline of the Studio System 424
The Independent System 426
Labor and Unions 427
Professional Organizations and Standardization 428
Financing in the Industry 429
 Contents xv

Marketing and Distribution 431

Production in Hollywood Today 434
Audience Demographics 436
Franchises 436
LGBT Movies 437
African American Movies 438
Foreign Influences on Hollywood Films 438
Looking at the Future of the Film Industry 438
Analyzing How the Movies are Made 441
Screening Checklist: How the Movies are Made 441
Questions for Review 442

Glossary 443
Permissions Acknowledgments 457
Index 461
PREFACE

Students in an introductory film course who read Look- A Focus on Analytic Skills
ing at Movies carefully and take full advantage of its me-
dia program will finish the course with a solid grounding A good introductory film book needs to help students
in the major principles of film form as well as a more make the transition from the natural enjoyment of mov-
perceptive and analytic eye. A short description of the ies to a critical understanding of the form, content, and
book’s main features follows. meanings of movies. Looking at Movies accomplishes
this task in several different ways:

An Accessible and Comprehensive Model Analyses

Hundreds of illustrative examples and analytic readings
Overview of Film of films throughout the book provide students with con-
crete models for their own analytic work. The sustained
Recognized from its first publication as an accessible in-
analyses in Chapter 1 of Juno and the Star Wars saga—
troductory text, Looking at Movies covers key concepts in
films that most undergraduates will have seen and en-
films studies as comprehensively as possible. In addition
joyed but perhaps not viewed with a critical eye—discuss
to its clear and inviting presentation of the fundamen-
not only the formal structures and techniques of these
tals of film form, the text discusses film genres, film his-
films, but also their social and cultural meanings. These
tory, and the relationships between film and culture in
analyses offer students an accessible and jargon-free in-
an extensive but characteristically accessible way, thus
troduction to most of the major themes and goals of an
providing students with a thorough introduction to the
introductory film course, and show students that looking
major subject areas in film studies. In the Sixth Edition
at movies analytically can start immediately, even be-
three chapters in particular—Chapter 5: Mise-en-Scène,
fore they learn the specialized vocabulary of film study.
Chapter 6: Cinematography, and Chapter 8: Editing—
Each chapter also concludes with an in-depth “Looking
arguably the “core” of the text, have been thoroughly
at . . .” analysis that offers a sustained look at a single film
revised by Dave Monahan to be even clearer, more ac-
through the lens of that chapter’s particular focus. A new
cessible, and more enlightening than ever before.
analysis of Moonlight in Chapter 6 and significantly re-
vised analyses of Stagecoach (Chapter 4) and City of God
(Chapter 8) join existing analyses to provide clear models
Film Examples Chosen with for students’ own analyses and interpretations of films.
Undergraduates in Mind
Interactives
From its very first chapter, which features sustained Interactives developed with Dave Monahan provide stu-
analyses and examples from the Star Wars series and dents with hands-on practice manipulating key concepts
Jason Reitman’s Juno (2009), Looking at Movies invites of filmmaking and formal analysis. Students can work
students into the serious study of cinema via films that at their own pace to see how elements such as lighting,
they are probably familiar with and that they have, in all sound, editing, composition, and color function within
likelihood, seen outside the classroom prior to taking a film. A new interactive for the Sixth Edition features a
the course. Major films from the entire history of cinema 3D rendering of the set for the famous cabin scene from
are also generously represented, but always with an eye Charlie Chaplin’s The Gold Rush. Students are able to
to helping students see enjoyment and serious study as move freely around the virtual space with their “cam-
complementary experiences. era” to attempt different shot set-ups and compositions.

xvii
xviii Preface

Available in the ebook and on the Looking at Movies stu- produced in the aspect ratio of the original source—will
dent website, these features can be accessed at digital serve as accurate reference points for students’ analyses.
.wwnorton.com/movies6.
Five Hours of Moving-Image Media
Video Tutorials The ebook and student website that accompany Looking
A series of video tutorials—written, directed, and hosted at Movies offer five hours of video content:
by Dave Monahan—complement and expand on the
book’s analyses. Ranging from 2 to 15 minutes in length, • The twenty-eight video tutorials described above
were specifically created to complement Looking
these tutorials show students via moving-image media
at Movies and are exclusive to this text. Because
what the book describes and illustrates in still images. they are viewable in full-screen, they are suitable
The Sixth Edition offers one new tutorial on the Star for presentation in class as well as for students’
Wars series that expands on the in-text analysis. Help- self-study. In addition to the longer video tutorials,
ful as a quick review of core concepts in the text, these there are also over fifty short-form animations
tutorials also provide useful models for film analysis, based on illustrations in the print text.
thus helping students further develop their analyti- • A mini-anthology of thirteen complete short films,
cal skills. Available in the ebook and on the Looking at ranging from 5 to 30 minutes in length, provides a
Movies student website, these tutorials can be found at curated selection of accomplished and entertaining
digital.wwnorton.com/movies6. examples of short-form cinema, as well as useful
material for short in-class activities or for students’
analyses. Most of the films are also accompanied by
Screening Checklists optional audio commentary from the filmmakers.
Each chapter ends with an Analyzing section that in- This commentary was recorded specifically for
cludes a Screening Checklist feature. This series of lead- Looking at Movies and is exclusive to this text.
ing questions prompts students to apply what they’ve
learned in the chapter to their own critical viewing, in
class or at home. Accessible Presentation;
Effective Pedagogy
The Most Visually Dynamic Among the reasons that Looking at Movies is considered
Text Available the most accessible introductory film text available is its
clear and direct presentation of key concepts and unique
Looking at Movies was written with one goal in mind: pedagogical organization. The first three chapters of the
to prepare students for a lifetime of intelligent and per- book—“Looking at Movies,” “Principles of Film Form,” and
ceptive viewing of motion pictures. In recognition of the “Types of Movies”—provide a comprehensive yet truly
central role visuals play in the film-studies classroom, introductory overview of the major topics and themes
Looking at Movies includes an illustration program that of any film course, giving students a solid grounding in
is both visually appealing and pedagogically focused, as the basics before they move on to study those topics in
well as accompanying moving-image media that are sec- greater depth in later chapters.
ond to none. In addition, pedagogical features throughout provide
a structure that clearly identifies the main ideas and pri-
Hundreds of In-Text Illustrations mary goals of each chapter for students:
The text is illustrated by over 750 illustrations in color
and in black-and-white. Nearly all the still pictures were Learning Objectives
captured from digital or analog film sources, thus en- A checklist at the beginning of every chapter provides a
suring that the images directly reflect the textual dis- brief summary of the core concepts to be covered in the
cussions and the films from which they’re taken. Unlike chapter.
publicity stills, which are attractive as photographs but
less useful as teaching aids, the captured stills through- Extensive Captions
out this book provide visual information that will help Each illustration is accompanied by a caption that elab-
students learn as they read and—because they are re- orates on a key concept or that guides students to look
 Preface xix

