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 predecessors, with the memory of his lost love; studying more seriously, perhaps, than most of his associates; possibly travelling a little,—gradually or suddenly he became convinced that all was not well with him, and that not by leading, however blamelessly, the “active” life could he save his soul. The strong vein of mysticism, found in so many of the deepest thinkers of that age, and conspicuous in Dante’s mind, no doubt played its part. His efforts to free himself from the “forest” of worldly cares were impeded by the temptations of the world—cupidity (including ambition), the pride of life and the lusts of the flesh, symbolized by the three beasts. But a helper is at hand. Virgil appears and explains that he has a commission from three ladies on high to guide him. The ladies are the Blessed Virgin, St Lucy (whom for some reason never yet explained Dante seems to have regarded as in a special sense his protector) and Beatrice. In Virgil we are apparently intended to see the symbol of what Dante calls philosophy, what we should rather call natural religion; Beatrice standing for theology, or rather revealed religion. Under Virgil’s escort Dante is led through the two lower realms of the next world, Hell and Purgatory; meeting on the way with many persons illustrious or notorious in recent or remoter times, as well as many well enough known then in Tuscany and the neighbouring states; but who, without the immortality, often unenviable, that the poet has conferred on them, would long ago have been forgotten. Popes, kings, emperors, poets and warriors, Florentine citizens of all degrees, are there found; some doomed to hopeless punishment, others expiating their offences in milder torments, and looking forward to deliverance in due time. It is remarkable to notice how rarely, if ever, Dante allows political sympathy or antagonism to influence him in his distribution of judgment. Hell is conceived as a vast conical hollow, reaching to the centre of the earth. It has three great divisions, corresponding to Aristotle’s three classes of vices, incontinence, brutishness and malice. The first are outside the walls of the city of Dis; the second, among whom are included unbelievers, tyrants, suicides, unnatural offenders, usurers, are within; the first apparently on the same level as those without, the rest separated from them by a steep descent of broken rocks. (It should be said that many Dante scholars hold that Aristotle’s “brutishness” has no place in Dante’s scheme; but the symmetry of the arrangement, the special reference made to that division, and certain expressions used elsewhere by Dante, seem to make it probable that he would here, as in most other cases, have followed his master in philosophy.) The sinners by malice, which includes all forms of fraud or treachery, are divided from the last by a yet more formidable barrier. They lie at the bottom of a pit, the depth of which is not stated, with vertical sides, and accessible only by supernatural means; a monster named Geryon bearing the poets down on his back. The torments here are of a more terrible, often of a loathsome character. Ignominy is added to pain, and the nature of Dante’s demeanour towards the sinners changes from pity to hatred. At the very bottom of the pit is Lucifer, immovably fixed in ice; climbing down his limbs they reach the centre of the earth, whence a cranny conducts them back to the surface, at the foot of the purgatorial mountain, which they reach as Easter Day is dawning. Before the actual Purgatory is attained they have to climb for the latter half of the day and rest at night. The occupants of this outer region are those who have delayed repentance till death was upon them. They include many of the most famous men of the last thirty years. In the morning the gate is opened, and Purgatory proper is entered. This is divided into seven terraces, corresponding to the seven deadly sins, which encircle the mountain and have to be reached by a series of steep climbs, compared by Dante in one instance to the path from Florence to Samminiato. The penalties are not degrading, but rather tests of patience or endurance; and in several cases Dante has to bear a share in them as he passes. On the summit is the Earthly Paradise. Here Beatrice appears, in a mystical pageant; Virgil departs, leaving Dante in her charge. By her he is led through the various spheres of which, according to both the astronomy and the theology of the time, Heaven is composed, to the supreme Heaven, or Empyrean, the seat of the Godhead. For one moment there is granted him the intuitive vision of the Deity, and the comprehension of all mysteries, which is the ultimate goal of mystical theology; his will is wholly blended with that of God, and the poem ends.

The Convito, or Banquet, also called Convivio (Bembo uses the first form, Trissino the other), is the work of Dante’s manhood, as the Vita Nuova is the work of his youth. It consists, in the form in which it has come down to us, of an introduction and three treatises, each forming an elaborate commentary in a long canzone. It was intended, if completed, to have comprised commentaries on eleven more canzoni, making fourteen in all, and in this shape would have formed a tesoro or handbook of universal knowledge, such as Brunetto Latini and others have left to us. It is perhaps the least well known of Dante’s Italian works, but crabbed and unattractive as it is in many parts, it is well worth reading, and contains many passages of great beauty and elevation. Indeed a knowledge of it is quite indispensable to the full understanding of the Divina Commedia and the De Monarchia. The time of its composition is uncertain. As it stands it has very much the look of being the contents of note-books partially arranged. Dante mentions princes as living who died in 1309; he does not mention Henry VII. as emperor, who succeeded in 1310. There are some passages which seem to have been inserted at a later date. The canzoni upon which the commentary is written were probably composed between 1292 and 1300, when he was seeking in philosophy consolation for the loss of Beatrice. The Convito was first printed in Florence by Buonaccorsi in 1490. It has never been adequately edited.

The Vita Nuova (Young Life or New Life, for both significations seem to be intended) contains the history of his love for Beatrice. He describes how he met Beatrice as a child, himself a child, how he often sought her glance, how she once greeted him in the street, how he feigned a false love to hide his true love, how he fell ill and saw in a dream the death and transfiguration of his beloved, how she died, and how his health failed from sorrow, how the tender compassion of another lady nearly won his heart from its first affection, how Beatrice appeared to him in a vision and reclaimed his heart, and how at last he saw a vision which induced him to devote himself to study that he might be more fit to glorify her who gazes on the face of God for ever. This simple story is interspersed with sonnets, ballads and canzoni, arranged with a remarkable symmetry, to which Professor Charles Eliot Norton was the first to draw attention, chiefly written at the time to emphasize some mood of his changing passion. After each of these, in nearly every case, follows an explanation in prose, which is intended to make the thought and argument intelligible to those to whom the language of poetry was not familiar. The whole has a somewhat artificial air, in spite of its undoubted beauty; showing that Dante was still under the influence of the Dugentisti, many of whose conceits he reproduces. The book was probably completed by 1300. It was first printed by Sermartelli in Florence, 1576.

Besides the smaller poems contained in the Vita Nuova and Convito there are a considerable number of canzoni, ballate and sonnetti bearing the poet’s name. Of these many undoubtedly are genuine, others as undoubtedly spurious. Some which have been preserved under the name of Dante belong to Dante de Maiano, a poet of a harsher style; others which bear the name of Aldighiero are referable to Dante’s sons Jacopo or Pietro, or to his grandsons; others may be ascribed to Dante’s contemporaries and predecessors Cino da Pistoia and others. Those which are genuine secure Dante a place among lyrical poets scarcely if at all inferior to that of Petrarch. Most of these were printed in Sonetti e canzoni (Giunta, 1527). The best edition of the Canzoniere of Dante is that by Fraticelli published by Barbéra at Florence. His collection includes seventy-eight genuine poems, eight doubtful and fifty-four spurious. To these are added an Italian paraphrase of the seven penitential psalms in terza rima, and a similar paraphrase of the Credo, the seven sacraments, the ten commandments, the Lord’s Prayer and the Ave Maria.