No More Learning

Resuming her song, the lady turned and passed up along the rivulet the
contrary way of the stream, Dante proceeding at the same rate of time on
his side of it; till on a sudden she cried, "Behold, and listen! " and a
light of exceeding lustre came streaming through the woods, followed
by a dulcet melody. The poets resumed their way in a rapture of
expectation, and saw the air before them glowing under the green boughs
like fire. A divine spectacle ensued of holy mystery, with evangelical
and apocalyptic images, which gradually gave way and disclosed a car
brighter than the chariot of the sun, accompanied by celestial nymphs,
and showered upon by angels with a cloud of flowers, in the midst of
which stood a maiden in a white veil, crowned with olive.

The love that had never left Dante's heart from childhood told him who
it was; and trembling in every vein, he turned round to Virgil for
encouragement. Virgil was gone. At that moment, Paradise and Beatrice
herself could not requite the pilgrim for the loss of his friend; and
the tears ran down his cheeks.

"Dante," said the veiled maiden across the stream, "weep not that Virgil
leaves thee. Weep thou not yet. The stroke of a sharper sword is coming,
at which it will behove thee to weep. " Then assuming a sterner attitude,
and speaking in the tone of one who reserves the bitterest speech
for the last, she added, "Observe me well. I am, as thou suspectest,
Beatrice indeed;--Beatrice, who has to congratulate thee on deigning to
seek the mountain at last. And hadst thou so long indeed to learn, that
here only can man be happy? "

Dante, casting down his eyes at these words, beheld his face in the
water, and hastily turned aside, he saw it so full of shame.

Beatrice had the dignified manner of an offended parent; such a flavour
of bitterness was mingled with her pity.

She held her peace; and the angels abruptly began singing, "In thee, O
Lord, have I put my trust;" but went no farther in the psalm than the
words, "Thou hast set my feet in a large room. " The tears of Dante had
hitherto been suppressed; but when the singing began, they again rolled
down his cheeks.

Beatrice, in a milder tone, said to the angels, "This man, when he
proposed to himself in his youth to lead a new life, was of a truth so
gifted, that every good habit ought to have thrived with him; but the
richer the soil, the greater peril of weeds. For a while, the innocent
light of my countenance drew him the right way; but when I quitted
mortal life, he took away his thoughts from remembrance of me, and gave
himself to others. When I had risen from flesh to spirit, and increased
in worth and beauty, then did I sink in his estimation, and he turned
into other paths, and pursued false images of good that never keep their
promise. In vain I obtained from Heaven the power of interfering in his
behalf, and endeavoured to affect him with it night and day. So little
was he concerned, and into such depths he fell, that nothing remained
but to shew him the state of the condemned; and therefore I went to
their outer regions, and commended him with tears to the guide that
brought him hither. The decrees of Heaven would be nought, if Lethe
could be passed, and the fruit beyond it tasted, without any payment of
remorse. [55]

"O thou," she continued, addressing herself to Dante, "who standest on
the other side of the holy stream, say, have I not spoken truth? "

Dante was so confused and penitent, that the words failed as they passed
his lips.

"What could induce thee," resumed his monitress, "when I had given thee
aims indeed, to abandon them for objects that could end in nothing? "

Dante said, "Thy face was taken from me, and the presence of false
pleasure led me astray. "

"Never didst thou behold," cried the maiden, "loveliness like mine; and
if bliss failed thee because of my death, how couldst thou be allured by
mortal inferiority? That first blow should have taught thee to disdain
all perishable things, and aspire after the soul that had gone before
thee. How could thy spirit endure to stoop to further chances, or to a
childish girl, or any other fleeting vanity? The bird that is newly out
of the nest may be twice or thrice tempted by the snare; but in vain,
surely, is the net spread in sight of one that is older. "[56]

Dante stood as silent and abashed as a sorry child.

"If but to hear me," said Beatrice, "thus afflicts thee, lift up thy
beard, and see what sight can do. "

Dante, though feeling the sting intended by the word "beard," did as he
was desired. The angels had ceased to scatter their clouds of flowers
about the maiden; and be beheld her, though still beneath her veil, as
far surpassing her former self in loveliness, as that self had surpassed
others. The sight pierced him with such pangs, that the more he had
loved any thing else, the more he now loathed it; and he fell senseless
to the ground.

When he recovered his senses, he found himself in the hands of the lady
he had first seen in the place, who bidding him keep firm hold of her,
drew him into the river Lethe, and so through and across it to the other
side, speeding as she went like a weaver's shuttle, and immersing him
when she arrived, the angels all the while singing, "Wash me, and I
shall be whiter than snow. "[57] She then delivered him into the hands of
the nymphs that had danced about the car,--nymphs on earth, but stars
and cardinal virtues in heaven; a song burst from the lips of the
angels; and Faith, Hope, and Charity, calling upon Beatrice to unveil
her face, she did so; and Dante quenched the ten-years thirst of his
eyes in her ineffable beauty. [58]

After a while he and Statius were made thoroughly regenerate with the
waters of Eunoe; and he felt pure with a new being, and fit to soar into
the stars.


[Footnote 1:

"Dolce color d'oriental zaffiro
Che s'accoglieva nel serenoaspetto
De l'aer puro infino al primo giro,
A gli occhi miei ricomincio diletto,
Tosto ch'io usci' fuor de l'aura morta
Che m'avea contristati gli occhi e 'l petto.

Lo bel pianeta, ch'ad amar conforta,
Faceva tutto rider l'oriente,
Velando i Pesci, ch'erano in sua scorta.