at elements of the film more analytically. These captions Writing About Movies
expand on the in-text presentation and reinforce stu-
dents’ retention of key terms and ideas. Written by Karen Gocsik (University of California, San
Diego) and the authors of Looking at Movies, this book
Analyzing Sections is a clear and practical overview of the process of writing
At the end of each chapter is a section that ties the terms, papers for film-studies courses. In addition to provid-
concepts, and ideas of the chapter to the primary goal ing helpful information about the writing process, the
of the book: honing students’ own analytical skills. This new Writing About Movies, Fifth Edition, offers a sub-
short overview makes explicit how the knowledge stu- stantial introduction-in-brief to the major topics in film
dents have gained in the chapter can move their own studies, including an overview of the major film theories
analytical work forward. A short Screening Checklist and their potential application to student writing, prac-
provides leading questions that students can ponder as tical advice about note-taking during screenings and
they screen a film or scene. private viewings, information about the study of genre
and film history, and an illustrated glossary of essential
Questions for Review film terms. This inexpensive text is available separately
A section at the end of each chapter tests students’ knowl- or in a significantly discounted package with Looking at
edge of the concepts first mentioned in the Learning Ob- Movies.
jectives at the beginning of the chapter.
Beyond the in-text pedagogy, the abundant resources
that accompany Looking at Movies are designed to help Resources for Instructors
students succeed.
All of the following resources are free to adopters of
Looking at Movies and can be found at wwnorton.com/
instructors or by clicking the Instructor Resources tile
InQuizitive: A game-like, media-rich, at digital.wwnorton.com/movies6. Contact your local
interactive quizzing tool sales representative for access.

Students in an introductory film course are already mo-

Interactive Instructors Guide
tivated to watch movies and discuss them with their
This searchable, sortable site for instructors contains
classmates. But they sometimes struggle to learn the
over 1,000 resources for class preparation and presenta-
essential terms and concepts that make those conver-
tion, including all of the video content from the student
sations more analytical and interesting. InQuizitive is
site, hundreds of downloadable images, Lecture Power-
an engaging, adaptive quizzing tool that helps students
Points, suggestions for in-class activities, clip sugges-
master important concepts and gives them support where
tions from the popular Clip Guide, and more.
they need it most.
Clip Guide
An invaluable class-prep tool, the Clip Guide suggests a
Enhanced Ebook wide range of clips for illustrating film concepts covered
in the text. Each entry in the Clip Guide offers a quick
Looking at Movies is also available as an enhanced ebook overview of the scene, the idea, and crucially, time-
free with every new copy of the print book. This ebook stamp information on exactly where to find each clip.
works on all computers and mobile devices, and embeds The Looking at Movies Clip Guide includes suggestions
all the rich media—video tutorials, animations, interac- from not just the authors but from a wide range of teach-
tives, and more—into one seamless experience. Instruc- ers, offering a broad perspective of insightful teaching
tors can focus student reading by sharing notes in the tips that can inspire and save valuable prep time.
ebook, as well as embed images and other videos. Re-
ports on student and class-wide access and time on task Test Bank
also enable instructors to monitor student reading and Each chapter of the Test Bank includes 60–65 multiple-
engagement. choice and 10–15 essay questions (with sample answer
xx Preface

guides). Questions are labeled by concept, difficulty, and

Bloom’s Taxonomy.

Coursepacks for Learning

Management Systems
Ready-to-use coursepacks for Blackboard and other
learning management systems are available free of
charge to instructors who adopt Looking at Movies.
These coursepacks offer customizable quizzes, chapter
overviews and learning objectives, and links to media.

***

Looking at Movies is not just a book that is supplemented

by media. Looking at Movies is made of media. For more
information about how to make the most out of Looking
at Movies, see “Five Steps to Getting the Most Out of the
Looking at Movies Digital Resources” on the following
page.
 Preface xxi

Five steps to getting the most out of the

LOOKING AT MOVIES DIGITAL RESOURCES

Looking at Movies offers a wealth of resources for students and instructors. This one-page guide is intended to
help instructors incorporate these resources into their course.

