No More Learning

The book is particularly intended for such students or
other lovers of the language as are pleased with any fresh endeavours to
recommend it; and, at the same time, for such purely English readers as
wish to know something about Italian poetry, without having leisure to
cultivate its acquaintance.

I did not intend in the first instance to depart from the plan
of selection in the case of Dante; but when I considered what an
extraordinary person he was,--how intense is every thing which he
says,--how widely he has re-attracted of late the attention of the
world,--how willingly perhaps his poem might be regarded by the reader
as being itself one continued story (which, in fact, it is), related
personally of the writer,--and lastly, what a combination of
difficulties have prevented his best translators in verse from giving
the public a just idea of his almost Scriptural simplicity,--I began to
think that an abstract of his entire work might possibly be looked upon
as supplying something of a desideratum. I am aware that nothing but
verse can do perfect justice to verse; but besides the imperfections
which are pardonable, because inevitable, in all such metrical
endeavours, the desire to impress a grand and worshipful idea of Dante
has been too apt to lead his translators into a tone and manner the
reverse of his passionate, practical, and creative style--a style which
may be said to write things instead of words; and thus to render every
word that is put out of its place, or brought in for help and filling
up, a misrepresentation. I do not mean to say, that he himself never
does any thing of the sort, or does not occasionally assume too much
of the oracle and the schoolmaster, in manner as well as matter;
but passion, and the absence of the superfluous, are the chief
characteristics of his poetry. Fortunately, this sincerity of purpose
and utterance in Dante render him the least pervertible of poets in a
sincere prose translation; and, since I ventured on attempting one, I
have had the pleasure of meeting with an express recommendation of such
a version in an early number of the _Edinburgh Review_. [1]

The abstract of Dante, therefore, in these volumes (with every
deprecation that becomes me of being supposed to pretend to give a
thorough idea of any poetry whatsoever, especially without its metrical
form) aspires to be regarded as, at all events, not exhibiting a false
idea of the Dantesque spirit in point of feeling and expression. It is
true, I have omitted long tedious lectures of scholastic divinity, and
other learned absurdities of the time, which are among the bars to the
poem's being read through, even in Italy (which Foscolo tells us is
never the case); and I have compressed the work in other passages not
essentially necessary to the formation of a just idea of the author.
But quite enough remains to suggest it to the intelligent; and in no
instance have I made additions or alterations. There is warrant--I hope
I may say letter--for every thing put down. Dante is the greatest poet
for intensity that ever lived; and he excites a corresponding emotion
in his reader--I wish I could say, always on the poet's side; but his
ferocious hates and bigotries too often tempt us to hate the bigot,
and always compel us to take part with the fellow-creatures whom he
outrages. At least, such is their effect on myself. Nor will he or his
worshippers suffer us to criticise his faults with mere reference to the
age in which he lived. I should have been glad to do so; but the claims
made for him, even by himself, will not allow it. We are called upon to
look on him as a divine, a prophet, an oracle in all respects for all
time. Such a man, however, is the last whom a reporter is inclined to
misrepresent. We respect his sincerity too much, ferocious and arrogant
though it be; and we like to give him the full benefit of the recoil of
his curses and maledictions. I hope I have not omitted one. On the
other hand, as little have I closed my feelings against the lovely
and enchanting sweetness which this great semi-barbarian sometimes so
affectingly utters. On those occasions he is like an angel enclosed
for penance in some furious giant, and permitted to weep through the
creature's eyes.

The stories from goodnatured Pulci I have been obliged to compress for
other reasons--chiefly their excessive diffuseness. A paragraph of the
version will sometimes comprise many pages. Those of Boiardo and Ariosto
are more exact; and the reader will be good enough to bear in mind, that
nothing is added to any of the poets, different as the case might seem
here and there on comparison with the originals. An equivalent for
whatever is said is to be found in some part of the context--generally
in letter, always in spirit. The least characteristically exact passages
are some in the love-scenes of Tasso; for I have omitted the plays upon
words and other corruptions in style, in which that poet permitted
himself to indulge. But I have noticed the circumstance in the comment.
In other respects, I have endeavoured to make my version convey some
idea of the different styles and genius of the writers,--of the severe
passion of Dante; of the overflowing gaiety and affecting sympathies
of Pulci, several of whose passages in the Battle of Roncesvalles are
masterpieces of pathos; of the romantic and inventive elegance of
Boiardo; the great cheerful universality of Ariosto, like a healthy
_anima mundi_; and the ambitious irritability, the fairy imagination,
and tender but somewhat effeminate voluptuousness of the poet of Armida
and Rinaldo. I do not pretend that prose versions of passages from these
writers can supersede the necessity of metrical ones, supposing proper
metrical ones attainable. They suffice for them, in some respects, less
than for Dante, the manner in their case being of more importance to
the effect. But with all due respect to such translators as Harrington,
Rose, and Wiffen, their books are not Ariosto and Tasso, even in manner.
Harrington, the gay "godson" of Queen Elizabeth, is not always unlike
Ariosto; but when not in good spirits he becomes as dull as if her
majesty had frowned on him. Rose was a man of wit, and a scholar; yet
he has undoubtedly turned the ease and animation of his original into
inversion and insipidity. And Wiffen, though elegant and even poetical,
did an unfortunate thing for Tasso, when he gave an additional line and
a number of paraphrastic thoughts to a stanza already tending to the
superfluous. Fairfax himself, who, upon the whole, and with regard to
a work of any length, is the best metrical translator our language has
seen, and, like Chapman, a genuine poet, strangely aggravated the sins
of prettiness and conceit in his original, and added to them a love
of tautology amounting to that of a lawyer. As to Hoole, he is below
criticism; and other versions I have not happened to see. Now if I had
no acquaintance with the Italian language, I confess I would rather get
any friend who had, to read to me a passage out of Dante, Tasso, or
Ariosto, into the first simple prose that offered itself, than go to any
of the above translators for a taste of it, Fairfax excepted; and we
have seen with how much allowance his sample would have to be taken.
I have therefore, with some restrictions, only ventured to do for the
public what I would have had a friend do for myself.

The _Critical and Biographical Notices_ I did not intend to make so long
at first; but the interest grew upon me; and I hope the reader will
regard some of them--Dante's and Tasso's in particular--as being
"stories" themselves, after their kind,--"stories, alas, too true;"
"romances of real life. " The extraordinary character of Dante, which is
personally mixed up with his writings beyond that of any other poet, has
led me into references to his church and creed, unavoidable at any
time in the endeavour to give a thorough estimate of his genius, and
singularly demanded by certain phenomena of the present day. I hold
those phenomena to be alike feeble and fugitive; but only so by reason
of their being openly so proclaimed; for mankind have a tendency to the
absurd, if their imaginations are not properly directed; and one of the
uses of poetry is, to keep the faculty in a healthy state, and cause it
to know its duties. Dante, in the fierce egotism of his passions, and
the strange identification of his knowledge with all that was knowable,
would fain have made his poetry both a sword against individuals, and a
prop for the support of the superstition that corrupted them. This was
reversing the duty of a Christian and a great man; and there happen to
be existing reasons why it is salutary to chew that he had no right to
do so, and must not have his barbarism confounded with his strength.
Machiavelli was of opinion, that if Christianity had not reverted to its
first principles, by means of the poverty and pious lives of St. Francis
and St. Dominic,[2] the faith would have been lost. It may have been;
but such are not the secrets of its preservation in times of science and
progression, when the spirit of inquiry has established itself among
all classes, and nothing is taken for granted, as it used to be. A few
persons here and there, who confound a small superstitious reaction in
England with the reverse of the fact all over the rest of Europe, may
persuade themselves, if they please, that the world has not advanced in
knowledge for the last three centuries, and so get up and cry aloud to
us out of obsolete horn-books; but the community laugh at them. Every
body else is inquiring into first principles, while they are dogmatising
on a forty-ninth proposition. The Irish themselves, as they ought to do,
care more for their pastors than for the Pope; and if any body wishes to
know what is thought of his Holiness at head-quarters, let him consult
the remarkable and admirable pamphlet which has lately issued from the
pen of Mr. Mazzini. [3] I have the pleasure of knowing excellent Roman
Catholics; I have suffered in behalf of their emancipation, and would do
so again to-morrow; but I believe that if even their external form of
Christianity has any chance of survival three hundred years hence, it
will have been owing to the appearance meanwhile of some extraordinary
man in power, who, in the teeth of worldly interests, or rather in
charitable and sage inclusion of them, shall have proclaimed that the
time had arrived for living in the flower of Christian charity, instead
of the husks and thorns which may have been necessary to guard it. If it
were possible for some new and wonderful Pope to make this change, and
draw a line between these two Christian epochs, like that between the
Old and New Testaments, the world would feel inclined to prostrate
itself again and for ever at the feet of Rome. In a catholic state
of things like that, delighted should I be, for one, to be among the
humblest of its communicants. How beautiful would their organs be then!
how ascending to an unperplexing Heaven their incense! how unselfish
their salvation! how intelligible their talk about justice and love! It
would be far more easy, however, for the Church of England to do this
than the Church of Rome; since the former would not feel itself hampered
with pretensions to infallibility. A Church once reformed, may reform
itself again and again, till it remove every blemish in the way of its
perfection. And God grant this may be the lot of the Church of my native
country. Its beautiful old ivied places of worship would then want
no harmony of accordance with its gentle and tranquil scenery; no
completeness of attraction to the reflecting and the kind.