Io mi volsi a man destra, e posi mente
All'altro polo, e vidi quattro stelle
Non viste mai, fuor ch'a la prima gente;

Goder pareva 'l ciel di lor fiammelle.
O settentrional vedovo sito,
Poi che privato sei di mirar quelle! "

The sweetest oriental sapphire blue,
Which the whole air in its pure bosom had,
Greeted mine eyes, far as the heavens withdrew;

So that again they felt assured and glad,
Soon as they issued forth from the dead air,
Where every sight and thought had made them sad.

The beauteous star, which lets no love despair,
Made all the orient laugh with loveliness,
Veiling the Fish that glimmered in its hair.

I turned me to the right to gaze and bless,
And saw four more, never of living wight
Beheld, since Adam brought us our distress;

Heaven seemed rejoicing in their happy light.
O widowed northern pole, bereaved indeed,
Since thou hast had no power to see that sight!

Readers who may have gone thus far with the "Italian Pilgrim's
Progress," will allow me to congratulate them on arriving at this lovely
scene, one of the most admired in the poem.

This is one of the passages which make the religious admirers of Dante
inclined to pronounce him divinely inspired; for how could he otherwise
have seen stars, they ask us, which were not discovered till after
his time, and which compose the constellation of the Cross? But other
commentators are of opinion, that the Cross, though not so named till
subsequently (and Dante, we see, gives no prophetic hint about the
name), _had_ been seen, probably by stray navigators. An Arabian globe
is even mentioned by M. Artaud (see Cary), in which the Southern Cross
is set down. Mr. Cary, in his note on the passage, refers to Seneca's
prediction of the discovery of America; most likely suggested by similar
information. "But whatever," he adds, "may be thought of this, it is
certain that the four stars are here symbolical of the four cardinal
virtues;" and he refers to canto xxxi, where those virtues are
retrospectively associated with these stars. The symbol, however, is
not, necessary. Dante was a very curious inquirer on all subjects, and
evidently acquainted with ships and seamen as well as geography; and his
imagination would eagerly have seized a magnificent novelty like this,
and used it the first opportunity. Columbus's discovery, as the reader
will see, was anticipated by Pulci. ]

[Footnote 2: Generous and disinterested! --Cato, the republican enemy of
Cæsar, and committer of suicide, is not luckily chosen for his present
office by the poet who has put Brutus into the devil's mouth in spite of
his agreeing with Cato, and the suicide Piero delle Vigne into hell in
spite of his virtues. But Dante thought Cato's austere manners like his
own. ]

[Footnote 3: The girding with the rush (_giunco schietto_) is_ supposed
by the commentators to be an injunction of simplicity and patience.
Perhaps it is to enjoin sincerity; especially as the region of expiation
has now been entered, and sincerity is the first step to repentance.
It will be recollected that Dante's former girdle, the cord of the
Franciscan friars, has been left in the hands of Fraud. ]

[Footnote 4:

"L'alba vinceva l'ora mattutina
Che fuggia 'nnanzi, sì che di lontano
Conobbi il tremolar de la marina. "

The lingering shadows now began to flee
Before the whitening dawn, so that mine eyes
Discerned far off the trembling of the sea.

"Conobbi il tremolar de la marina"
is a beautiful verse, both for the picture and the sound. ]

[Footnote 5: This evidence of humility and gratitude on the part of
Dante would be very affecting, if we could forget all the pride and
passion he has been shewing elsewhere, and the torments in which he has
left his fellow-creatures. With these recollections upon us, it looks
like an overweening piece of self-congratulation at other people's
expense. ]

[Footnote 6:

"Amor che ne la mente mi ragiona
De la mia donna disiosamente,"

is the beginning of the ode sung by Dante's friend. The incident is
beautifully introduced; and Casella's being made to select a production
from the pen of the man who asks him to sing, very delicately implies a
graceful cordiality in the musician's character.

Milton alludes to the passage in his sonnet to Henry Lawes:

"Thou honour'st verse, and verse must lend her wing
To honour thee, the priest of Phoebus' quire,
That tun'st their happiest lines in hymn or story.
Dante shall give Fame leave to set thee higher
Than his Casella, whom he wooed to sing,
Met in the milder shades of Purgatory. " ]

[Footnote 7: Manfredi was the natural son of the Emperor Frederick the
Second. "He was lively and agreeable in his manners," observes Mr. Cary,
"and delighted in poetry, music, and dancing. But he was luxurious
and ambitious, void of religion, and in his philosophy an epicurean. "
_Translation of Dante_, Smith's edition, p. 77. Thus King Manfredi ought
to have been in a red-hot tomb, roasting for ever with Epicurus himself,
and with the father of the poet's beloved friend, Guido Cavalcante: but
he was the son of an emperor, and a foe to the house of Anjou; so Dante
gives him a passport to heaven. There is no ground whatever for the
repentance assumed in the text. ]

[Footnote 8: The unexpected bit of comedy here ensuing is very
remarkable and pleasant. Belacqua, according to an old commentator, was
a musician. ]

[Footnote 9: Buonconte was the son of that Guido da Montefeltro, whose
soul we have seen carried off from St. Francis by a devil, for having
violated the conditions of penitence. It is curious that both father and
son should have been contested for in this manner. ]

[Footnote 10: This is the most affecting and comprehensive of all brief
stories.

"Deh quando to sarai tornato al mondo,
E riposato de la lunga via,
Seguitò 'l terzo spirito al secondo,

Ricorditi di me che son la Pia:
Siena mi fè; disfecemi Maremma;
Salsi colui che 'nnanellata pria

Disposando m' avea con la sua gemma. "

Ah, when thou findest thee again on earth
(Said then a female soul), remember me,--
Pia. Sienna was my place of birth,

The Marshes of my death. This knoweth he,
Who placed upon my hand the spousal ring.