‡ HIJK New to the Sixth Edition, ‡ Use interactives to help students understand
InQuizitive is Norton’s game-like quizzing tool. filmmaking decisions. Six interactives found at
InQuizitive uses interactive question types and rich DIGITAL.WWNORTON.COM/MOVIES6 provide stu­
media to help students understand key film terms d­ents with hands-on practice manipulating key con-
and concepts from the book. InQuizitive is adaptive, cepts of filmmaking and formal analysis. Students can
so students receive extra help on the concepts they work at their own pace to see how elements such as
might be struggling with, and it integrates seamlessly lighting, sound, editing, composition, and color func-
with your learning management system, making tion within a film. A new interactive for the Sixth Edi-
it easy to track student progress. A code to access tion features a 3D rendering of the set for the famous
InQuizitive is found in every new copy of Looking cabin scene from Charlie Chaplin’s The Gold Rush.
at Movies, Sixth Edition, or students can purchase Students are able to move freely around the virtual
access at DIGITAL.WWNORTON.COM/MOVIES6. space with their “camera” to attempt different shot
set-ups and compositions.
‡ Make sure your students know about the
ebook. Students can get all of the great content ‡ Use the Interactive Instructor’s Guide (IIG) and
of the print book enhanced with animations, video Norton Coursepacks to plan and prep your
tutorials, and links to interactives with the Looking course. This searchable, sortable site for instructors
at Movies, Sixth Edition ebook. All students who contains over 1,000 resources for class prep and pre-
purchase a new print book get automatic access to the sentation, including all of the video content from the
ebook. Students can purchase the ebook at DIGITAL student site, hundreds of downloadable images, Lec-
.WWNORTON.COM/MOVIES6 as a standalone prod­ ture PowerPoints, suggestions for in-class activities,
uct for just a fraction of the cost of the print text. clip suggestions from the popular Clip Guide, a 700+
For instructor access to the ebook, contact your question test bank, and more. Finally, Norton Course-
Norton sales representative. packs for Blackboard and other learning management
systems are available free of charge to instructors who
‡ Incorporate exclusive Looking at Movies video
adopt Looking at Movies. Norton Coursepacks allow
content into your course. Students can find over
you to plug customizable quizzes, chapter overviews,
five hours of video content at DIGITAL.WWNORTON
and links to media right into your existing online
.COM/MOVIES6, including twenty-eight 5-to-30-
course. For access to the IIG and Norton Coursepacks,
minute video tutorials on key concepts in the book,
contact your Norton sales representative or request
written, directed, and narrated by Dave Monahan.
access at WWNORTON.COM/INSTRUCTORS.
These videos are ideal for in-class presentation or for
assigning to students for at-home viewing. In addi­
tion to the video tutorials, the site also offers over
fifty short animations and a collection of thirteen com­
pete short films.
Another Random Scribd Document
with Unrelated Content
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Will." des were gone, on whom My eye w.is ilx'cl ; I turned to
obferve 45 Tin ■ vho ill-fated likewifc we: On If froWl Ins groin his
thighs had oft' been ta'cn. The (Welling Dropfy, that deforms the
iimbs So, with a humour which all food pervi 50 That with the
paunch ne'er correfponds the F Caui'd him to open wide his lips, like
one Afthmatic, who, enduring parching thirlr, tne up, and t'other
downward dn l) ve, who free from punifhment (but why I do not
know) are in this wretched world," to us laid; " View Adam's mifcry. "
I, when alive, what I defir'd eniov'd; But for a diop of water now I
figh. " The Riv'lets, which from the green hills defcend 60 " 0 tino
down to Arno's banks, " Making their paftage frefh and merit, appear
" Always before me, but, alas! they bring " No fuccour, for their
image parches more " Than does the third that robs my face of flefti.
65 v, rightly punifhing, ftrict Juftice di • reafons from the place in
which I've finn'd, Why I fliould more lament; Komena Vis, : had
faHified the Baptift'S Coil, Anil for which caufe I left my body burnt.
70 " But if I here could fee the fuffring Souls Of Alexander, and his
brothers twain, ould not give the fight for Bran la's lpring. One is
already here; it" the mad S Who run about, fay true; but what avails
All this to me, who I Vopfy have Q^i " My ti << t< << CI it
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C "6 ] " My Limbs confin'd? It" I to nimble v. •■ As in a

hundred yean to mow one mile, '• I fhouid the journey have ere this
begUD, Seeking tor him 'mong the deformed croud ; 8c " Although
to travel croft this Gulph cxceedi niles. 1 here on t!< " Am brought;
and they with ; prevail'.', " That 1, three carats bale, did Florins
coin." Then I to him: " Who arc thole wretched two 85 " Smoking as
does a hand in winter walh'd, " And lying on your right hand clofcly
join'd ? •• 1 found them here, when I into this gulph M Was
fhower'd down;" he anfwcr'd; " nor have they " Ever tiim'd round,
nor, think. I, ever will, 90 " One the chafte Joleph fallcly did aceut'c,
" The Grecian Sinon is the other, who " With falfe pretences Troy
deceiv'd; now th. " Burnt with a fever, fuch hot flench exhale." One
of the laft, who much difpleafcd v. 95 For having fo difgracefully
been nam'd, Struck his hard belly with his double till, Which founded
as it were a beaten Drum. Then Matter Adam hit him o'er the lace
With his flrong arm; " Though I'm depriv'd," he faid 100 " Of motion
by the great weight of my limbs, " Yet I an Arm have for this office
fr< To which he anfwer gave; " When you was burnt, ** You had it
not s* obedient to your will; . when you coin'd, it was at your
command." th the dropfy ; " You fay true in this, " But did not fo
true teftimony give " When you cxamin'd ftrictly was at Troy." Sinon
re .Hed ; " If I fpokc falfely once, " You 11. any times have faliified
the Coin." no To this he faid; " Think of the perjury " Relating to the
Horfc with fwollen fides, " And your own guilt confefs ; as does the
world." «' The Third which burfts you;" the Greek anfwcr'd him; "
And the corrupted Water in your paunch, 115 " By which your Sight's
obftructcd, you condemn." bincr then; " Your mouth is open'd wide,
« To
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[ »7 ] " "1 u it was wont, er's ill. " If I'm athirft, the D "
Your ach kI burni ufe, 120 " Without for invitation waitin) •• You to
defirc to lick Narcir lifteo to th( ntive was, When my good Matter laid
to me; Beware, 1 to quarrel with you am indue'd. 125 When I
pcrcetv'd him angrily to fpeak, I to him turned, cover'd to with
flume, That in my memory it yet is fix'd. he, who of what's hurtful to
him dreams, Is dill demons to prolong his fleep, 130 Hoping that
what he dreams may nor prove true; So did I mule, without all pow'r
to fpeak: But yet, deiirous to mvfelf excufc, I did cried: it, without
knowing how. My Matter laid; Lefs Shame would wafh away 135 A
greater fault than that now done by you : Therefore, of all
uneafinefs difcharge rfelf; and, that I prclent always am !i you,
imagine ; if, perchance, you e'er In fuch contefting companv ihall
fall. 140 Low Minds alone will hearken to thefe Strif C A N T O
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[ nS CANTO XXXI. 9 ■ ^ H E fame Tongue firfl did mc

