Commentary Inf XV 26-30

Dante recognizes his old 'teacher,' Brunetto Latini (ca. 1220-94). He probably taught Dante by the example of his works rather than in any classroom, but the entire scene is staged as a reunion between teacher and former student.

Brunetto, whose life has a number of similarities to Dante's, was a Florentine Guelph, a man of letters who was much involved in politics, and, not least in importance, who wrote narrative verse in the vernacular; he was also a notary, which accounts for his title, ser. He became a de facto exile when he learned about the battle of Montaperti (1260) and the triumph of the Ghibellines while he was on his way home, returning to Italy from Spain (where he had been on an embassy to Alfonso X, king of Castile). Deciding to take refuge in France, he stayed there for six years and wrote his encyclopedic treatise, the Livre dou Tresor, or 'Treasure,' in French. Before his voluntary exile, Brunetto had previously written a major portion of an allegorical poem in Italian rhymed couplets, referred to within the work itself three times as Il Tesoro but which became known as the Tesoretto ('Little Treasure' -- one supposes because it was both incomplete and did not seem as 'weighty' as the Tresor [referred to as Tesoro in Bono Giamboni's abbreviated Italian version of the prose work]). The Tesoretto, as it has continued to be called, was, at that point, even though incomplete, the longest narrative poem composed in Italian. Returning to Florence after the 'restoration' of 1266 in the wake of the battle of Benevento, Brunetto took up his political and notarial chores, and died in the city, much honored, in 1294. (For a careful presentation of the importance of Brunetto for Dante, see Francesco Mazzoni, 'Latini, Brunetto,' ED.1971.3, pp. 579-88. See also Mazzoni's essential study of Dante's borrowings from Brunetto [Mazz.1967.3] and Charles Davis's article [Davi.1967.1].)

The poet's honorific feelings toward Brunetto are perhaps mirrored in the word his name rhymes with: 'intelletto.' And his answering gesture, to move his face down toward his 'teacher,' probably does so as well. (The Petrocchi text here offers what is surely an implausible reading: 'la mano alla sua faccia' (which we have translated as it stands, if in disagreement). It seems nearly certain that the text should read, as it does in many manuscripts, 'la mia alla sua faccia,' i.e., Dante bent his face toward Brunetto's in an act of homage. Francesco da Buti (DDP Buti.Inf.XV.25-33) was perhaps the first commentator to opt for the reading reproposed here; however, he was of the opinion that the protagonist was motivated by a desire to get closer to the burned face of the sinner only in order to make out his features. The first view presented above of what motivates Dante's movement would seem to be supported by the later description (verse 44) that has the poet walking with his head still bent down in reverence (see C.Inf.XV.50). But for a review and affirmation of the 'traditional' interpretation ('hand,' not 'face'), see Ginsberg (Gins.1985.1). For further discussion see Holl.2001.3

There is dispute over whether the word qui refers to Brunetto's placement here among the homosexuals or in hell itself. It seems more likely that the second reference is intended. See Pertile (Pert.2000.1), pp. 57-61, arguing that the adverb refers to Brunetto's presence, standing before Dante in this very place in the darkness of hell. Perhaps even more convincingly Muresu (Mure.1999.1), p. 9, argues that it simply refers to hell in general.