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INTRODUCTORY NOTE Much of the life of Dante Alighieri is obscure, and the known facts are surrounded by a haze of legend and conjecture. He was born in Florence in 1265, of a family noble but not wealthy. His early education is a matter of inference, but we know that he learned the art of writing verse from the poets of France and Provence, and that after he reached manhood he devoted much time to study and became profoundly learned. As a young man he saw military service and shared in the recreations of his contemporaries; and he married some time before he was thirty-two. In Dante's day politics in Florence were exciting and dangerous; and after a few years of participation in public affairs he was condemned to death by his political enemies in 1302. He saved himself by exile, and never returned to his native town. The rest of his life was mainly spent wandering about the north of Italy, in Verona, Bologna, Pisa, Lucca, and finally Ravenna, where he died in 1321. During the years of his exile he found generous patrons in men like the heads of the Scala family in Verona and Guido Novello da Polenta in Ravenna; and at Bologna and else. where he was welcomed as a teacher.

In the early part of the century in which Dante was born, the literary language of Tuscany was still Latin, and not the least of his services to his country was his influence in finally establishing the dignity of Italian as a medium for great literature. He himself used Latin in at least three works: his lecture De Aqua et Terra; his De Monarchia,in which he expounded his political theory of the relation of the Empire and the Papacy; and his unfinished De Vulgari Eloquentia," containing his defense of the use of Italian. More important, however, were his two great works in the vernacular, the "Vita Nuova," a series of poems with prose commentary, on his love for Beatrice, and the Divina Commedia."

The Beatrice, real or ideal, who plays so important a part in the poetry of Dante, is stated by Boccaccio to have been the daughter of Folco Portinari, a rich Florentine, and wife of the banker Simone dei Bardi. With this actual person Dante's acquaintance seems to have been of the slightest; but, after the fashion of the chivalric lovers of the day, he took her as the object of his ideal devotion. She became for him, especially after her death in 1290, the center of a mystical devotion of extraordinary intensity, and appears in his masterpiece as the personification of heavenly enlightenment.

The Divine Comedywas entitled by Dante himself merely "Commedia," "meaning a poetic composition in a style intermediate between the sustained nobility of tragedy, and the popular tone of elegy." The word had no dramatic implication at that time, though it did involve a happy ending. The poem is the narrative of a journey down through Hell, up the mountain of Purgatory, and through the revolving heavens into the presence of God. In this aspect it belongs to the two familiar medieval literary types of the Journey and the Vision. It is also an allegory, representing under the symbolism of the stages and experiences of the journey, the history of a human soul, painfully struggling from sin through purification to the Beatific Vision. Other schemes of interpretation have been worked out and were probably intended, for Dante granted the medieval demand for a threefold and even fourfold signification in this type of writing.

But the Divine Comedybelongs to still other literary forms than those mentioned. Professor Grandgent has pointed out that it is also an encyclopedia, a poem in praise of Woman, and an autobiography. It contains much of what Dante knew of theology and philosophy, of astronomy and cosmography, and fragments of a number of other branches of learning, so that its encyclopedic character is obvious. In making it a monument to Beatrice, he surpassed infinitely all the poetry devoted to the praise of women in an age when the deification of women was the commonplace of poetry. And finally he made it an autobiography-not a narrative of the external events of his life, but of the agony of his soul.

Thus, in an altogether unique way, Dante summarizes the literature, the philosophy, the science, and the religion of the Middle Ages. Through the intensity of his capacity for experience, the splendor of his power of expression, and the depth of his spiritual and philosophic insight, he at once sums up and transcends a whole era of human history.

THE DIVINE COMEDY

INFERNO (HELL]

CANTO I

ARGUMENT.-The writer, having lost his way in a gloomy forest, and being hindered by certain wild beasts from ascending a mountain, is met by Virgil, who promises to show him the punishments of Hell, and afterward of Purgatory; and that he shall then be conducted by Beatrice into Paradise. He follows the Roman poeto

TN the midway' of this our mortal life,

I found me in a gloomy wood, astray
I Gone from the path direct: and e'en to tell,
It were no easy task, how savage wild
That forest, how robust and rough its growth,
Which to remember only, my dismay
Renews, in bitterness not far from death.
Yet, to discourse of what there good befel,
All else will I relate discover'd there.

How first I enter'd it I scarce can say,
Such sleepy dulness in that instant weigh'd
My senses down, when the true path I left;
But when a mountain's foot I reach'd, where closed
The valley that had pierced my heart with dread,
I look'd aloft, and saw his shoulders broad
Already vested with that planet's beam,'

Who leads all wanderers safe through every way. 1 "In the midway." The era of pared to an arch or bow, the highthe poem is intended by these est point of which is, in those well words to be fixed to the thirty-fifth framed by nature, at their thirty. year of the poet's age, A.D. 1300. fifth year. In his Convito, human life is com F"That planet's beam.” The sun.

Then was a little respite to the fear, That in my heart's recesses deep had lain All of that night, so pitifully past: And as a man, with difficult short breath, Forespent with toiling, 'scaped from sea to shore, Turns to the perilous wide waste, and stands At gaze; e'en so my spirit, that yet fail'd, Struggling with terror, turn'd to view the straits That none hath passed and lived. My weary frame After short pause recomforted, again I journey'd on over that lonely steep, The hinder foot still firmer. Scarce the ascent Began, when, lo! a panther,“ nimble, light, And cover'd with a speckled skin, appear'd; Nor, when it saw me, vanish'd; rather strove To check my onward going; that oft-times, With purpose to retrace my steps, I turn'd.

The hour was morning's prime, and on his way Aloft the sun ascended with those stars, That with him rose when Love Divine first moved Those its fair works: so that with joyous hope All things conspired to fill me, the gay skin Of that swift animal, the matin dawn, And the sweet season. Soon that joy was chased. And by new dread succeeded, when in view A lion came, 'gainst me as it appear'd, With his head held aloft and hunger-mad, That e'en the air was fear-struck. A she-wolf Was at his heels, who in her leanness seem'd Full of all wants, and many a land hath made Disconsolate ere now. She with such fear O’erwhelm'd me, at the sight of her appallid, That of the height all hope I lost. As one, Who, with his gain elated, sees the time When all unawares is gone, he inwardly Mourns with heart-griping anguish; such was I,

Haunted by that fell beast, never at peace, 8 "The hinder foot." In ascend. 6“With those stars.” The sun ing a hill the weight of the body was in Aries, in which sign he rests on the hinder foot.

supposes it to have begun its

4"A panther.” Pleasure or 1

ury.

course at the creation.

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