fevcrelv wound . that with bluihing ting'd wi .k, And then a healing
med'einc to me briny : I have heard related or' the Spear, - Which to
Achilles and his Sire bclong'd ; That it iir'.T gave, and then rclity'i tin.
We on that wretched Valley tum'd our back*, tank repairing, without
fa>ing word. The Light was lb obfeure 'tween night and i 10 As
before me my Sight could lcarce advance. Hut the loud founding of a
Horn I heard, Which would all Thunder filence; and by this Directed
were to that one fpot my iicps. r the melan< hich 1 5 The lchemes
of Charlemagne defeated w. Orlando's Trump did not fo horrid
found. I lifted up my head, and thought I fa >rc me many lofty
Tow< Wherefore I laid to him; Tell, Mafter, what's 20 This Cour.trv
nam'd ? and he to mc replied; looking through this dingy air you err,
And jour imagination this deceives : u'll truly fee, when you ihall
clofcr go. If by the diftance is mifled your Sight, 25 A nearer view
the error will coru Then kindly took mc by the hand, and (aid; er do
advance, at It, uncx nor ftr Know that thefe Giants, an re, 30 Who
round the border of the Gulph a •> from the navel are 'd. 1 ■ Are •
ern'd. which k obltur*d ; lb, nearer v. The
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C "9 ] 35 The Bank T npproach'd, mv former error Fullv

clear*d up, ami all m>. fe As To So Hon id G 1 I dt' only 'though in \
40 Whene'er he one I n moulders, 1 is arms. . Or forming fuch like
animals the 1 4j And of fuch inftruments bough flu." of Elephants
and ■ not repent, to one confid'ring w ill appear with difcrcetjudg
join'd, 50 And with a Pow'r what's ill deiign'd None can himfelffrom
fuch a 1 • me his Face appear'd b and large, Like to the Pine which
at 8 n; And all his bones to it pro, 55 A ok (which ferved to con Like
breeches, all the parts below re) Sq much was 1 In vain could boa ft
to reach up to hi And from his middle, the fpace I obferv'd 60 Of
thirty P il Confui m burfl from To which no milder found e'er Puked «
My Guide then to him laid; " O fi '• Keep to 1 with it If, 6j " When by
fome paffion, or by anger mov'd : " Feel round your neck, and you
will i ftrap •• That it acrofs your breaft vaft-fpreading gins." 0 me ;
He's by Wmli \1 : Tiiis Niiiito glorious fcheme 70 One Tongue alone's
not ufed in the world. We, leaving him, fpoke not, as in; For cv'ry I
him Unknown, And no one Underltoo 1 what e'er 1 TurnM to the left,
1 a longer way, 75 And, at the diltance of a crols-bow's. (hot,
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[ I2° ] We found another larger and more fierce. Who girt

him round 'tis not tor in 'us left Ann before, and at his back I !i->
right was bound by an encircling chain, So Which all his body, that
difcover'd I? low hi> neck, 'ivc times about ettwin'd. ;; haught) Giant
would his power try .;;ilt Jove hiinfclf ; I 'cr to me Hid ; ward has
therefore merit P; 1 [e Ephialccs' nam'd, and great effort Ic when
the Giants ftruck the God; with fear. i Arms, which then he us'd, now
ilir no more. Then I to him; If pofliblc it be, nnous Briarcus behold
90 My cyvs have great defire, to which he (aid; You loon will to
Antaeus come, who ipeaks, And is himfelf unbound; he will con\i : to
that Pit where the moft wicked lie. He whom you afk for is far hence
removed, 95 Is bound, and, Ephialtes like, entwin'd; But far more
fierce he in his face appears. rbquake did lb powerfully ihakc A lofty
Tower, as this Giant when I Itmfeif he fhook; which ftruck me with
fuch dread, 100 That inftantly would have my life been gone, If I
had not obferv'd his chains were tight. We then advanced farther in
our courfe, And to Antaeus came, who full five Ells, His Head
excepted, rofc above the bank. 105 " O You, who have in that
propitious Plane " (Which Scipio made of fo great glory h> " Wl 1
lannibal and'l army turn'd their backs) " A thoufand J /ions often
hunted down; " And, with your brothers if you'd gone to fight, 1 10
M 'Tis thought the Sons of Earth had Conq'rors prov'd ; We you
defire, expreffing no difduin, To place us near Cocytus* frozen
ftrcam. " To Tit) us, or to Typhon fend us not, " The can grant what
we of you rcqucft : 115 *' Therefore Hoop down, nor wrinkle up your
fnout. " For this my Charge can fprcad your fame above, <<
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[ "1 ] alive, and long expedb to breathe, " Unlets by Heav'n

he'i clatm'd before his til So (aid m\ M ; and A; ok no 1 [im up in
bade, extending ms Whole pow'ri were on< When virgtl to be taken
up perceiv'd 1 limlclf", In- to me laid, contrive that I May take you
likcwil'e, and one packag125 As Carilciula, when a cloud dies o'er
The fide that's oppofire to which it lean1;. Hanging appears to him
who fits beneath : So did Amicus feem to me, when I Oblerv'd him
ftoop ; and then defirous was 130 To pals the other way : but gently
he Down let us in the bottom ot that Pit Which Lucifer and Judas
docs devour. When this he'd done, without the leaft delay, Straight
as a Maft himfelf he upright rais'd. CANTO
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122 CANTO XXXII. IF I were maftcr of fuch diction roi

