of France from Hugh Capet to Philip II of France were titled 'King of the Franks'. Philip II was the first to use the title 'King of France'. Marriage and issue Hugh Capet married Adelaide, daughter of William Towhead, Count of Poitou. Their children are as follows: Gisela, or Gisele, who married Hugh I, Count of Ponthieu Hedwig, or Hathui, who married Reginar IV, Count of Hainaut Robert II, who became king after the death of his father A number of other daughters are less reliably attested. Prophecy According to tradition, sometime in 981, Hugh Capet recovered the relics of St. Valery, which had been stolen by the Flemings, and restored them to their proper resting place. The saint appeared to the duke in a dream, and said: "For what you have done, you and your descendants shall be kings unto the seventh generation". When he became king, Hugh refused to wear the insignia of royalty, hoping that it would extend his descendants' reign by one generation. By the literal interpretation, Capetian kingship would thus have ended with Philip Augustus, the seventh king of his line. Figuratively, seven meant completeness, and would mean that the Capetians would be kings for ever. In fact, Capetian kingship lasted until 1848 in France, although the current King of Spain and the Grand Duke of Luxembourg are Capetians. Reception Italian poet Dante Alighieri features Hugh Capet as a character in Purgatorio, the second canticle of the Divine Comedy. The pilgrim meets Capet on the fifth terrace of Mount Purgatory among souls performing penitence for avarice (Purgatorio 20). In this portrayal, Capet acknowledges himself as the "root of the obnoxious plant / that shadows all the Christian lands" (Purg. 20.43-44). The metaphor of the root of the plant is reminiscent of a family tree. Dante thus condemns Hugh as a main source of the evil that has pervaded and corrupted the French monarchy. Dante's personal resentment towards Hugh's legacy likely stemmed from the fact that his exile had been caused by interference in Florentine politics by the French crown and Pope Boniface VIII in the early fourteenth century. In this way, the "obnoxious plant" of the Capetians casts a shadow over both the papacy and the chance for an emperor that might bring order to Italy, Dante's "two suns." The myth of Capet's humble origins is another crucial component of Dante's representation of this historical