But if Charity (and by Charity I do not mean mere toleration, or any
other pretended right to permit others to have eyes like ourselves, but
whatever the delightful Greek word implies of good and lovely), if this
truly and only divine consummation of all Christian doctrine be not
thought capable of taking a form of belief "strong" enough, apart from
threats that revolt alike the heart and the understanding, Superstition
must look out for some new mode of dictation altogether; for the world
is outgrowing the old.

* * * * *

I cannot, in gratitude for the facilities afforded to myself, as well
as for a more obvious and public reason, dismiss this Preface without
congratulating men of letters on the establishment and increasing
prosperity of the _London Library_, an institution founded for the
purpose of accommodating subscribers with such books, at their own
houses, as could only be consulted hitherto at the British Museum. The
sole objection to the Museum is thus done away, and the literary world
has a fair prospect of possessing two book-institutions instead of one,
each with its distinct claims to regard, and presenting in combination
all that the student can wish; for while it is highly desirable that
authors should be able to have standard works at their command, when
sickness or other circumstances render it impossible for them to go to
the Museum, it is undoubtedly requisite that one great collection should
exist in which they are sure to find the same works unremoved, in case
of necessity,--not to mention curious volumes of all sorts, manuscripts,
and a world of books of reference.


[Footnote 1: "It is probable that a prose translation would give a
better idea of the genius and manner of this poet than any metrical
one. " Vol. i. p. 310. ]

[Footnote 2: _Discorsi sopra la Prinza Deca di Tito Livio_, lib. iii.
cap. i. At p. 230 of the present volume I have too hastily called
St. Dominic the "founder of the Inquisition. " It is generally conceded, I
believe, by candid Protestant inquirers, that he was not; whatever zeal
in the foundation and support of the tribunal may have been manifested
by his order. But this does not acquit him of the cruelty for which he
has been praised by Dante. He joined in the sanguinary persecution of
the Albigenses. ]

[Footnote: 3 It is entitled, "_Italy, Austria, and the Pope_;" and
is full, not only of the eloquence of zeal, and of evidences
of intellectual power, but of the most curious and instructive
information. ]



CONTENTS

OF

THE FIRST VOLUME.

* * * * *

DANTE.

CRITICAL NOTICE OF HIS LIFE AND GENIUS

THE ITALIAN PILGRIMS PROGRESS

I. The Journey through Hell II. Purgatory. III. Heaven


PULCI.

CRITICAL NOTICE OF HIS LIFE AND GENIUS

HUMOURS OF GIANTS

THE BATTLE OF RONCESVALLES


APPENDIX.

I. Story of Paulo and Francesca. Translation.

II. Accounts given by different writers of the circumstances relating to
Paulo and Francesca; concluding with the only facts ascertained.

III. Story of Ugolino. Translation. Real Story of Ugolino, and Chaucer's
feeling respecting the Poem.

IV. Picture of Florence in the time of Dante's Ancestors. Translation.

V. The Monks and the Giants

VI. Passages in the Battle of Roncesvalles.



DANTE


Critical Notice

OF

DANTE'S LIFE AND GENIUS. [1]


Dante was a very great poet, a man of the strongest passions, a claimant
of unbounded powers to lead and enlighten the world; and he lived in a
semi-barbarous age, as favourable to the intensity of his imagination,
as it was otherwise to the rest of his pretensions. Party zeal, and the
fluctuations of moral and critical opinion, have at different periods
over-rated and depreciated his memory; and if, in the following attempt
to form its just estimate, I have found myself compelled, in some
important respects, to differ with preceding writers, and to protest in
particular against his being regarded as a proper teacher on any one
point, poetry excepted, and as far as all such genius and energy cannot
in some degree help being, I have not been the less sensible of the
wonderful nature of that genius, while acting within the circle to which
it belongs. Dante was indeed so great a poet, and at the same time
exhibited in his personal character such a mortifying exception to what
we conceive to be the natural wisdom and temper of great poets; in
other words, he was such a bigoted and exasperated man, and sullied
his imagination with so much that is contradictory to good feeling, in
matters divine as well as human; that I should not have thought myself
justified in assisting, however humbly, to extend the influence of his
writings, had I not believed a time to have arrived, when the community
may profit both from the marvels of his power and the melancholy
absurdity of its contradictions.

Dante Alighieri, who has always been known by his Christian rather than
surname (partly owing to the Italian predilection for Christian names,
and partly to the unsettled state of patronymics in his time), was the
son of a lawyer of good family in Florence, and was born in that city on
the 14th of May 1265 (sixty-three years before the birth of Chaucer).
The stock is said to have been of Roman origin, of the race of the
Frangipani; but the only certain trace of it is to Cacciaguida, a
Florentine cavalier of the house of the Elisei, who died in the
Crusades. Dante gives an account of him in his _Paradiso_. [2]
Cacciaguida married a lady of the Alighieri family of the Valdipado;
and, giving the name to one of his children, they subsequently retained
it as a patronymic in preference to their own. It would appear, from the
same poem, not only that the Alighieri were the more important house,
but that some blot had darkened the scutcheon of the Elisei; perhaps
their having been poor, and transplanted (as he seems to imply) from
some disreputable district. Perhaps they were known to have been of
ignoble origin; for, in the course of one of his most philosophical
treatises, he bursts into an extraordinary ebullition of ferocity
against such as adduce a knowledge of that kind as an argument against a
family's acquired nobility; affirming that such brutal stuff should be
answered not with words, but with the dagger. [3]

The Elisei, however, must have been of some standing; for Macchiavelli,
in his History of Florence, mentions them in his list of the early
Guelph and Ghibelline parties, where the side which they take is
different from that of the poet's immediate progenitors. [4] The arms of
the Alighieri (probably occasioned by the change in that name, for it
was previously written Aldighieri) are interesting on account of their
poetical and aspiring character. They are a golden wing on a field
azure. [5]

It is generally supposed that the name Dante is an abbreviation of
Durante; but this is not certain, though the poet had a nephew so
called. Dante is the name he goes by in the gravest records, in
law-proceedings, in his epitaph, in the mention of him put by himself
into the mouth of a blessed spirit. Boccaccio intimates that he was
christened Dante, and derives the name from the ablative case of _dans_
(giving)--a probable etymology, especially for a Christian appellation.
As an abbreviation of Durante, it would correspond in familiarity with
the Ben of Ben Jonson--a diminutive that would assuredly not have been
used by grave people on occasions like those mentioned, though a wit of
the day gave the masons a shilling to carve "O rare Ben Jonson! " on his
grave stone. On the other hand, if given at the font, the name of Ben
would have acquired all the legal gravity of Benjamin. In the English
Navy List, not long ago, one of our gallant admirals used to figure as
"Billy Douglas. "

Of the mother of Dante nothing is known except that she was his father's
second wife, and that her Christian name was Bella, or perhaps surname
Bello. It might, however, be conjectured, from the remarkable and only
opportunity which our author has taken of alluding to her, that he
derived his disdainful character rather from his mother than father. [6]
The father appears to have died during the boyhood of his illustrious
son.