Which would the miferablc Gulph befl lu Tow'rds whole dark op'ni:i 1
fhould more p rhat I think exprels • 5 But as I am not, I fhall it
attempt Not without fear left I may in it fail. No trifle 'tis the Centre
to delcribc Of the whole Univerfe, nor does't become The Mammy or
the Pappy of a child, io But may thole Ladies animate my Lines, Who
to Amphion due afliftance gave To raife the Theban walls; and me
inftrudt Clofe to the truth to what is done relate. 0 Traitors, wretched
far above the reft, 15 Who in this place remain, of which to talk
Much it difpleafing is ; it better were If ye had mortal Sheep or
Goats been made. When wc were ai the Pit obfeure arriv'd, Greatly
beneath the Giant's feet, and when 20 I was admiring the high wall
which it Encompafs'd round, 1 heard one to me fay, " How you pals
here take care, left tread you fhould " Under your feet your wretched
brethren's heads." 1 therefore turned, and before me law A fr07.cn
Lake that Ice, not Water, feem'd. Nor Auftrian Danube e'er became
fo hard, Nor Tanais in its cold climate bound; And if the lofty
mountain Tabcrniech, Or Pietrapana on it fallen had, 30 Such
creeking it would never have produe'd, As from the borders of the
Ice was heard ; Like to the croaking of a Frog, when he ids with his
muzzle 'bove the water's brim, In fumnicr, when the peafant's wite
intends The
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[ M| ] 35 The fields to travcrfc, ar an her CO With livid

faces (u Ghofts wire lamenting lore within the 1. :nding with chatt'rin
Storks. 1 lis guilty counten 40 Their Mouths the cold, their Kycs their
grief declar'd. •r I'd lometime look'd around, my 1 I call down to my
feet, and faw lb clolc Two join'd together, that their hair was mix'd. "
Tell me," 1 laid, " who you may be that thus 45 " Stri&ly gripe each
other's bread ? Up they ftretch'd Their necks; and when they had
their faces rais'd, n llowing from their eyes dropp'd on their lips.
Which loon clofe frozen were; nor ever did Two planks a Dovetail fo
tenacious hold. 50 With anger therefore lpurred on, like goats They
'gainft each other butted with their heads. And one, who both his
cars ha I loft with cold, Said to us, but his head ftill holding down; *'
Why do you look at us fo rtcdfaftly? 55 " Who thefe two arr, if you're
inclin'd to know ; " The Valley, where Bifentio's river flows, " Did to
their father Albert once belong, " And then was their's ; one belly
bore them both. M Y' examine may all Caina through, before do " A
Ghoft you'll fitter for this Jelly find; " Not that, who's breaft was
piere'd by Arthur's hand; u Nor yet Focaccia, nor yet he whole head,
" Before mc thruft, prevents me more to 1 " His name was SatTol
Mafcheroni call'd. 65 " You'll know him well, if you a Tufcan are. "
And that you may not force mc more to talk, " Know I Camifcion of
the Paz/.i was, M And expecT: Carfin to rue jurtify." Grinning, like
dogs, with cold a thoufand Hca.di 70 I faw, which caus'd a fhiv'ring
to me And frozen Fords will always haunt mv fight. While wc towards
the Centre went, to which All bodies gravitate, I trembling flood In
that recefs for ever dark and cold. 75 Or by Defign, or Deftiny, or
Chance, R • I cannot
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[ *24 ] I canno- ut parting 'mong the heads, I on hii : •

kicked with my toot : Plaining, he me rebuk'd; " Why trample thus "
On me ? Dnlcl* you come t'avenge the rout M Of Mont'apcrto, why
d'vou me moleft?" I to my Matter laid; Stay tor me here Awhile, 'till I
with him clear up a doubt; Then 1 will make whatever hallc you
plcafe. Silent he flood; and I applied myfelf 85 To him who yet moft
bitterly revil'd. " Tell who you are that others thus rebuke." " Pra]
who You arc," he quick replied, " That, 1 pal's through Antcnora, kick
" Whatever cheeks you find ? If you alive 00 " Had done this adfc, it
could not well be borne." *' I am alive;*' was my reply; " and this "
May nfeful prove, if you fhould fame defire, *' That 1 your Name
may in my notes infert.'' Then he to me; " The contrary I afk ; 95 M
Begone, and me no more dilquiet give; '* For ill you know to in this
place cajole." The nape then of his neck I feiz'd, and laid ; " You
either fhall vour name to me declare, « Or I'lUhis hair I hold pluck
oft" your head." too He anhver'd then; " Why tear you thus my
locks? " I will not tell \ou who I am, although " A thou£r.u! ti IU tofs
my head about." Much of his hair I'd in my hand torn off, While he
was ruaring with his eyes call down. J05 Another then exclaim'd; "
Why, Bocca, thus? " Is't not enough that you fhould gnafh your teeth
" With cold, but you mull likewile roar alouil ? u What Devil now dues
infligate your rag' I to him faid ; " I want not you to talk, no "
Perfidious Traitor, for to your great fhame " 'Twill prove, when I the
truth alone fhall tell." " Get hence," be anfwcr'd, " and fay what you
pleafe. " But, if you e'er from this place fhall efcape,
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[ ■« ] " I lim in that place where (land offenders cool. ** If

