Dissertation on Birds of Prey and the Sport - the Falconry Heritage ...
Dissertation on Birds of Prey and the Sport - the Falconry Heritage ...
Dissertation on Birds of Prey and the Sport - the Falconry Heritage ...
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hitless.* Like <strong>the</strong> o<strong>the</strong>r servants <strong>of</strong> hell that are forced to cooperate with Dante <strong>and</strong><br />
Virgil by <strong>the</strong> will <strong>of</strong> God, Gery<strong>on</strong> gets nothing out <strong>of</strong> it. Indeed, Gery<strong>on</strong> is,<br />
appropriately, a falc<strong>on</strong> sent <strong>on</strong> a fraudulent flight. As <strong>the</strong> falc<strong>on</strong>, he is used, fatigued<br />
(lasso), <strong>and</strong> unrewarded, unworthy <strong>of</strong> <strong>the</strong> divine lure. It might be suggested, however,<br />
that Gery<strong>on</strong> is shown a lure: when Virgil throws Dante's cord-belt down into <strong>the</strong> abyss at<br />
<strong>the</strong> end <strong>of</strong> <strong>the</strong> previous canto to summ<strong>on</strong> him. It is not a proper lure, swung in a circle<br />
with food <strong>on</strong> <strong>the</strong> end <strong>of</strong> it; it is a hellish lure, with no reward, <strong>and</strong> no caring falc<strong>on</strong>er<br />
holding <strong>on</strong> to <strong>the</strong> o<strong>the</strong>r end <strong>of</strong> it. When Gery<strong>on</strong> resp<strong>on</strong>ds, he finds no reward, <strong>on</strong>ly <strong>the</strong><br />
humiliating work <strong>of</strong> letting Dante <strong>and</strong> Virgil ride <strong>on</strong> his back. A true lure is to be found<br />
in <strong>the</strong> Commedia, but it is in heaven, being shown by God to his faithful.<br />
The motif <strong>of</strong> frustrated hunts c<strong>on</strong>tinues, <strong>and</strong> in a real ra<strong>the</strong>r than metaphorical<br />
manner, in <strong>the</strong> episode <strong>of</strong> <strong>the</strong> devils that runs from Cantos XXI to XXIII which starts<br />
with <strong>the</strong> hunting <strong>of</strong> sinners in <strong>the</strong> pitch <strong>and</strong> ends with <strong>the</strong> enraged devils hunting Virgil<br />
<strong>and</strong> Dante. At <strong>the</strong> end <strong>of</strong> Canto XXII is <strong>the</strong> fight between Alichino <strong>and</strong> Calcabrina which<br />
begins when <strong>the</strong> Navarrese sinner escapes <strong>the</strong> devils <strong>and</strong> plunges back in <strong>the</strong> pitch like a<br />
duck escaping a falc<strong>on</strong>:<br />
. . . quelli <strong>and</strong>o sotto,<br />
e quei drizzo vol<strong>and</strong>o suso il petto:<br />
n<strong>on</strong> altrimenti l'anitra di botto,<br />
qu<strong>and</strong>o '1 falc<strong>on</strong> s'appressa, giu s'attuffa,<br />
ed ei ritorna su crucciato e rotto.<br />
(Inferno XXII, 128-132)<br />
Richard Holbrook has described what happens here from a falc<strong>on</strong>ry point <strong>of</strong> view:9<br />
Though a hungry falc<strong>on</strong> might stoop for a swimming duck, her acti<strong>on</strong> would be a<br />
misdemeanour, for it was a rule <strong>of</strong> falc<strong>on</strong>ry not to fly <strong>the</strong> falc<strong>on</strong> until her quarry<br />
Boccassini (359-360) sees Gery<strong>on</strong> as <strong>the</strong> opposite <strong>of</strong> Dante, both <strong>of</strong> <strong>the</strong>m in a hunt for knowledge, <strong>on</strong>e<br />
infernal anh <strong>on</strong>e heavenly.<br />
Richard Thayer Holbrook, Dante <strong>and</strong> <strong>the</strong> Animal Kingdom (New York: AMS Press, Inc., 1966), 25 1-252.