"Nello della Pietra," says M. Beyle, in his work entitled _De l'Amour,_
"obtained in marriage the hand of Madonna Pia, sole heiress of the
Ptolomei, the richest and most noble family of Sienna. Her beauty, which
was the admiration of all Tuscany, gave rise to a jealousy in the
breast of her husband, that, envenomed by wrong reports and suspicions
continually reviving, led to a frightful catastrophe. It is not easy to
determine at this day if his wife was altogether innocent; but Dante
has represented her as such. Her husband carried her with him into
the marshes of Volterra, celebrated then, as now, for the pestiferous
effects of the air. Never would he tell his wife the reason of her
banishment into so dangerous a place. His pride did not deign to
pronounce either complaint or accusation. He lived with her alone, in a
deserted tower, of which I have been to see the ruins on the seashore;
he never broke his disdainful silence, never replied to the questions of
his youthful bride, never listened to her entreaties. He waited, unmoved
by her, for the air to produce its fatal effects. The vapours of
this unwholesome swamp were not long in tarnishing features the most
beautiful, they say, that in that age had appeared upon earth. In a few
months she died. Some chroniclers of these remote times report that
Nello employed the dagger to hasten her end: she died in the marshes in
some horrible manner; but the mode of her death remained a mystery, even
to her contemporaries. Nello della Pietra survived, to pass the rest
of his days in a silence which was never broken. " Hazlitt's _Journey
through France and Italy_, p. 315. ]

[Footnote 11: Sordello was a famous Provençal poet; with whose writings
the world has but lately been made acquainted through the researches of
M. Raynouard, in his _Choix des Poésies des Troubadours_, &c. ]

[Footnote 12: "Fresco smeraldo in l'ora che si fiacca. " An exquisite
image of newness and brilliancy. ]

[Footnote 13: "Salve, Regina:" the beginning of a Roman-Catholic chant
to the Virgin. ]

[Footnote 14: "With nose deprest," says Mr. Cary. But Dante says,
literally, "small nose,"--_nasetto_. So, further on, he says, "masculine
nose,"--_maschio naso_. He meant to imply the greater or less
determination of character, which the size of that feature is supposed
to indicate. ]

[Footnote 15: An English reader is surprised to find here a sovereign
for whom he has been taught to entertain little respect. But Henry was a
devout servant of the Church. ]

[Footnote 16:

"Era già l'ora che volge 'l desio
A' naviganti, e intenerisce 'l cuore
Lo dì ch' an detto a' dolci amici a Dio;

E che lo nuovo peregrin d'amore
Punge, se ode squilla di lontano
Che paia 'l giorno pianger che si muore. "

A famous passage, untiring in the repetition. It is, indeed, worthy to
be the voice of Evening herself.

'Twas now the hour, when love of home melts through
Men's hearts at sea, and longing thoughts portray
The moment when they bade sweet friends adieu;
And the new pilgrim now, on his lone way,
Thrills, if he hears the distant vesper-bell,
That seems to mourn for the expiring day.

Every body knows the line in Gray's Elegy, not unworthily echoed from
Dante's--

"The curfew tolls the knell of parting day. "

Nothing can equal, however, the _tone_ in the Italian original,--the

"Pàia 'l giorno pianger the si muòre. "

Alas! why could not the great Tuscan have been superior enough to his
personal griefs to write a whole book full of such beauties, and so have
left us a work truly to be called Divine? ]

[Footnote 17:

"Te lucis ante terminum;"--a hymn sung at evening service. ]

[Footnote 18: Lucy, _Lucia_ (supposed to be derived from _lux, lucis_),
is the goddess (I was almost going to say) who in Roman Catholic
countries may be said to preside over _light_, and who is really invoked
in maladies of the eyes. She was Dante's favourite saint, possibly for
that reason among others, for he had once hurt his eyes with study, and
they had been cured. In her spiritual character she represents the light
of grace. ]

[Footnote 19: The first step typifies consciousness of sin; the second,
horror of it; the third, zeal to amend. ]

[Footnote 20: The keys of St. Peter. The gold is said by the
commentators to mean power to absolve; the silver, the learning and
judgment requisite to use it. ]

[Footnote 21: "Te Deum laudamus," the well-known hymn of St. Ambrose and
St. Augustine. ]

[Footnote 22:

"Non v'accorgete voi, che noi siam vermi,
Nati a formar l'angelica farfalla,
Che vola a giustizia senza schermi? "

"Know you not, we are worms
Born to compose the angelic butterfly,
That flies to heaven when freed from what deforms? "

[Footnote 23:

"Più ridon le carte
Che penelleggia Franco Bolognese:
L'onore è tutto or suo, e mio in parte. "

[Footnote 24: The "new Guido" is his friend Guido Cavalcante (now dead);
the "first" is Guido Guinicelli, for whose writings Dante had an esteem;
and the poet, who is to "chase them from the nest," _caccerà di nido_
(as the not very friendly metaphor states it), is with good reason
supposed to be himself! He was right; but was the statement becoming? It
was certainly not necessary. Dante, notwithstanding his friendship
with Guido, appears to have had a grudge against both the Cavalcanti,
probably for some scorn they had shewn to his superstition; far they
could be proud themselves; and the son has the reputation of scepticism,
as well as the father. See the _Decameron, Giorn_. vi. _Nov. 9_. ]