\ou fhould who the o' . d ; " You him of Beccheria 've near your fide,
120 " Whole throat with juilice was by Fli ut. " Gian' del Soklanier I
think farther off " With Ganellone Hands, and Tribaldell M Who op'd
Kaenza at the time of deep." When we departed were from him, 1
law 125 Two frozen in one hole; the head of one, Like to a hat, the
other's cover'd o'er: And, greedily as bread in hunger's eat, In th
under's fkull the upper fix'd his teeth, There where the brain's united
with the neck. 130 Not with lefs joy did Tydeus, in revenge, His
great foe Mcnalippus' temples tear, Than did this Shade the other's
head devour. w O you, who with fuch beftial figns declare M To him
your hatred upon whom vou feed, 135 " On this condition tell the
caule," I laid, M That if with reafon you of him complain, " When
who you are, and his crime I ihall know, " I in the World above will
found your praile: " Unlefs that Tongue with which I lpcak be dry."
CANTO
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C ■»« 3 CANTO XXXIII. HIS mouth this Sinner from the fell
repaft: Withdrew, and wip'd it with that hair he'd tora From the
head's hinder part ; then thus began : J ou me requeft to that deep
grief renew, c " Which my heart tortures 'fore I tell the tale : " But if
my words bale fruits of infamy " Can to this Traitor whom I gnaw
produce, u Wailing with tears, I mall the whole relate. " I can't fay
who you are, nor by what means : r " You here below arc come : but
Florentine ' ' You fcem to be, when you difcourfc I hear. 44 Know
then, that I Count Ugolino was, " And the Archbifhop Ruggieri this.
11 Why thus I treat him I'll to you unfold. 1 5 " That, trufting to his
machinations \ " I taken was and ditd, 1 need nor lay; " But, what
from others you could not have heard, " How cruel was my death, I
mean, you now f* Shall learn ; then judge yourfclf of his offence. 20
" A little hole within that dingy Coop M (Which from me foon the
name of Famine took, " And in which more will be hereafter fhut) "
Through its fmall chink afforded me fome light : " When in the early
morn 1 llumb'ring dreamt What of my future fate rcmov'd the veil,
Hunting a Wolf and's young a Prelate ieem'd, And driving to that
mountain which deprives The Pifins of the light of Lucca's planes. J
.can Hounds, who were attentive to their prey, By the Gualandi and
di kd, With thofe of the Lanfranchi, them purl In a lhort time, the
Father and his Sons In the courfe f'alter'd, and their haunches foon
ar'd to be by their (harp tufhet to o 1
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C "7 ] 35 " When I, ere yet 'twas morn, awaken *d was, " I
heard my children in their deep complain, " And aflc for bread. You
mull moft cruel be, " If with due feeling < at, " Thinking on that my
bleeding heart prefa 40 " If not for this, for what will you e'er . ■•
They likewife wak'd ; and the due hour " When their accuftom'd food
was to l it: *' This now they doubted, by their dreams alarm'd. **
The horrid Tower's jarring door 1 heard 45 " Nail'd up, at which with
V cs I look'd " In my Sons faces, without utt'ring word. " I, petrified
with grief, did not lament, M But they their lamentations fore
exprefs'd. M My Anfejmuccio faid ; O Father, why 50 " Do you thus
look? pray tell to us .the caufe. " Still I wept not, nor ipake I that
whole d;iy, " Nor yet the following night : another Sun " Did then
arifc; and I, by a dim ray, " Which glimmer'd faint in the dolorous (:
55 ** My count'nance could in my four Sons difcern. " With frantic
anguifh I bit both my hands : •* They, thinking this was with defire
to cat, ** Quickly flood up, and faid; O Father 'twill " Hurt us far lefs,
if you would on us feed : 60 " For, as you've cloath'd us with this
wretched flcfli, " You have a right oi it to us defpoil. " To not incrcafe
their woe, I quiet then " Remain'd; we that day and the next were m
" Hard-hearted Earth, why op'd you not for us! 65 " When to the
fourth day we arrived w. '* Gaddo fell down extended at mv feet, "
Saying, My Sire, why give you not your aid ? " And then expir'd. As
you behold mc here, * I, one by one, the others fall beheld 70 "
Between the fifth day and the fixth : then I " My eye-fight loft, and,.
groping, felt for them, " Calling for three days on their names,
'though dead. " Famine at laft did more for me than Grief." When
this he'd faid, he, with diftortcd eyes, 75 The fltull detcftcd fcranch'd
between his teeth, As
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C "8 ] ) >g when a mangled bone he gnaw;. Ah, Pua the

