own lyrics, the author of the latter being again described merely as "Amicus ejus." In immediate proximity to these, or coupled in two instances with examples from Dante alone, are various quotations taken from Guido Cavalcanti; but in none of these cases is anything said to connect Dante with him who was once "the first of his friends."[1] As commonly between old and new, the change of Guido's friendship for Cino's seems doubtful gain. Cino's poetry, like his career, is for the most part smoother than that of Guido, and in some instances it rises into truth and warmth of expression: but it conveys no idea of such powers, for life or for work, as seem to have distinguished the "Cavicchia" of Messer Corso Donati. However, his one talent (reversing the parable) appears generally to be made the most of, while Guido's two or three remain uncertain through the manner of their use.
Cino's Canzone addressed to Dante on the death of Beatrice, as well as his answer to the first sonnet of the Vita Nuova, indicate that the two poets must have become
- ↑ It is also noticeable that in this treatise Dante speaks of Guido Guinicelli on one occasion as Guido Maximus, thus seeming to contradict the preference of Cavalcanti which is usually supposed to be implied in the passage I have quoted from the Purgatory. It has been sometimes surmised (perhaps for this reason) that the two Guidos there spoken of may be Guittone d'Arezzo and Guido Guinicelli, the latter being said to surpass the former, of whom Dante elsewhere in the Purgatory has expressed a low opinion. But I should think it doubtful whether the name Guittone, which (if not a nickname, as some say) is substantially the same as Guido, could be so absolutely identified with it: at that rate Cino da Pistoia even might be classed as one Guido, his full name, Guittoncino, being the diminutive of Guittone. I believe it more probable that Guinicelli and Cavalcanti were then really meant, and that Dante afterwards either altered his opinion, or may (conjecturably) have chosen to imply a change of preference in order to gratify Cino da Pistoia, whom he so markedly distinguishes as his friend throughout the treatise, and between whom and Cavalcanti some jealousy appears to have existed, as we may gather from one of Cino's sonnets (at page 175); nor is Guido mentioned anywhere with praise by Cino, as other poets are.