[Footnote 25: This is the passage from which it is conjectured that
Dante knew what it was to "tremble in every vein," from the awful
necessity of begging. Mr. Cary, with some other commentators, thinks
that the "trembling" implies fear of being refused. But does it not
rather mean the agony of the humiliation? In Salvani's case it certainly
does; for it was in consideration of the pang to his pride, that the
good deed rescued him from worse punishment. ]

[Footnote 26: The reader will have noticed the extraordinary mixture of
Paganism and the Bible in this passage, especially the introduction of
such fables as Niobe and Arachne. It would be difficult not to suppose
it intended to work out some half sceptical purpose, if we did not call
to mind the grave authority given to fables in the poet's treatise on
Monarchy, and the whole strange spirit, at once logical and gratuitous,
of the learning of his age, when the acuter the mind, the subtler became
the reconcilement with absurdity. ]

[Footnote 27: _Beati pauperes spiritu_. "Blessed are the poor in spirit;
for theirs is the kingdom of heaven"--one of the beautiful passages of
the beautiful sermon on the Mount. How could the great poet read and
admire such passages, and yet fill his books so full of all which they
renounced? "Oh," say his idolators, "he did it out of his very love for
them, and his impatience to see them triumph. " So said the Inquisition.
The evil was continued for the sake of the good which it prevented! The
result in the long-run may be so, but not for the reasons they supposed,
or from blindness to the indulgence of their bad passions. ]

[Footnote 28:

"_Sàvia_ non fui, avvegna che _Sapìa_
Fosse chiamata. "
The pun is poorer even than it sounds in English: for though the Italian
name may possibly remind its readers of _sapienza_ (sapience), there is
the difference of a _v_ in the adjective _savia_, which is also accented
on the first syllable. It is almost as bad as if she had said in
English, "Sophist I found myself, though Sophia is my name. " It
is pleasant, however, to see the great saturnine poet among the
punsters. --It appears, from the commentators, that Sapia was in exile at
the time of the battle, but they do not say for what; probably from some
zeal of faction]

[Footnote 29: We are here let into Dante's confessions. He owns to a
little envy, but far more pride:

"Gli occhi, diss' io, mi fieno ancor qui tolti,
Ma picciol tempo; che poch' è l'offesa
Fatta per esser con invidia volti.
Troppa è più la paura ond' è sospesa
L'anima mia del tormento di sotto
Che già lo 'ncarco di là giù mi pesa. "

The first confession is singularly ingenuous and modest; the second,
affecting. It is curious to guess what sort of persons Dante could have
allowed himself to envy--probably those who were more acceptable to
women. ]

[Footnote 29: Aglauros, daughter of Cecrops, king of Athens, was turned
to stone by Mercury, for disturbing with her envy his passion for her
sister Herse.

The passage about Cain is one of the sublimest in Dante. Truly wonderful
and characteristic is the way in which he has made physical noise and
violence express the anguish of the wanderer's mind. We are not to
suppose, I conceive, that we see Cain. We know he has passed us, by his
thunderous and headlong words. Dante may well make him invisible, for
his words are things--veritable thunderbolts.

Cain comes in rapid successions of thunder-claps. The voice of Aglauros
is thunder-claps crashing into one another--broken thunder. This is
exceedingly fine also, and wonderful as a variation upon that awful
music; but Cain is the astonishment and the overwhelmingness. If it were
not, however, for the second thunder, we should not have had the two
silences; for I doubt whether they are not better even than one. At all
events, the final silence is tremendous. ]

[Footnote 30: St. Luke ii. 48. ]

[Footnote 31: The stoning of Stephen. ]

[Footnote 32: These illustrative spectacles are not among the best
inventions of Dante. Their introduction is forced, and the instances not
always pointed. A murderess, too, of her son, changed into such a bird
as the nightingale, was not a happy association of ideas in Homer, where
Dante found it; and I am surprised he made use of it, intimate as
he must have been with the less inconsistent story of her namesake,
Philomela, in the _Metamorphoses_. ]

[Footnote 33: So, at least, I conceive, by what appears afterwards; and
I may here add, once for all, that I have supplied the similar requisite
intimations at each successive step in Purgatory, the poet seemingly
having forgotten to do so. It is necessary to what he implied in the
outset. The whole poem, it is to be remembered, is thought to have
wanted his final revision. ]

[Footnote 34: What an instance to put among those of haste to do good!
But the fame and accomplishments of Cæsar, and his being at the head of
our Ghibelline's beloved emperors, fairly overwhelmed Dante's boasted
impartiality. ]

[Footnote 35: A masterly allegory of Worldly Pleasure. But the close of
it in the original has an intensity of the revolting, which outrages the
last recesses of feeling, and disgusts us with the denouncer. ]

[Footnote 36: The fierce Hugh Capet, soliloquising about the Virgin in
the tones of a lady in child-bed, is rather too ludicrous an association
of ideas. It was for calling this prince the son of a butcher, that
Francis the First prohibited the admission of Dante's poem into his
dominions. Mr. Cary thinks the king might have been mistaken in his
interpretation of the passage, and that "butcher" may be simply a
metaphorical term for the blood-thirstiness of Capet's father.
But when
we find the man called, not _the_ butcher, or _that_ butcher, or butcher
in reference to his species, but in plain local parlance "a butcher of
Paris" (_un beccaio di Parigi_), and when this designation is followed
up by the allusion to the extinction of the previous dynasty, the
ordinary construction of the words appears indisputable. Dante seems
to have had no ground for what his aristocratical pride doubtless
considered a hard blow, and what King Francis, indeed, condescended to
feel as such. He met with the notion somewhere, and chose to believe it,
in order to vex the French and their princes. The spirit of the taunt
contradicts his own theories elsewhere; for he has repeatedly said, that
the only true nobility is in the mind. But his writings (poetical truth
excepted) are a heap of contradictions. ]

