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The Portrait of Francesca. Inferno V

As far as we know, there is no record of the love story of Francesca da Rimini before Dante's account in Canto V of the Inferno. His portrait of her emerges in astonishingly few verses and, in its passion and pathos, emulates and rivals Virgil's portrayal of Dido. Francesca tells us nothing of her life in the first part of her monologue, apart from her place of birth, which she identifies with elegant periphrasis. Instead, she sums up in retrospect the genesis, consummation and fatal consequences of the love she shared with her inseparable companion in Hell, whom she does not name. Her celebrated apostrophe to love, the unforgettable anaphora on "Amore," is at once succinct and profound, a rhetorical representation in miniature of consciousness and interiority without precedent in the Middle Ages. We shall see that part of it is ultimately derived from Plato's Phaedrus, yet it anticipates the "subjectivity" we associate with the modern novel. In three anaphoric terzine, Francesca describes love and its effects, not abstractly, as had other poets and especially Guido Cavalcanti in