The future poet, before he had completed his ninth year, conceived a
romantic attachment to a little lady who had just entered hers, and who
has attained a celebrity of which she was destined to know nothing. This
was the famous Beatrice Portinari, daughter of a rich Florentine who
founded more than one charitable institution. She married another man,
and died in her youth; but retained the Platonical homage of her young
admirer, living and dead, and became the heroine of his great poem.

It is unpleasant to reduce any portion of a romance to the events of
ordinary life; but with the exception of those who merely copy from
one another, there has been such a conspiracy on the part of Dante's
biographers to overlook at least one disenchanting conclusion to be
drawn to that effect from the poet's own writings, that the probable
truth of the matter must here for the first time be stated. The case,
indeed, is clear enough from his account of it. The natural tendencies
of a poetical temperament (oftener evinced in a like manner than the
world in general suppose) not only made the boy-poet fall in love, but,
in the truly Elysian state of the heart at that innocent and adoring
time of life, made him fancy he had discovered a goddess in the object
of his love; and strength of purpose as well as imagination made him
grow up in the fancy. He disclosed himself, as time advanced, only by
his manner--received complacent recognitions in company from the young
lady--offended her by seeming to devote himself to another (see the poem
in the _Vita Nuova_, beginning "Ballata io vo")--rendered himself the
sport of her and her young friends by his adoring timidity (see the 5th
and 6th sonnets in the same work)--in short, constituted her a paragon
of perfection, and enabled her, by so doing, to shew that she was none.
He says, that finding himself unexpectedly near her one day in company,
he trembled so, and underwent such change of countenance, that many of
the ladies present began to laugh with her about him--"_si gabbavano di
me_. " And he adds, in verse,

"Con l'altre donne mia vista gabbate,
E non pensate, donna, onde si mova
Ch'io vi rassembri sì figura nova,
Quando riguardo la vostra beltate," &c. Son. 5.

"You laugh with the other ladies to see how I look (literally, you mock
my appearance); and do not think, lady, what it is that renders me so
strange a figure at sight of your beauty. "

And in the sonnet that follows, he accuses her of preventing pity of him
in others, by such "killing mockery" as makes him wish for death ("_la
pietà, che 'l vostro gabbo recinde_," &c. )[7]

Now, it is to be admitted, that a young lady, if she is not very wise,
may laugh at her lover with her companions, and yet return his love,
after her fashion; but the fair Portinari laughs and marries another.
Some less melancholy face, some more intelligible courtship, triumphed
over the questionable flattery of the poet's gratuitous worship; and the
idol of Dante Alighieri became the wife of Messer Simone de' Bardi. Not
a word does he say on that mortifying point. It transpired from a clause
in her father's will. And yet so bent are the poet's biographers on
leaving a romantic doubt in one's mind, whether Beatrice may not have
returned his passion, that not only do all of them (as far as I have
observed) agree in taking no notice of these sonnets, but the author
of the treatise entitled _Dante and the Catholic Philosophy of the
Thirteenth Century_, "in spite" (as a critic says) "of the _Beatrice,
his daughter, wife of Messer Simone de' Bardi_, of the paternal will,"
describes her as dying in "all the lustre of virginity. " [8] The
assumption appears to be thus gloriously stated, as a counterpart to the
notoriety of its untruth. It must be acknowledged, that Dante himself
gave the cue to it by more than silence; for he not only vaunts her
acquaintance in the next world, but assumes that she returns his love in
that region, as if no such person as her husband could have existed, or
as if he himself had not been married also. This life-long pertinacity
of will is illustrative of his whole career.

Meantime, though the young poet's father had died, nothing was wanting
on the part of his guardians, or perhaps his mother, to furnish him with
an excellent education. It was so complete, as to enable him to become
master of all the knowledge of his time; and he added to this learning
more than a taste for drawing and music. He speaks of himself as drawing
an angel in his tablets on the first anniversary of Beatrice's death. [9]
One of his instructors was Brunetto Latini, the most famous scholar then
living; and he studied both at the universities of Padua and Bologna. At
eighteen, perhaps sooner, he had shown such a genius for poetry as
to attract the friendship of Guido Cavalcante, a young noble of a
philosophical as well as poetical turn of mind, who has retained a
reputation with posterity: and it was probably at the same time he
became acquainted with Giotto, who drew his likeness, and with Casella,
the musician, whom he greets with so much tenderness in the other world.

Nor were his duties as a citizen forgotten. The year before Beatrice's
death, he was at the battle of Campaldino, which his countrymen gained
against the people of Arezzo; and the year after it he was present at
the taking of Caprona from the Pisans. It has been supposed that he once
studied medicine with a view to it as a profession; but the conjecture
probably originated in nothing more than his having entered himself of
one of the city-companies (which happened to be the medical) for the
purpose of qualifying himself to accept office; a condition exacted of
the gentry by the then democratic tendencies of the republic. It is
asserted also, by an early commentator, that he entered the Franciscan
order of friars, but quitted it before he was professed; and, indeed,
the circumstance is not unlikely, considering his agitated and impatient
turn of mind. Perhaps he fancied that he had done with the world when it
lost the wife of Simone de' Bardi.

Weddings that might have taken place but do not, are like the reigns
of deceased heirs-apparent; every thing is assumable in their favour,
checked only by the histories of husbands and kings. Would the great
but splenetic poet have made an angel and a saint of Beatrice, had he
married her? He never utters the name of the woman whom he did marry.

Gemma Donati was a kinswoman of the powerful family of that name. It
seems not improbable, from some passages in his works, that she was the
young lady whom he speaks of as taking pity on him on account of his
passion for Beatrice;[10] and in common justice to his feelings as a man
and a gentleman, it is surely to be concluded, that he felt some sort
of passion for his bride, if not of a very spiritual sort; though he
afterwards did not scruple to intimate that he was ashamed of it, and
Beatrice is made to rebuke him in the other world for thinking of
any body after herself. [11] At any rate, he probably roused what was
excitable in his wife's temper, with provocations from his own; for the
nature of the latter is not to be doubted, whereas there is nothing but
tradition to shew for the bitterness of hers. Foscolo is of opinion
that the tradition itself arose simply from a rhetorical flourish of
Boccaccio's, in his Life of Dante, against the marriages of men of
letters; though Boccaccio himself expressly adds, that he knows nothing
to the disadvantage of the poet's wife, except that her husband, after
quitting Florence, would never either come where she was, or suffer
her to come to him, mother as she was by him of so many children;--a
statement, it must be confessed, not a little encouraging to the
tradition. [12] Be this as it may, Dante married in his twenty-sixth
year; wrote an adoring account of his first love (the _Vita Nuova_) in
his twenty-eighth; and among the six children which Gemma brought him,
had a daughter whom he named Beatrice, in honour, it is understood, of
the fair Portinari; which surely was either a very great compliment, or
no mean trial to the temper of the mother.

We shall see presently how their domestic intercourse was interrupted,
and what absolute uncertainty there is respecting it, except as far as
conclusions may be drawn from his own temper and history.