[Footnote 37: Mr. Cary thought he had seen an old romance in which there
is a combat of this kind between Jesus and his betrayer. I have an
impression to the same effect. ]

[Footnote 38:

"O Signor mio, quando sarò io lieto
A veder la vendetta the nascosa
Fa dolce l'ira tua nel tuo segreto! "

The spirit of the blasphemous witticism attributed to another Italian,
viz. that the reason why God prohibited revenge to mankind was its being
"too delicate a morsel for any but himself," is here gravely anticipated
as a positive compliment to God by the fierce poet of the thirteenth
century, who has been held up as a great Christian divine! God hugs
revenge to his bosom with delight! The Supreme Being confounded with a
poor grinning Florentine! ]

[Footnote 39: A ludicrous anti-climax this to modern ears! The allusion
is to the Pygmalion who was Dido's brother, and who murdered her
husband, the priest Sichæus, for his riches. The term "parricide" is
here applied in its secondary sense of--the murderer of any one to whom
we owe reverence. ]

[Footnote 40: Heliodorus was a plunderer of the Temple, thus
supernaturally punished. The subject has been nobly treated by Raphael. ]

[Footnote 41: A grand and beautiful fiction. ]

[Footnote 42: Readers need hardly be told that there is no foundation
for this fancy, except in the invention of the churchmen. Dante, in
another passage, not necessary to give, confounds the poet Statius who
was from Naples, with a rhetorician of the same name from Thoulouse. ]

[Footnote 43:

"Parèn l'occhiaje anella senza gemme. "

This beautiful and affecting image is followed in the original by one
of the most fantastical conceits of the time. The poet says, that the
physiognomist who "reads the word OMO (_homo_, man), written in the face
of the human being, might easily have seen the letter _m_ in theirs. "

"Chi nel viso de gli uomini legge _o m o_,
Bene avria quivi conosciuto l'_emme_. "

The meaning is, that the perpendicular lines of the nose and temples
form the letter M, and the eyes the two O's. The enthusiast for Roman
domination must have been delighted to find that Nature wrote in Latin! ]

[Footnote 44:

"Se le svergognate fosser certe
Di quel che l' ciel veloce loro ammanna,
Gia per urlare avrian le bocche aperte. "

This will remind the reader of the style of that gentle Christian, John
Knox, who, instead of offering his own "cheek to the smiters," delighted
to smite the cheeks of women. Fury was his mode of preaching meekness,
and threats of everlasting howling his reproof of a tune on Sundays.
But, it will be said, he looked to consequences. Yes; and produced the
worst himself, both spiritual and temporal. Let the whisky-shops answer
him. However, he helped to save Scotland from Purgatory: so we must take
good and bad together, and hope the best in the end.

Forese, like many of Dante's preachers, seems to have been one of those
self-ignorant or self-exasperated denouncers, who "Compound for sins
they are inclined to, By damning those they have no mind to. " He was
a glutton, who could not bear to see ladies too little clothed. The
defacing of "God's image" in his own person he considered nothing. ]

[Footnote 45: The passage respecting his past life is unequivocal
testimony to the fact, confidently disputed by some, of Dante's having
availed himself of the license of the time; though, in justice to such
candour, we are bound not to think worse of it than can be helped. The
words in the original are

"Se ti riduci a mente
Qual fosti meco, e quale io teco fui,
Ancor fia grave il memorar presente. "

Literally: "If thou recallest to mind what (sort of person) thou wast
with me, and what I was with thee, the recollection may oppress thee
still. "

His having been taken out of that kind of life by Virgil (construed in
the literal sense, in which, among other senses, he has directed us to
construe him), may imply, either that the delight of reading Virgil
first made him think of living in a manner more becoming a man of
intellect, or (possibly) that the Latin poet's description of Æneas's
descent into hell turned his thoughts to religious penitence. Be this
as it may, his life, though surely it could at no time have been of any
very licentious kind, never, if we are to believe Boccaccio, became
spotless. ]

[Footnote 46: The mention of Gentucca might be thought a compliment to
the lady, if Dante had not made Beatrice afterwards treat his regard for
any one else but herself with so much contempt. (See page 216 of the
present volume. ) Under that circumstance, it is hardly acting like a
gentleman to speak of her at all; unless, indeed, he thought her a
person who would be pleased with the notoriety arising even from the
record of a fugitive regard; and in that case the good taste of the
record would still remain doubtful. The probability seems to be, that
Dante was resolved, at all events, to take this opportunity of bearding
some rumour. ]

[Footnote 47: A celebrated and charming passage:

"Io mi son un, che quando
Amore spira, noto; e a quel modo
Che detta dentro, vo significando. "

I am one that notes
When Love inspires; and what he speaks I tell
In his own way, embodying but his thoughts.

[Footnote 48: Exquisite truth of painting! and a very elegant compliment
to the handsome nature of Buonaggiunta. Jacopo da Lentino, called the
Notary, and Fra Guittone of Arezzo, were celebrated verse-writers of
the day. The latter, in a sonnet given by Mr. Cary in the notes to his
translation, says he shall be delighted to hear the trumpet, at the last
day, dividing mankind into the happy and the tormented (sufferers under
_crudel martire_), _because_ an inscription will then be seen on his
forehead, shewing that he had been a slave to love! An odd way for a
poet to shew his feelings, and a friar his religion! ]

[Footnote 49: Judges vii. 6. ]

[Footnote 50: _Summæ Deus clementiæ_. The ancient beginning of a hymn in
the Roman Catholic church; now altered, say the commentators, to "Summæ
parens clementiæ. "]

[Footnote 51: _Virum non cognosco_. "Then said Mary unto the angel, How
shall this be, seeing I know not a man? "--_Luke_ i. 34.