difgracc of thofe who dwell In that fair Land where the Italian's
fpokc ! Bow to punifh you, vour neighbours pro\ 80 .' and Gorgona's
lilts, Move from their rocks, and flop up Arno's mouth, Till ev'ry
perfon in your city's drowo'dj Which a new Thebes for wickednefs is
fam'd, Suppofe the Count your Cartels had betray 'd, 85 His Sons
you ought not thus leverely treat; Their tender age their innocence
declar'd, iccione with Bragata join'd, And th' other two whole names
above are funu We * Chaucer, in his Monkes Talc, v. 147 17. —
14772. (which is fuppofed to have been written alxjut 1383.) lias
related this tragical flory of" Hugclin of l'.lc," taken from '• the grctc
poetc of Itaille, " That highte Dante." So early had the r '.mte flown
to England. Ami a few years fince, a very elegant and poetical
Tranflation of it in Rhyme, was publifhed by the Earl of Carlisle, a
Nobleman who at this time [1782] molt worthily policies tnc higheft
Office in a neighl>ouring Kingdom. . Richardfon, in his " Difcourle of
a ConnoilTcur," p. 26, &c. has likewife given a Tranllation; and in it
alllrts tli.it the Hieroglyphic Language of Tainting completes what
Words or Writing [cither in the H (lory of Villani, or the Poem of
Dante] began, and Sculpture carries on. " The Hiftorian, and Poet
(fays he) having done Their parts, comes Michelu angelo Bucnarrotti,
and goes on in a Bas-relief I have fcen in the hands of r. French."
■re we proceed farther, i: may not be improper to obferve that Vafari
(in his Life of Picrino da Vinci, nephew of Lionardo da Vinci, and an
eminent Sculpior who worked in the Stile of Michelangelo) informs
us ihat Pierino ffo-relicvo of this fubjec'f in Wax, and afterwards caft
it in Bronze, in which the Sculptor moves not lefs pity than the Poet.
From this many other Cafis were afterwards taken in Piaiiter; and Mr.
Richardfon himfelf, in rnch Edition of this book, p. 130. expreffes
fome doubt of the Artift. r.inues Mr. Richardfon, flicws us the Count "
fitting with " ins Four 60ns, one dead at his Feet, Over their Heads is
a Figure ;" renting Famine, and underneath is another to denote the
River ,\rno, on •• whole Banks this Tragedy was nifted. Michclanqdo
was the fitted M..11 " that ever liv'd to Cut or Paint this Story: if 1
had wifh'd to lee it repreilptjrv-, or Paint '.. . ild have hx'J upon th;s
Hand; he
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C "9 ] We pafTed on to where the Froft confines 90 Another

tribe, not prone, but lupine turn d. Weeping itfelf prevents them
more to weep. Th* accumulated drops flown from their eyes Turn
others back, and thus incrcafc their pain : The firft Tears frozen form
a group of ice, 95 And, like a Mails, of cryflal, fill the fpacc 1 the
cheek-bone and th' o'er hanging bfi Although my face was, by the
cold feverc, Callous become, and of all fenfc depriv'd, I vet perceiv'd
a little wind to blow ■ 100 Wherefore I, Mafter, faid ; What amies
this ? Arc not all vapours in this place extinr To this he anfwer'd;
Quickly you'll be where Your eyes to what you afk will make reply ;
Seeing the caufe that makes this blaft arife. 105 One of the wretches
id the frozen cruft Call'd out to us, " O ye nioft cruel Shades, "
Before ye fhall in your laft poft be fix'd, " Remove thele vails hard
binding from mv eyes. " That I may vent the grief my heart
torments, no " Ere that my running tears may re-congeal." u was a
Dante in his way, anil he read him perpetually. — In this admirable "
Bas-relief there are Attitudes, and Airs of Heads fo proper to the
Subject, " that they carry the Imagination beyond what the Hiftorian,
or Poet could •' poflibly. — 'Tis true a Genius Equal to that of
Michelangelo may form t» M itfelf as Strong, and Proper Expreffions
as thele; but where is that Genius! — " And could we fee the fame
Story Painted by the fame great MalUr, it will " be eafily conceiv'd
that muft carry the Matter ftill farther: There we might " have had all
the Advantages of Lxprcffion which the Addition of Colour* " would
have given. — Thele would have fhewn us the Pale and Livid Flefh "
of the Dead, and Dying Figures, the Rednefs of Eyes, and Hkwifh
Lips ot Count, the Darknefs, and Horrour of the Prilon, and other
Circum" fiances, bcliiie the Habits. — Thefe might be contrived fo as
to exprei M Quality of the Perfons the more to excite our Pity, as well
as to enrich the " Piclure by their Varicf. What Mr.
Richardfondefpaired of has been fince performed by the, in every
particular, tranfeendent Prclident of the Royal Academy, whole Ide.
always great, and Execution expreflive. S T»
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[ r$4 ] To him I faid \ " If you dcfirc that I old you relieve,
firft tell me who you \\a3. " It to you 1 do not affirmance give, The
lowcft Ice will be my fitted plaj i j 5 " Fra Albcrigo 1 i i ," h replied, "
From a bad g .: her 'd fruit, And in this plac " O," laid I to him," are
you now dcceas'dr" And he to me; " What itate my Body's in I io "
The world above, I have no knowledge " This great advantage
Toloraea i That oft the Soul falls into't long bef M It from the Bodv
Atropos disjoi M And that you may more willingly fcrapC off i«5 " |
the Tears which, frozen, Glals appear; " Know, that foon as the guilty
Soul betrays, " Like mine, the B a Damon is " 1 who cv'ry act of it
directs, " Till its allotted time's completely run : 130 " Bur, firft the
Soul in this deep cittern falls. " Likewife, perhaps, the Body's ftill ali "
Of that Ghoft, who behind me ltands benumm'd. " If you go lo'.v'r,
the truth of it you'll kn< " He Branca d'Oria is, and many years 135 "
Have pafs'd, fince he was in this place inclos'd." I faid to him, " Sure,
you on me impofe; " For Branca d'Oria is not yet deceas'd, " But
eats, and drinks, and fleeps, and tloaths himfelf." " In the fell
Daemons Gulph above,' he laid, 140 " Where the tenaci ch was
boiling lien, " Then Michel Zanche was not there arnv'd. " This Shade
a Damon in his Body left ; " Another was to his Relation's fent, "
Who acted with him in this treach'rous deed. 145 " But now you
mould extend your hand this way, " And ope my Eyes." This 1 did
not perform ; To be a Knave to him was acting right. Ah
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L *J ] Ah Genoucfe, yc Men who arc To what is good, and

prone to all that's ill, 150 Why arc y< irpatcd the world ? With .;
Sprite than e'er Romagna gav< I have lbund 0 i
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[ '»» 3 CANTO XXXIV. '"pHE Banners of th' Infernal King