Italy, in those days, was divided into the parties of Guelphs and
Ghibellines; the former, the advocates of general church-ascendancy
and local government; the latter, of the pretensions of the Emperor of
Germany, who claimed to be the Roman Cæsar, and paramount over the
Pope. In Florence, the Guelphs had for a long time been so triumphant as
to keep the Ghibellines in a state of banishment. Dante was born and
bred a Guelph: he had twice borne arms for his country against Ghibelline
neighbours; and now, at the age of thirty-five, in the ninth of his
marriage, and last of his residence with his wife, he was appointed chief
of the temporary administrators of affairs, called Priors;--functionaries
who held office only for two months.

Unfortunately, at that moment, his party had become subdivided into the
factions of the Whites and Blacks, or adherents of two different sides
in a dispute that took place in Pistoia. The consequences becoming
serious, the Blacks proposed to bring in, as mediator, the French
Prince, Charles of Valois, then in arms for the Pope against the
Emperor; but the Whites, of whom Dante was one, were hostile to the
measure; and in order to prevent it, he and his brother magistrates
expelled for a time the heads of both factions, to the satisfaction of
neither. The Whites accused them of secretly leaning to the Ghibellines,
and the Blacks of openly favouring the Whites; who being, indeed,
allowed to come back before their time, on the alleged ground of the
unwholesomeness of their place of exile, which was fatal to Dante's
friend Cavalcante, gave a colour to the charge. Dante answered it by
saying, that he had then quitted office; but he could not shew that he
had lost his influence. Meantime, Charles was still urged to interfere,
and Dante was sent ambassador to the Pope to obtain his disapprobation
of the interference; but the Pope (Boniface the Eighth), who had
probably discovered that the Whites had ceased to care for any thing but
their own disputes, and who, at all events, did not like their objection
to his representative, beguiled the ambassador and encouraged the French
prince; the Blacks, in consequence, regained their ascendancy; and
the luckless poet, during his absence, was denounced as a corrupt
administrator of affairs, guilty of peculation; was severely
mulcted; banished from Tuscany for two years; and subsequently, for
contumaciousness, was sentenced to be _burnt alive_, in case he returned
ever. He never did return.

From that day forth, Dante never beheld again his home or his wife. Her
relations obtained possession of power, but no use was made of it except
to keep him in exile. He had not accorded with them; and perhaps half
the secret of his conjugal discomfort was owing to politics. It is the
opinion of some, that the married couple were not sorry to part; others
think that the wife remained behind, solely to scrape together what
property she could, and bring up the children. All that is known is,
that she never lived with him more.

Dante now certainly did what his enemies had accused him of wishing to
do: he joined the old exiles whom he had helped to make such, the party
of the Ghibellines. He alleges, that he never was really of any party
but his own; a naïve confession, probably true in one sense, considering
his scorn of other people, his great intellectual superiority, and the
large views he had for the whole Italian people. And, indeed, he soon
quarrelled in private with the individuals composing his new party,
however stanch he apparently remained to their cause. His former
associates he had learnt to hate for their differences with him and for
their self-seeking; he hated the Pope for deceiving him; he hated
the Pope's French allies for being his allies, and interfering with
Florence; and he had come to love the Emperor for being hated by them
all, and for holding out (as he fancied) the only chance of reuniting
Italy to their confusion, and making her the restorer of himself, and
the mistress of the world.

With these feelings in his heart, no money in his purse, and no place in
which to lay his head, except such as chance-patrons afforded him,
he now began to wander over Italy, like some lonely lion of a man,
"grudging in his great disdain. " At one moment he was conspiring and
hoping; at another, despairing and endeavouring to conciliate his
beautiful Florence: now again catching hope from some new movement of
the Emperor's; and then, not very handsomely threatening and re-abusing
her; but always pondering and grieving, or trying to appease his
thoughts with some composition, chiefly of his great work. It is
conjectured, that whenever anything particularly affected him, whether
with joy or sorrow, he put it, hot with the impression, into his
"sacred poem. " Every body who jarred against his sense of right or his
prejudices he sent to the infernal regions, friend or foe: the strangest
people who sided with them (but certainly no personal foe) he exalted
to heaven. He encouraged, if not personally assisted, two ineffectual
attempts of the Ghibellines against Florence; wrote, besides his great
work, a book of mixed prose and poetry on "Love and Virtue" (the
_Convito_, or Banquet); a Latin treatise on Monarchy (_de Monarchia_),
recommending the "divine right" of the Emperor; another in two parts,
and in the same language, on the Vernacular Tongue (_de Vulgari
Eloquio_); and learnt to know meanwhile, as he affectingly tells us,
"how hard it was to climb other people's stairs, and how salt the taste
of bread is that is not our own. " It is even thought not improbable,
from one awful passage of his poem, that he may have "placed himself in
some public way," and, "stripping his visage of all shame, and trembling
in his very vitals," have stretched out his hand "for charity" [13]--an
image of suffering, which, proud as he was, yet considering how great a
man, is almost enough to make one's common nature stoop down for pardon
at his feet; and yet he should first prostrate himself at the feet of
that nature for his outrages on God and man. Several of the princes and
feudal chieftains of Italy entertained the poet for a while in their
houses; but genius and worldly power, unless for worldly purposes, find
it difficult to accord, especially in tempers like his. There must be
great wisdom and amiableness on both sides to save them from jealousy
of one another's pretensions. Dante was not the man to give and take in
such matters on equal terms; and hence he is at one time in a palace,
and at another in a solitude. Now he is in Sienna, now in Arezzo, now in
Bologna; then probably in Verona with Can Grande's elder brother; then
(if we are to believe those who have tracked his steps) in Casentino;
then with the Marchese Moroello Malaspina in Lunigiana; then with the
great Ghibelline chieftain Faggiuola in the mountains near Urbino; then
in Romagna, in Padua, in _Paris_ (arguing with the churchmen), some say
in Germany, and at _Oxford_; then again in Italy; in Lucca (where he is
supposed to have relapsed from his fidelity to Beatrice in favour of
a certain "Gentucca"); then again in Verona with the new prince, the
famous Can Grande (where his sarcasms appear to have lost him a doubtful
hospitality); then in a monastery in the mountains of Umbria; in Udine;
in Ravenna; and there at length he put up for the rest of his life with
his last and best friend, Guido Novello da Polenta, not the father, but
the nephew of the hapless Francesca.

It was probably in the middle period of his exile, that in one of the
moments of his greatest longing for his native country, he wrote that
affecting passage in the _Convito_, which was evidently a direct effort
at conciliation. Excusing himself for some harshness and obscurity in
the style of that work, he exclaims, "Ah! would it had pleased the
Dispenser of all things that this excuse had never been needed;
that neither others had done me wrong, nor myself undergone penalty
undeservedly--the penalty, I say, of exile and of poverty. For it
pleased the citizens of the fairest and most renowned daughter of
Rome--Florence--to cast me out of her most sweet bosom, where I was
born, and bred, and passed half of the life of man, and in which, with
her good leave, I still desire with all my heart to repose my weary
spirit, and finish the days allotted me; and so I have wandered in
almost every place to which our language extends, a stranger, almost a
beggar, exposing against my will the wounds given me by fortune, too
often unjustly imputed to the sufferer's fault. Truly I have been a
vessel without sail and without rudder, driven about upon different
ports and shores by the dry wind that springs out of dolorous poverty;
and hence have I appeared vile in the eyes of many, who, perhaps, by
some better report had conceived of me a different impression, and in
whose sight not only has my person become thus debased, but an unworthy
opinion created of every thing which I did, or which I had to do. " [14]

How simply and strongly written! How full of the touching yet
undegrading commiseration which adversity has a right to take upon
itself, when accompanied with the consciousness of manly endeavour and a
good motive!
How could such a man condescend at other times to rage with
abuse, and to delight himself in images of infernal torment!