The placing of Mary's interview with the angel, and Ovid's story of
Calisto, upon apparently the same identical footing of authority, by
spirits in all the sincerity of agonised penitence, is very remarkable.
A dissertation, by some competent antiquary, on the curious question
suggested by these anomalies, would be a welcome novelty in the world of
letters. ]

[Footnote 52: An allegory of the Active and Contemplative Life;--not, I
think, a happy one, though beautifully painted. It presents, apart
from its terminating comment no necessary intellectual suggestion; is
rendered, by the, comment itself, hardly consistent with Leah's express
love of ornament; and, if it were not for the last sentence, might be
taken for a picture of two different forms of Vanity. ]

[Footnote 53:

"Tal, qual di ramo in ramo si raccoglie
Per la pineta in sul lito di Chiassi,
Quand' Eolo scirocco fuor discioglie. "

Even as from branch to branch
Along the piny forests on the shore
Of Chiassi, rolls the gathering melody,
When Eolus hath from his cavern loosed
The dripping south. "--_Cary_.

"This is the wood," says Mr. Cary, "where the scene of Boccaccio's
sublimest story (taken entirely from Elinaud, as I learn in the notes to
the Decameron, ediz. Giunti, 1573, p. 62) is laid. See Dec. , G. 5, N.
8, and Dryden's Theodore and Honoria. Our poet perhaps wandered in
it during his abode with Guido Novello da Polenta. "--_Translation of
Dante_, ut sup. p. 121. ]

[Footnote 54: Lethe, _Forgetfulness_; Eunoe, _Well-mindedness_. ]

[Footnote 55:

"Senza alcuno scotto
Di pentimento. "

Literally, _scot-free_. --"Scotto," scot;--"payment for dinner or supper
in a tavern" (says Rubbi, the Petrarchal rather than Dantesque editor
of the _Parnaso Italiano_, and a very summary gentleman); "here used
figuratively, though it is not a word fit to be employed on serious and
grand occasions" (in cose gravi ed illustri). See his "Dante" in that
collection, vol. ii. p. 297. ]

[Footnote 56: The allusion to the childish girl (_pargoletta_) or any
other fleeting vanity,

"O altra vanità con sì breve use,"

is not handsome. It was not the fault of the childish girls that he
liked them; and he should not have taunted them, whatever else they
might have been. What answer could they make to the great poet?

Nor does Beatrice make a good figure throughout this scene, whether as
a woman or an allegory. If she is Theology, or Heavenly Grace, &c. the
sternness of the allegory should not have been put into female shape;
and when she is to be taken in her literal sense (as the poet also tells
us she is), her treatment of the poor submissive lover, with leave of
Signor Rubbi, is no better than _snubbing_;--to say nothing of the
vanity with which she pays compliments to her own beauty.

I must, furthermore, beg leave to differ with the poet's thinking it an
exalted symptom on his part to hate every thing he had loved before, out
of supposed compliment the transcendental object of his affections and
his own awakened merits. All the heights of love and wisdom terminate in
charity; and charity, by very reason of its knowing the poorness of so
many things, hates nothing. Besides, it is any thing but handsome or
high-minded to turn round upon objects whom we have helped to lower with
our own gratified passions, and pretend a right to scorn them. ]

[Footnote 57:

"Tu asperges me, et mundabor," &c. "Purge me with hyssop, and I shall be
clean; wash me, and I shall be whiter than snow. "--Psalm li. 7. ]

[Footnote 58: Beatrice had been dead ten years. ]


III.

THE JOURNEY THROUGH HEAVEN. Argument.

The Paradise or Heaven of Dante, in whose time the received system of
astronomy was the Ptolemaic, consists of the Seven successive Planets
according to that system, or the Moon, Mercury, Venus, the Sun, Mars,
Jupiter, and Saturn; of the Eighth Sphere beyond these, or that of the
Fixed Stars; of the Primum Mobile, or First Mover of them all round the
moveless Earth; and of the Empyrean, or Region of Pure Light, in which
is the Beatific Vision. Each of these ascending spheres is occupied by
its proportionate degree of Faith and Virtue; and Dante visits each
under the guidance of Beatrice, receiving many lessons, as he goes,
on theological and other subjects (here left out), and being finally
admitted, after the sight of Christ and the Virgin, to a glimpse of the
Great First Cause.


THE JOURNEY THROUGH HEAVEN.

It was evening now on earth, and morning on the top of the hill in
Purgatory, when Beatrice having fixed her eyes upon the sun, Dante fixed
his eyes upon hers, and suddenly found himself in Heaven.

He had been transported by the attraction of love, and Beatrice was by
his side.

The poet beheld from where he stood the blaze of the empyrean, and heard
the music of the spheres; yet he was only in the first or lowest Heaven,
the circle of the orb of the moon.