tow'rds us | Approach; therefore, my Mailer laid, your eyes Advance,
and try if you can him difcern. As when a thick and cloudy (ky
prevails; 5 Or when our Hcmiiphere's obfeur'd by night, A Mill at
diftance 's fecn turn'd by the wind ; Such was the object that to me
appear'd. I. to avoid the wind, behind by Guide Retii'd; for no
protection elfe was near. 10 There, (and with dread I put it into
verfe) There, were tl all eover'd o'er with Ice, And lien l a reed in
glafs. Down for,. , others llood upright, il on his {ect, and that was
on his head ; i e And this with 's face bent down, curv'd like a bow.
When we were both fo near to him advane'd, As it my Mailer pleas'd
to fhew to me That Being, which once was beautifully form'd ;
Before him he me took, and to me faid ; 20 Now Dis behold, and
this is now the place, Where you with fortitude fhould yourlclf arm.
How frozen I was then, and hoarie with cold, Reader, alk not ; for I
nought of it write, As 'twill too little prove, whate'er I lay. IC 1 did
not die, nor \ et alive remain 'd. Think for Yourlclf, if you have any
fenfe, What I then was, depriv'd of Life and Death. The Emperor of
this domain of woe From his mid-brcall arofe above the ici •jo Far
nearer to a Giant's is niv fizc Than Giant- art when to his Arms
compar'd. large would he appear, if wholly fecn, fudging from what
we view, of what's conceal'd ! ugiy now, if he as handfome was, And
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35 And 'gain ft his Maker rais'd his haughty tm il «H

waitings fhould from hmi proceed. O, b >w it wonderful to me
appear'd, V, len I beheld three Faces to his head ! The oil i was of
Vermillion hue: 40 The other two, which were to this conjoin'd, Role
from each fhouldcr, joining in a Crcft ; That on the right, 'tween
white and yellow fcem'd; The left was like that Soil whence flows the
Nile. Two monftrous Wings grew under each of thefe, 45 Such as
became a Fowl of his large fii Sails of a Ship 1 never law fo vait.
Thefe had no feathers, but were bare like bat's: And, as they mov'd,
three blafts of wind were blown, By which Cocytus all was frozen
o'er. 50 With his fix Eyes he wept, and down three Chins Both
gufhing Tears, and bloody Slaver ran. A Sinner's bones were broke
with each mouth's teeth, As by an Engine mafhing flax; and thus
Three at one time molt k were tortures bore. 55 The Biting which
the foremoft Sinner felt Was trilling, to thofe fcratches when
compar'd, Which fometimes left his fides quite bare of fkin. That
Soul which there endures the greater pain, Judas Ifcariot is, mv
Mailer laid, 60 Whole Head's within his mouth, his Legs without. Of
th' other two that have their heads hung down, He's Brutus, who
from the black muzzle hangs ; e how he writhes, and yet fays not a
word: The other's Caflius, who fo nervous feerris. 65 But the Night
rifes, and 'tis now fit time That we from hence lhotdd go, as we've
fecn all. Complying with him, I clang round his neck; He took his
proper place, and time ob/erv'd ; And when the Wings a fitting
op'ning made, 70 He clofely to his fliaggy fide adher'd. Prom hair to
hair he then descended down, Between the thick fur and the frozen
it When at that place we were arrived, where The thigh is to the
fwelling hip conjoin'd, 75 Mv Guide, with great fatigue and energy,
T>
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[ '3+ ] Turn'd down his Head to that fpot where his Feet :
lately flood ; ^ - iag like Who takes a leap; and thus I likewife
feem'd To be tum'd round. My Mailer wearied much, So And
breathing fhort ; Obieive well now, he laid, luch Stairs as thefc wc
mud depart lace of punifhment. Soon through a hole, In a rock
ferm'd, he role, and on its brim Me fitting plac'd, he (landing by my
fide. $$ 1 lifted up my eyes, and thought I fhould idler" in that (late
I'd him left: l>ut his Legs now were lifted up in th' air. If I much
difconcerted were become, The ignorant may judge, who never law
90 That central Point which lately I had pafs'd. Rail'e on your feet,
my Mailer (aid, yourfelf; The way is long, the road is likewife bad;
And now the Sun's to the third hour arriv'd. Tl . where we were in,
no Palace was, 5_5 But a rude Dungeon as by nature left; With
rugged ground, and of Sol's rays depriv'd. So loon as I was got out
of th' Abyis, Mafter, I (aid, when (landing on my feet, To clear my
error talk with me awhile. 100 Where is the Ice? and upfide down
how he I, fixed thus? and in fo fhort a time, 1 low is the Sun from
Even gone to Morn ? And he replied ; You fancy that you ftill Are on
the Centre's other fide, where I 105 Griped the (hag of that fell
Worm that bores The world. So long as I defcended, vou Was there;
but, when I turn'd myfelf, you pafs'd That Point to which all Codies
gr. ou are to this Hemifphere arriv*d, 1 10 Which is oppos'd to that,
where the dry Earth on whofe top differed The Man who without fin
was born and liv'd. on that fmall Sphere Which has on'ts or! 1 plac'd.
Here it is Morn, when there it Ev'ning e hair afforded (lairs to 1
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C '55 ] Is yet fixt in t! that Point fr< which before tbi 120
ing from him, this fp And a i" I did in the void .bub's oppo 125 Of
the fame 1 1 : and whole vafl extent the found will known I finall
Riv'l , which 'lonj Pierc'd in a rock b Not falling ftecp, but winding in
its way. 130 Mv Guide ami 1, 10 the bright World attain, Enter'd this
fecret path ; nor took repofe. leaped up, he tint, 1 foll'wing hi 'Till tin
ind formed I beheld Thole beauteous fights which are in I leav'n difpl
J35 And thence again th T H E E N D.
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ERRATA. Canto IV. Line 119,/^ And, rtai A. IX. 113,—

Who'rc, Thus. XVIII. 40, — was is.
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