The dates of these fluctuations of feeling towards his native city are
not known; but it is supposed to have been not very long before his
abode with Can Grande that he received permission to return to Florence,
on conditions which he justly refused and resented in the following
noble letter to a kinsman. The old spelling of the original (in the
note) is retained as given by Foscolo in the article on "Dante" in the
_Edinburgh Review_ (vol. XXX. no. 60); and I have retained also, with
little difference, the translation which accompanies it:

"From your letter, which I received with due respect and affection, I
observe how much you have at heart my restoration to my country. I am
bound to you the more gratefully, inasmuch as an exile rarely finds a
friend. But after mature consideration, I must, by my answer, disappoint
the wishes of some little minds; and I confide in the judgment to which
your impartiality and prudence will lead you. Your nephew and mine has
written to me, what indeed had been mentioned by many other friends,
that, by a decree concerning the exiles, I am allowed to return to
Florence, provided I pay a certain sum of money, and submit to the
humiliation of asking and receiving absolution: wherein, my father, I
see two propositions that are ridiculous and impertinent. I speak of the
impertinence of those who mention such conditions to me; for in your
letter, dictated by judgment and discretion, there is no such thing. Is
such an invitation, then, to return to his country glorious to d. all.
(Dante Allighieri), after suffering in exile almost fifteen years? Is it
thus they would recompense innocence which all the world knows, and
the labour and fatigue of unremitting study? Far from the man who is
familiar with philosophy be the senseless baseness of a heart of earth,
that could act like a little sciolist, and imitate the infamy of some
others, by offering himself up as it were in chains: far from the man
who cries aloud for justice, this compromise by his money with his
persecutors. No, my father, this is not the way that shall lead me back
to my country. I will return with hasty steps, if you or any other can
open to me a way that shall not derogate from the fame and honour of d.
(Dante); but if by no such way Florence can be entered, then Florence I
shall never enter. What! shall I not everywhere enjoy the light of the
sun and stars? and may I not seek and contemplate, in every corner of
the earth, under the canopy of heaven, consoling and delightful truth,
without first rendering myself inglorious, nay infamous, to the people
and republic of Florence? Bread, I hope, will not fail me. " [15]

Had Dante's pride and indignation always vented themselves in this truly
exalted manner, never could the admirers of his genius have refused him
their sympathy; and never, I conceive, need he either have brought his
exile upon him, or closed it as he did. To that close we have now come,
and it is truly melancholy and mortifying. Failure in a negotiation with
the Venetians for his patron, Guido Novello, is supposed to have been
the last bitter drop which made the cup of his endurance run over. He
returned from Venice to Ravenna, worn out, and there died, after fifteen
years' absence from his country, in the year 1231, aged fifty-seven. His
life had been so agitated, that it probably would not have lasted so
long, but for the solace of his poetry, and the glory which he knew it
must produce him. Guido gave him a sumptuous funeral, and intended to
give him a monument; but such was the state of Italy in those times,
that he himself died in exile the year after. The monument, however, and
one of a noble sort, was subsequently bestowed by the father of Cardinal
Bembo, in 1483; and another, still nobler, as late as 1780, by Cardinal
Gonzaga. His countrymen, in after years, made two solemn applications
for the removal of his dust to Florence; but the just pride of the
Ravennese refused them.

Of the exile's family, three sons died young; the daughter went into a
nunnery; and the two remaining brothers, who ultimately joined their
father in his banishment, became respectable men of letters, and left
families in Ravenna; where the race, though extinct in the male line,
still survives through a daughter, in the noble house of Serego
Alighieri. No direct descent of the other kind from poets of former
times is, I believe, known to exist.

The manners and general appearance of Dante have been minutely recorded,
and are in striking agreement with his character. Boccaccio and other
novelists are the chief relaters; and their accounts will be received
accordingly with the greater or less trust, as the reader considers them
probable; but the author of the Decameron personally knew some of his
friends and relations, and he intermingles his least favourable reports
with expressions of undoubted reverence. The poet was of middle height,
of slow and serious deportment, had a long dark visage, large piercing
eyes, large jaws, an aquiline nose, a projecting under-lip, and thick
curling hair--an aspect announcing determination and melancholy. There
is a sketch of his countenance, in his younger days, from the immature
but sweet pencil of Giotto; and it is a refreshment to look at it,
though pride and discontent, I think, are discernible in its lineaments.
It is idle, and no true compliment to his nature, to pretend, as his
mere worshippers do, that his face owes all its subsequent gloom and
exacerbation to external causes, and that he was in every respect the
poor victim of events--the infant changed at nurse by the wicked. What
came out of him, he must have had in him, at least in the germ; and so
inconsistent was his nature altogether, or, at any rate, such an epitome
of all the graver passions that are capable of co-existing, both sweet
and bitter, thoughtful and outrageous, that one is sometimes tempted to
think he must have had an angel for one parent, and--I shall leave his
own toleration to say what--for the other.

To continue the account of his manners and inclinations: He dressed with
a becoming gravity; was temperate in his diet; a great student; seldom
spoke, unless spoken to, but always to the purpose; and almost all the
anecdotes recorded of him, except by himself, are full of pride and
sarcasm. He was so swarthy, that a woman, as he was going by a door in
Verona, is said to have pointed him out to another, with a remark
which made the saturnine poet smile--"That is the man who goes to hell
whenever he pleases, and brings back news of the people there. " On which
her companion observed--"Very likely; don't you see what a curly beard he
has, and what a dark face? owing, I dare say, to the heat and smoke. " He
was evidently a passionate lover of painting and music--is thought to
have been less strict in his conduct with regard to the sex than might
be supposed from his platonical aspirations--(Boccaccio says, that even
a goitre did not repel him from the pretty face of a mountaineer)--could
be very social when he was young, as may be gathered from the sonnet
addressed to his friend Cavalcante about a party for a boat--and though
his poetry was so intense and weighty, the laudable minuteness of a
biographer has informed us, that his hand-writing, besides being neat
and precise, was of a long and particularly thin character: "meagre" is
his word.

There is a letter, said to be nearly coeval with his time, and to be
written by the prior of a monastery to a celebrated Ghibelline leader, a
friend of Dante's, which, though hitherto accounted apocryphal by most,
has such an air of truth, and contains an image of the poet in his exile
so exceedingly like what we conceive of the man, that it is difficult
not to believe it genuine, especially as the handwriting has lately been
discovered to be that of Boccaccio. [16] At all events, I am sure the
reader will not be sorry to have the substance of it. The writer says,
that he perceived one day a man coming into the monastery, whom none of
its inmates knew. He asked him what he wanted; but the stranger saying
nothing, and continuing to gaze on the building as though contemplating
its architecture, the question was put a second time; upon which,
looking round on his interrogators, he answered, "_Peace_! " The prior,
whose curiosity was strongly excited, took the stranger apart, and
discovering who he was, shewed him all the attention becoming his fame;
and then Dante took a little book out of his bosom, aid observing that
perhaps the prior had not seen it, expressed a wish to leave it with his
new friend as a memorial. It was "a portion," he said, "of his work. "
The prior received the volume with respect; and politely opening it at
once, and fixing his eyes on the contents, in order, it would seem,
to shew the interest he took in it, appeared suddenly to check some
observation which they suggested. Dante found that his reader was
surprised at seeing the work written in the vulgar tongue instead of
Latin. He explained, that he wished to address himself to readers of all
classes; and concluded with requesting the prior to add some notes, with
the spirit of which he furnished him, and then forward it (transcribed,
I presume, by the monks) to their common friend, the Ghibelline
chieftain--a commission, which, knowing the prior's intimacy with that
personage, appears to have been the main object of his coming to the
place[17].