This orb, with his new guide, he proceeded to enter. It had seemed,
outside, as solid, though as lucid, as diamond; yet they entered it, as
sunbeams are admitted into water without dividing the substance. It now
appeared, as it enclosed them, like a pearl, through the essence of
which they saw but dimly; and they beheld many faces eagerly looking at
them, as if about to speak, but not more distinct from the surrounding
whiteness than pearls themselves are from the forehead they adorn. [1]
Dante thought them only reflected faces, and turned round to see to whom
they belonged, when his smiling companion set him right; and he entered
into discourse with the spirit that seemed the most anxious to accost
him. It was Piccarda, the sister of his friend Forese Donati, whom he
had met in the sixth region of Purgatory. He did not know her, by reason
of her wonderful increase in beauty. She and her associates were such
as had been Vowed to a Life of Chastity and Religion, but had been
Compelled by Others to Break their Vows. This had been done, in
Piccarda's instance, by her brother Corso. [2] On

Dante's asking if they did not long for a higher state of bliss, she and
her sister-spirits gently smiled; and then answered, with faces as happy
as first love,[3] that they willed only what it pleased God to give
them, and therefore were truly blest. The poet found by this answer,
that every place in Heaven was Paradise, though the bliss might be of
different degrees. Piccarda then shewed him the spirit at her side,
lustrous with all the glory of the region, Costanza, daughter of the
king of Sicily, who had been forced out of the cloister to become the
wife of the Emperor Henry. Having given him this information, she began
singing _Ave Maria_; and, while singing, disappeared with the rest, as
substances disappear in water. [4]

A loving will transported the two companions, as before, to the next
circle of Heaven, where they found themselves in the planet Mercury, the
residence of those who had acted rather out of Desire of Fame than Love
of God. The spirits here, as in the former Heaven, crowded towards them,
as fish in a clear pond crowd to the hand that offers them food. Their
eyes sparkled with celestial joy; and the more they thought of their
joy, the brighter they grew; till one of them who addressed the poet
became indistinguishable for excess of splendour. It was the soul of
the Emperor Justinian. Justinian told him the whole story of the Roman
empire up to his time; and then gave an account of one of his associates
in bliss, Romèo, who had been minister to Raymond Beranger, Count of
Provence. Four daughters had been born to Raymond Beranger, and every
one became a queen; and all this had been brought about by Romèo, a poor
stranger from another country. The courtiers, envying Romèo, incited
Raymond to demand of him an account of his stewardship, though he had
brought his master's treasury twelve-fold for every ten it disbursed.
Romeo quitted the court, poor and old; "and if the world," said
Justinian, "could know the heart such a man must have had, begging his
bread as he went, crust by crust--praise him as it does, it would praise
him a great deal more. "[5]

"Hosanna, Holy God of Sabaoth,
Superillumining with light of light
The happy fires of these thy Malahoth! "[6]

Thus began singing the soul of the Emperor Justinian; and then, turning
as he sang, vanished with those about him, like sparks of fire.

Dante now found himself, before he was aware, in the third Heaven,
or planet Venus, the abode of the Amorous. [7] He only knew it by the
increased loveliness in the face of his companion.

The spirits in this orb, who came and went in the light of it like
sparks in fire, or like voices chanting in harmony with voice, were spun
round in circles of delight, each with more or less swiftness, according
to its share of the beatific vision. Several of them came sweeping out
of their dance towards the poet who had sung of Love, among whom was his
patron, Charles Martel, king of Hungary, who shewed him the reason why
diversities of natures must occur in families; and Cunizza, sister of
the tyrant Ezzelino, who was overcome by this her star when on earth;
and Folco the Troubadour, whose place was next Cunizza in Heaven; and
Rahab the harlot, who favoured the entrance of the Jews into the Holy
Land, and whose place was next Folco. [8] Cunizza said that she did not
at all regret a lot which carried her no higher, whatever the vulgar
might think of such an opinion. She spoke of the glories of the jewel
who was close to her, Folco--contrasted his zeal with the inertness of
her contemptible countrymen--and foretold the bloodshed that awaited the
latter from wars and treacheries. The Troubadour, meanwhile, glowed
in his aspect like a ruby stricken with the sun; for in heaven joy is
expressed by effulgence, as on earth by laughter. He confessed the
lawless fires of his youth, as great (he said) as those of Dido or
Hercules; but added, that he had no recollection of them, except a
joyous one, not for the fault (which does not come to mind in heaven),
but for the good which heaven brings out of it. Folco concluded with
explaining how Rahab had come into the third Heaven, and with denouncing
the indifference of popes and cardinals (those adulterers of the Church)
to every thing but accursed money-getting. [9]

In an instant, before he could think about it, Dante was in the fourth
Heaven, the sun, the abode of Blessed Doctors of the Church. A band of
them came encircling him and his guide, as a halo encircles the moon,
singing a song, the beauty of which, like jewels too rich to be
exported, was not conveyable by expression to mortal fancy. The spirits
composing the band were those of St. Thomas Aquinas, Albertus Magnus,
Gratian the Benedictine, Pietro Lombardo, Solomon, Saint Dionysius
the Areopagite, Paulus Orosius, Boetius, Isidore, the Venerable Bede,
Richard of St. Victor, and Sigebert of Gemblours. St. Thomas was the
namer of them to Dante. Their song had paused that he might speak; but
when he had done speaking, they began resuming it, one by one, and
circling as they moved, like the wheels of church-clocks that sound one
after another with a sweet tinkling, when they summon the hearts of the
devout to morning prayer. [10]