This letter has been adduced as an evidence of Dante's poem having
transpired during his lifetime: a thing which, in the teeth of
Boccaccio's statement to that effect, and indeed the poet's own
testimony[18], Foscolo holds to be so impossible, that he turns the
evidence against the letter. He thinks, that if such bitter invectives
had been circulated, a hundred daggers would have been sheathed in the
bosom of the exasperating poet[19]. But I cannot help being of opinion,
with some writer whom I am unable at present to call to mind (Schlegel,
I think), that the strong critical reaction of modern times in favour
of Dante's genius has tended to exaggerate the idea conceived of him in
relation to his own. That he was of importance, and bitterly hated in
his native city, was a distinction he shared with other partisans who
have obtained no celebrity, though his poetry, no doubt, must have
increased the bitterness; that his genius also became more and more felt
out of the city, by the few individuals capable of estimating a man of
letters in those semi-barbarous times, may be regarded as certain; but
that busy politicians in general, war-making statesmen, and princes
constantly occupied in fighting for their existence with one another,
were at all alive either to his merits or his invectives, or would have
regarded him as anything but a poor wandering scholar, solacing his
foolish interference in the politics of this world with the old clerical
threats against his enemies in another, will hardly, I think, be doubted
by any one who reflects on the difference between a fame accumulated by
ages, and the living poverty that is obliged to seek its bread. A writer
on a monkish subject may have acquired fame with monks, and even with
a few distinguished persons, and yet have been little known, and less
cared for, out of the pale of that very private literary public, which
was almost exclusively their own. When we read, now-a-days, of the great
poet's being so politely received by Can Grande, lord of Verona, and
sitting at his princely table, we are apt to fancy that nothing but
his great poetry procured him the reception, and that nobody present
competed with him in the eyes of his host. But, to say nothing of the
different kinds of retainers that could sit at a prince's table in those
days, Can, who was more ostentatious than delicate in his munificence,
kept a sort of caravansera for clever exiles, whom he distributed into
lodgings classified according to their pursuits;[20] and Dante only
shared his bounty with the rest, till the more delicate poet could no
longer endure either the buffoonery of his companions, or the amusement
derived from it by the master. On one occasion, his platter is slily
heaped with their bones, which provokes him to call them dogs, as having
none to shew for their own. Another time, Can Grande asks him how it is
that his companions give more pleasure at court than himself; to which
he answers, "Because like loves like. " He then leaves the court, and his
disgusted superiority is no doubt regarded as a pedantic assumption.

He stopped long nowhere, except with Guido Novello; and when that
prince, whose downfal was at hand, sent him on the journey above
mentioned to Venice, the senate (whom the poet had never offended) were
so little aware of his being of consequence, that they declined giving
him an audience. He went back, and broke his heart. Boccaccio says, that
he would get into such passions with the very boys and girls in the
street, who plagued him with party-words, as to throw stones at them--a
thing that would be incredible, if persons acquainted with his great but
ultra-sensitive nation did not know what Italians could do in all ages,
from Dante's own age down to the times of Alfieri and Foscolo. It
would be as difficult, from the evidence of his own works and of the
exasperation he created, to doubt the extremest reports of his irascible
temper, as it would be not to give implicit faith to his honesty. The
charge of peculation which his enemies brought against this great poet,
the world has universally scouted with an indignation that does it
honour. He himself seems never to have condescended to allude to it;
and a biographer would feel bound to copy his silence, had not the
accusation been so atrociously recorded. But, on the other hand, who
can believe that a man so capable of doing his fellow-citizens good and
honour, would have experienced such excessive enmity, had he not carried
to excess the provocations of his pride and scorn? His whole history
goes to prove it, not omitting the confession he makes of pride as his
chief sin, and the eulogies he bestows on the favourite vice of the
age--revenge. His Christianity (at least as shewn in his poem) was not
that of Christ, but of a furious polemic. His motives for changing his
party, though probably of a mixed nature, like those of most human
beings, may reasonably be supposed to have originated in something
better than interest or indignation. He had most likely not agreed
thoroughly with any party, and had become hopeless of seeing dispute
brought to an end, except by the representative of the Cæsars. The
inconsistency of the personal characters of the popes with the sacred
claims of the chair of St. Peter, was also calculated greatly to disgust
him; but still his own infirmities of pride and vindictiveness
spoiled all; and when he loaded every body else with reproach for the
misfortunes of his country, he should have recollected that, had his own
faults been kept in subjection to his understanding, he might possibly
have been its saviour. Dante's modesty has been asserted on the ground
of his humbling himself to the fame of Virgil, and at the feet of
blessed spirits; but this kind of exalted humility does not repay a
man's fellow-citizens for lording it over them with scorn and derision.
We learn from Boccaccio, that when he was asked to go ambassador
from his party to the pope, he put to them the following useless and
mortifying queries--"If I go, who is to stay? --and if I stay, who is to
go? " [21] Neither did his pride make him tolerant of pride in others.
A neighbour applying for his intercession with a magistrate, who had
summoned him for some offence, Dante, who disliked the man for riding in
an overbearing manner along the streets (stretching out his legs as wide
as he could, and hindering people from going by), did intercede with the
magistrate, but it was in behalf of doubling the fine in consideration
of the horsemanship. The neighbour, who was a man of family, was so
exasperated, that Sacchetti the novelist says it was the principal cause
of Dante's expatriation. This will be considered the less improbable,
if, as some suppose, the delinquent obtained possession of his derider's
confiscated property; but, at all events, nothing is more likely to
have injured him. The bitterest animosities are generally of a personal
nature; and bitter indeed must have been those which condemned a man of
official dignity and of genius to such a penalty as the stake. [22]

That the Florentines of old, like other half-Christianised people, were
capable of any extremity against an opponent, burning included, was
proved by the fates of Savonarola and others; and that Dante himself
could admire the burners is evident from his eulogies and beatification
of such men as Folco and St. Dominic. The tragical as well as "fantastic
tricks" which

"Man, proud man,
Drest in a little brief authority,"

plays with his energy and bad passions under the guise of duty, is among
the most perplexing of those spectacles, which, according to a greater
understanding than Dante's, "make the angels weep. " (Dante, by the way,
has introduced in his heaven no such angels as those; though he has
plenty that scorn and denounce. ) Lope de Vega, though a poet, was an
officer of the Inquisition, and joined the famous Armada that was coming
to thumb-screw and roast us into his views of Christian meekness.
Whether the author of the story of _Paulo and Francesca_ could have
carried the Dominican theories into practice, had he been the banisher
instead of the banished, is a point that may happily be doubted; but at
all events he revenged himself on his enemies after their own fashion;
for he answered their decree of the stake by putting them into hell.

Dante entitled the saddest poem in the world a Comedy, because it was
written in a middle style; though some, by a strange confusion of ideas,
think the reason must have been because it "ended happily! " that is,
because, beginning with hell (to some), it terminated with "heaven" (to
others). As well might they have said, that a morning's work in the
Inquisition ended happily, because, while people were being racked in
the dungeons, the officers were making merry in the drawing-room. For
the much-injured epithet of "Divine," Dante's memory is not responsible.
He entitled his poem, arrogantly enough, yet still not with that impiety
of arrogance, "The Comedy of Dante Alighieri, a Florentine by nation but
not by habits. " The word "divine" was added by some transcriber; and it
heaped absurdity on absurdity, too much of it, alas! being literally
infernal tragedy. I am not speaking in mockery, any further than the
fact itself cannot help so speaking. I respect what is to be respected
in Dante; I admire in him what is admirable; would love (if his
infernalities would let me) what is loveable; but this must not hinder
one of the human race from protesting against what is erroneous in his
fame, when it jars against every best feeling, human and divine. Mr.
Cary thinks that Dante had as much right to avail himself of "the
popular creed in all its extravagance" as Homer had of his gods, or
Shakspeare of his fairies. But the distinction is obvious. Homer did not
personally identify himself with a creed, or do his utmost to perpetuate
the worst parts of it in behalf of a ferocious inquisitorial church, and
to the risk of endangering the peace of millions of gentle minds.

The great poem thus misnomered is partly a system of theology, partly an
abstract of the knowledge of the day, but chiefly a series of passionate
and imaginative pictures, altogether forming an account of the author's
times, his friends, his enemies, and himself, written to vent the spleen
of his exile, and the rest of his feelings, good and bad, and to reform
church and state by a spirit of resentment and obloquy, which highly
needed reform itself. It has also a design strictly self-referential.
The author feigns, that the beatified spirit of his mistress has
obtained leave to warn and purify his soul by shewing him the state of
things in the next world. She deputes the soul of his master Virgil
to conduct him through hell and purgatory, and then takes him herself
through the spheres of heaven, where Saint Peter catechises and confirms
him, and where he is finally honoured with sights of the Virgin Mary, of
Christ, and even a glimpse of the Supreme Being!

His hell, considered as a place, is, to speak geologically, a most
fantastical formation. It descends from beneath Jerusalem to the centre
of the earth, and is a funnel graduated in circles, each circle being a
separate place of torment for a different vice or its co-ordinates, and
the point of the funnel terminating with Satan stuck into ice. Purgatory
is a corresponding mountain on the other side of the globe, commencing
with the antipodes of Jerusalem, and divided into exterior circles of
expiation, which end in a table-land forming the terrestrial paradise.
From this the hero and his mistress ascend by a flight, exquisitely
conceived, to the stars; where the sun and the planets of the Ptolemaic
system (for the true one was unknown in Dante's time) form a series of
heavens for different virtues, the whole terminating in the empyrean, or
region of pure light, and the presence of the Beatific Vision.

The boundaries of old and new, strange as it may now seem to us, were so
confused in those days, and books were so rare, and the Latin poets held
in such invincible reverence, that Dante, in one and the same poem,
speaks of the false gods of Paganism, and yet retains much of its lower
mythology; nay, invokes Apollo himself at the door of paradise. There
was, perhaps, some mystical and even philosophical inclusion of the
past in this medley, as recognising the constant superintendence of
Providence; but that Dante partook of what may be called the literary
superstition of the time, even for want of better knowledge, is clear
from the grave historical use he makes of poetic fables in his treatise
on Monarchy, and in the very arguments which he puts into the mouths of
saints and apostles. There are lingering feelings to this effect even
now among the peasantry of Italy; where, the reader need not be told,
Pagan customs of all sorts, including religious and most reverend ones,
are existing under the sanction of other names;--heathenisms christened.
A Tuscan postilion, once enumerating to me some of the native poets,
concluded his list with Apollo; and a plaster-cast man over here, in
London, appeared much puzzled, when conversing on the subject with a
friend of mine, how to discrepate Samson from Hercules.

Dante accordingly, while, with the frightful bigotry of the schools, he
puts the whole Pagan world into hell-borders (with the exception of two
or three, whose salvation adds to the absurdity), mingles the hell of
Virgil with that of Tertullian and St. Dominic; sets Minos at the door
as judge; retains Charon in his old office of boatman over the Stygian
lake; puts fabulous people with real among the damned, Dido, and Cacus,
and Ephialtes, with Ezzelino and Pope Nicholas the Fifth; and associates
the Centaurs and the Furies with the agents of diabolical torture. It
has pleased him also to elevate Cato of Utica to the office of warder of
purgatory, though the censor's poor good wife, Marcia, is detained in
the regions below. By these and other far greater inconsistencies,
the whole place of punishment becomes a _reductio ad absurdum_, as
ridiculous as it is melancholy; so that one is astonished how so great a
man, and especially a man who thought himself so far advanced beyond his
age, and who possessed such powers of discerning the good and beautiful,
could endure to let his mind live in so foul and foolish a region for
any length of time, and there wreak and harden the unworthiest of his
passions. Genius, nevertheless, is so commensurate with absurdity
throughout the book, and there are even such sweet and balmy as well as
sublime pictures in it occasionally, nay often, that not only will
the poem ever be worthy of admiration, but when those increasing
purifications of Christianity which our blessed reformers began, shall
finally precipitate the whole dregs of the author into the mythology to
which they belong, the world will derive a pleasure from it to an amount
not to be conceived till the arrival of that day. Dante, meantime, with
an impartiality which has been admired by those who can approve the
assumption of a theological tyranny at the expense of common feeling
and decency, has put friends as well as foes into hell: tutors of his
childhood, kinsmen of those who treated him hospitably, even the father
of his beloved friend, Guido Cavalcante--the last for not believing in a
God: therein doing the worst thing possible in behalf of the belief, and
totally differing both with the pious heathen Plutarch, and the great
Christian philosopher Bacon, who were of opinion that a contumelious
belief is worse than none, and that it is far better and more pious to
believe in "no God at all," than in a God who would "eat his children
as soon as they were born. " And Dante makes him do worse; for the whole
unbaptised infant world, Christian as well as Pagan, is in his Tartarus.

Milton has spoken of the "milder shades of Purgatory;" and truly they
possess great beauties. Even in a theological point of view they are
something like a bit of Christian refreshment after the horrors of the
_Inferno_. The first emerging from the hideous gulf to the sight of the
blue serenity of heaven, is painted in a manner inexpressibly charming.
So is the sea-shore with the coming of the angel; the valley, with the
angels in green; the repose at night on the rocks; and twenty other
pictures of gentleness and love. And yet, special and great has been the
escape of the Protestant world from this part of Roman Catholic belief;
for Purgatory is the heaviest stone that hangs about the neck of the
old and feeble in that communion. Hell is avoidable by repentance; but
Purgatory, what modest conscience shall escape? Mr. Cary, in a note on a
passage in which Dante recommends his readers to think on what follows
this expiatory state, rather than what is suffered there,[23] looks upon
the poet's injunction as an "unanswerable objection to the doctrine of
purgatory," it being difficult to conceive "how the best can meet death
without horror, if they believe it must be followed by immediate and
intense suffering. " Luckily, assent is not belief; and mankind's
feelings are for the most part superior to their opinions; otherwise
the world would have been in a bad way indeed, and nature not been
vindicated of her children. But let us watch and be on our guard against
all resuscitations of superstition.

As to our Florentine's Heaven, it is full of beauties also, though
sometimes of a more questionable and pantomimical sort than is to be
found in either of the other books. I shall speak of some of them
presently; but the general impression of the place is, that it is no
heaven at all. He says it is, and talks much of its smiles and its
beatitude; but always excepting the poetry--especially the similes
brought from the more heavenly earth--we realise little but a
fantastical assemblage of doctors and doubtful characters, far more
angry and theological than celestial; giddy raptures of monks and
inquisitors dancing in circles, and saints denouncing popes and
Florentines; in short, a heaven libelling itself with invectives against
earth, and terminating in a great presumption. Many of the people put
there, a Calvinistic Dante would have consigned to the "other place;"
and some, if now living, would not be admitted into decent society. At
the beginning of one of the cantos, the poet congratulates himself,
with a complacent superiority, on his being in heaven and occupied with
celestial matters, while his poor fellow-creatures are wandering and
blundering on earth. But he had never got there! A divine--worthy of
that name--of the Church of England (Dr. Whichcote), has beautifully
said, that "heaven is first a temper, and then a place. " According to
this truly celestial topography, the implacable Florentine had not
reached its outermost court. Again, his heavenly mistress, Beatrice,
besides being far too didactic to sustain the womanly part of her
character properly, alternates her smiles and her sarcasms in a way that
jars horribly against the occasional enchantment of her aspect. She does
not scruple to burst into taunts of the Florentines in the presence of
Jesus himself; and the spirit of his ancestor, Cacciaguida, in the very
bosom of Christian bliss, promises him revenge on his enemies! Is this
the kind of zeal that is to be exempt from objection in a man who
objected to all the world? or will it be thought a profaneness against
such profanity, to remind the reader of the philosopher in Swift, who
"while gazing on the stars, was betrayed by his lower parts into a
ditch! "

The reader's time need not be wasted with the allegorical and other
mystical significations given to the poem; still less on the question
whether Beatrice is theology, or a young lady, or both; and least of all
on the discovery of the ingenious Signor Rossetti, that Dante and all
the other great old Italian writers meant nothing, either by their
mistresses or their mythology, but attacks on the court of Rome. Suffice
it, that besides all other possible meanings, Dante himself has told us
that his poem has its obvious and literal meaning; that he means a spade
by a spade, purgatory by purgatory, and truly and unaffectedly to devote
his friends to the infernal regions whenever he does so. I confess I
think it is a great pity that Guido Cavalcante did not live to read the
poem, especially the passage about his father. The understanding of
Guido, who had not the admiration for Virgil that Dante had (very likely
for reasons that have been thought sound in modern times), was in all
probability as good as that of his friend in many respects, and perhaps
more so in one or two; and modern criticism might have been saved some
of its pains of objection by the poet's contemporary.