Again they stopped, and again St. Thomas addressed the poet. He was of
the order of St. Dominic; but with generous grace he held up the founder
of the Franciscans, with his vow of poverty, as the example of what a
pope should be, and reproved the errors of no order but his own. On
the other hand, a new circle of doctors of the Church making their
appearance, and enclosing the first as rainbow encloses rainbow, rolling
round with it in the unison of a two-fold joy, a voice from the new
circle attracted the poet's ear, as the pole attracts the needle,
and Saint Buonaventura, a Franciscan, opened upon the praises of St.
Dominic, the loving minion of Christianity, the holy wrestler,--benign
to his friends and cruel to his enemies;[11]--and so confined his
reproofs to his own Franciscan order. He then, as St. Thomas had done
with the doctors in the inner circle, named those who constituted the
outer: to wit, Illuminato, and Agostino, and Hugues of St. Victor, and
Petrus Comestor, and Pope John the Twenty-first, Nathan the Prophet,
Chrysostom, Anselmo of Canterbury, Donatus who deigned to teach grammar,
Raban of Mentz, and Joachim of Calabria. The two circles then varied
their movement by wheeling round one another in counter directions; and
after they had chanted, not of Bacchus or Apollo, but of Three Persons
in One, St. Thomas, who knew Dante's thoughts by intuition, again
addressed him, discoursing of mysteries human and divine, exhorting
him to be slow in giving assent or denial to propositions without
examination, and bidding him warn people in general how they presumed
to anticipate the divine judgment as to who should be saved and who
not. [12] The spirit of Solomon then related how souls could resume their
bodies glorified; and the two circles uttering a rapturous amen, glowed
with such intolerable brightness, that the eyes of Beatrice only were
able to sustain it. Dante gazed on her with a delight ineffable, and
suddenly found himself in the fifth Heaven.

It was the planet Mars, the receptacle of those who had Died Fighting
for the Cross. In the middle of its ruddy light stood a cross itself, of
enormous dimensions, made of light still greater, and exhibiting, first,
in the body of it, the Crucified Presence, glittering all over with
indescribable flashes like lightning; and secondly, in addition to and
across the Presence, innumerable sparkles of the intensest mixture
of white and red, darting to and fro through the whole extent of the
crucifix. The movement was like that of motes in a sunbeam. And as a
sweet dinning arises from the multitudinous touching of harps and viols,
before the ear distinguishes the notes, there issued in like manner from
the whole glittering ferment a harmony indistinct but exquisite, which
entranced the poet beyond all he had ever felt. He heard even the words,
"Arise and conquer," as one who hears and yet hears not.

On a sudden, with a glide like a falling star, there ran down from the
right horn of the Cross to the foot of it, one of the lights of this
cluster of splendours, distinguishing itself, as it went, like flame in
alabaster.

"O flesh of my flesh! " it exclaimed to Dante; "O superabounding Divine
Grace! when was the door of Paradise ever twice opened, as it Shall have
been to thee? "[13] Dante, in astonishment, turned to Beatrice, and saw
such a rapture of delight in her eyes, that he seemed, at that instant,
as if his own had touched the depth of his acceptance and of his
heaven. [14]

The light resumed its speech, but in words too profound in their meaning
for Dante to comprehend. They seemed to be returning thanks to God. This
rapturous absorption being ended, the speaker expressed in more human
terms his gratitude to Beatrice; and then, after inciting Dante to ask
his name, declared himself thus:

"O branch of mine, whom I have long desired to behold, I am the root of
thy stock; of him thy great-grandsire, who first brought from his mother
the family-name into thy house, and whom thou sawest expiating his sin
of pride on the first circle of the mountain. Well it befitteth thee to
shorten his long suffering with thy good works. Florence,[15] while yet
she was confined within the ancient boundary which still contains the
bell that summons her to prayer, abided in peace, for she was chaste
and sober. She had no trinkets of chains then, no head-tires, no gaudy
sandals, no girdles more worth looking at than the wearers. Fathers were
not then afraid of having daughters, for fear they should want dowries
too great, and husbands before their time. Families were in no haste to
separate; nor had chamberers arisen to shew what enormities they dared
to practise. The heights of Rome had not been surpassed by your tower of
Uccellatoio, whose fall shall be in proportion to its aspiring. I saw
Bellincion Berti walking the streets in a leathern girdle fastened with
bone; and his wife come from her looking-glass without a painted face.
I saw the Nerlis and the Vecchios contented with the simplest doublets,
and their good dames hard at work at their spindles. O happy they! They
were sure of burial in their native earth, and none were left desolate
by husbands that loved France better than Italy. One kept awake to tend
her child in its cradle, lulling it with the household words that had
fondled her own infancy. Another, as she sat in the midst of her family,
drawing the flax from the distaff, told them stories of Troy, and
Fiesole, and Rome. It would have been as great a wonder, then, to see
such a woman as Cianghella, or such a man as Lapo Salterello, as it
would now be to meet with a Cincinnatus or a Cornelia. [16]

"It was at that peaceful, at that beautiful time," continued the poet's
ancestor, "when we all lived in such good faith and fellowship, and in
so sweet a place, that the blessed Virgin vouchsafed the first sight
of me to the cries of my mother; and there, in your old Baptistery, I
became, at once, Christian and Cacciaguida. My brothers were called
Moronto and Eliseo. It was my wife that brought thee, from Valdipado,
thy family name of Alighieri. I then followed the Emperor Conrad, and
he made me a knight for my good service, and I went with him to fight
against the wicked Saracen law, whose people usurp the fold that remains
lost through the fault of the shepherd. There, by that foul crew, was I
delivered from the snares and pollutions of the world; and so, from the
martyrdom, came to this peace. "

Cacciaguida was silent. But his descendant praying to be told more of
his family and of the old state of Florence, the beatified soldier
resumed. He would not, however, speak of his own predecessors. He said
it would be more becoming to say nothing as to who they were, or the
place they came from. All he disclosed was, that his father and
mother lived near the gate San Piero. [17] With regard to Florence, he
continued, the number of the inhabitants fit to carry arms was at that
time not a fifth of its present amount; but then the blood of the
whole city was pure.