The author did not live to publish, in any formal manner, his
extraordinary poem, probably did not intend to do so, except under those
circumstances of political triumph which he was always looking for; but
as he shewed portions of it to his friends, it was no doubt talked of
to a certain extent, and must have exasperated such of his enemies as
considered him worth their hostility. No wonder they did all they could
to keep him out of Florence. What would they have said of him, could
they have written a counter poem? What would even his friends have said
of him? for we see in what manner he has treated even those; and yet how
could he possibly know, with respect either to friends or enemies, what
passed between them and their consciences? or who was it that gave
him his right to generate the boasted distinction between an author's
feelings as a man and his assumed office as a theologian, and parade
the latter at the former's expense? His own spleen, hatred, and avowed
sentiments of vengeance, are manifest throughout the poem; and there is
this, indeed, to be said for the moral and religious inconsistencies
both of the man and his verse, that in those violent times the spirit
of Christian charity, and even the sentiment of personal shame, were so
little understood, that the author in one part of it is made to blush by
a friend for not having avenged him; and it is said to have been thought
a compliment to put a lady herself into hell, that she might be talked
of, provided it was for something not odious. An admirer of this
infernal kind of celebrity, even in later times, declared that he would
have given a sum of money (I forget to what amount) if Dante had but
done as much for one of his ancestors. It has been argued, that in all
the parties concerned in these curious ethics there is a generous love
of distinction, and a strong craving after life, action, and sympathy
of some kind or other. Granted; there are all sorts of half-good,
half-barbarous feelings in Dante's poem. Let justice be done to the
good half; but do not let us take the ferocity for wisdom and piety; or
pretend, in the complacency of our own freedom from superstition, to see
no danger of harm to the less fortunate among our fellow-creatures in
the support it receives from a man of genius. Bedlams have been filled
with such horrors; thousands, nay millions of feeble minds are suffering
by them or from them, at this minute, all over the world. Dante's best
critic, Foscolo, has said much of the heroical nature of the age in
which the poet lived; but he adds, that its mixture of knowledge and
absurdity is almost inexplicable. The truth is, that like everything
else which appears harsh and unaccountable in nature, it was an excess
of the materials for good, working in an over-active and inexperienced
manner; but knowing this, we are bound, for the sake of the good, not
to retard its improvement by ignoring existing impieties, or blind
ourselves to the perpetuating tendencies of the bigotries of great men.
Oh! had the first indoctrinators of Christian feeling, while enlisting
the "divine Plato" into the service of diviner charity, only kept the
latter just enough in mind to discern the beautiful difference between
the philosopher's unmalignant and improvable evil, and their own
malignant and eternal one, what a world of folly and misery they might
have saved us! But as the evil has happened, let us hope that even this
form of it has had its uses. If Dante thought it salutary to the world
to maintain a system of religious terror, the same charity which can
hope that it may once have been so, has taught us how to commence a
better. But did he, after all, or did he not, think it salutary? Did
he think so, believing the creed himself? or did he think it from an
unwilling sense of its necessity? Or, lastly, did he write only as a
mythologist, and care for nothing but the exercise of his spleen and
genius? If he had no other object than that, his conscientiousness would
be reduced to a low pitch indeed. Foscolo is of opinion he was not only
in earnest, but that he was very near taking himself for an apostle, and
would have done so had his prophecies succeeded, perhaps with success to
the pretension. [24] Thank heaven, his "Hell" has not embittered the mild
reading-desks of the Church of England.

If King George the Third himself, with all his arbitrary notions, and
willing religious acquiescence, could not endure the creed of St.
Athanasius with its damnatory enjoinments of the impossible, what would
have been said to the inscription over Dante's hell-gate, or the
account of Ugolino eating an archbishop, in the gentle chapels of Queen
Victoria? May those chapels have every beauty in them, and every air of
heaven, that painting and music can bestow--divine gifts, not unworthy
to be set before their Divine Bestower; but far from them be kept the
foul fiends of inhumanity and superstition!

It is certainly impossible to get at a thorough knowledge of the
opinions of Dante even in theology; and his morals, if judged according
to the received standard, are not seldom puzzling. He rarely thinks as
the popes do; sometimes not as the Church does: he is lax, for instance,
on the subject of absolution by the priest at death. [25] All you can be
sure of is, the predominance of his will, the most wonderful poetry, and
the notions he entertained of the degrees of vice and virtue. Towards
the errors of love he is inclined to be so lenient (some think because
he had indulged in them himself), that it is pretty clear he would not
have put Paulo and Francesca into hell, if their story had not been
too recent, and their death too sudden, to allow him to assume their
repentance in the teeth of the evidence required. He avails himself of
orthodox license to put "the harlot Rahab" into heaven ("cette bonne
fille de Jericho," as Ginguéné calls her); nay, he puts her into the
planet Venus, as if to compliment her on her profession; and one of her
companions there is a fair Ghibelline, sister of the tyrant Ezzelino, a
lady famous for her gallantries, of whom the poet good-naturedly says,
that she "was overcome by her star"--to wit, the said planet Venus; and
yet he makes her the organ of the most unfeminine triumphs over the
Guelphs. But both these ladies, it is to be understood, repented--for
they had time for repentance; their good fortune saved them. Poor
murdered Francesca had no time to repent; therefore her mischance was
her damnation! Such are the compliments theology pays to the Creator.
In fact, nothing is really punished in Dante's Catholic hell but
impenitence, deliberate or accidental. No delay of repentance, however
dangerous, hinders the most hard-hearted villain from reaching his
heaven. The best man goes to hell for ever, if he does not think he has
sinned as Dante thinks; the worst is beatified, if he agrees with him:
the only thing which every body is sure of, is some dreadful duration
of agony in purgatory--the great horror of Catholic death beds.
Protestantism may well hug itself on having escaped it. O Luther!
vast was the good you did us. O gentle Church of England! let nothing
persuade you that it is better to preach frightful and foolish ideas of
God from your pulpits, than loving-kindness to all men, and peace above
all things.

If Dante had erred only on the side of indulgence, humanity could easily
have forgiven him--for the excesses of charity are the extensions of
hope; but, unfortunately, where he is sweet-natured once, he is bitter a
hundred times. This is the impression he makes on universalists of all
creeds and parties; that is to say, on men who having run the whole
round of sympathy with their fellow-creatures, become the only final
judges of sovereign pretension. It is very well for individuals to
make a god of Dante for some encouragement of their own position or
pretension; but a god for the world at large he never was, or can be;
and I doubt if an impression to this effect was not always, from the
very dawn of our literature, the one entertained of him by the genius
of our native country, which could never long endure any kind of
unwarrantable dictation. Chaucer evidently thought him a man who would
spare no unnecessary probe to the feelings (see the close of his version
of _Ugolino_). Spenser says not a word of him, though he copied Tasso,
and eulogised Ariosto. Shakspeare would assuredly have put him into
the list of those presumptuous lookers into eternity who "_take upon
themselves to know" (Cymbeline_, act v. sc. 4). Milton, in his sonnet
to Henry Lawes, calls him "that sad Florentine"--a lamenting epithet,
by which we do not designate a man whom we desire to resemble.