Chapter VI: Part 6

The Celebration of 1921, on the sexcentenary of the Poet’s death, was marked again with patriotic fervour. The troops who had redeemed “Italia irredenta” in the Great War offered a wreath of bronze and silver at his shrine in Ravenna; and shouts of “Viva l’ Italia! Viva Fiume!” echoed in the Banqueting Hall of the castle of Poppi in Casentino, where Dante had been a guest of the Conti Guidi, and in sight of which he had fought as a young man in defence of his native city. The patriotic cries had now a new note of triumph about them, because Dante’s prophetic envisaging of Italy as “one, and to be loved” and his incidental marking out of her true boundaries had at last been verified.[377]

Between these two, on September 14th, 1908, Ravenna, his “last refuge,” was the scene of a most enthusiastic ceremony, to which flocked representatives of the as yet unredeemed Italian fringe, and men of Trent and Trieste and Gorizia and Pola and Fiume claimed Dante as the prophet of their own “italianità” and of their proximate liberation from the foreign yoke.

There is a little-known incident connected with the first of these Celebrations—that of 1865—which is worth recording, if only for its simple pathos. The story of an attempt at Dante-worship that was motived rather by personal loyalty than by patriotic ardour, yet was baulked by the barrier set up by a foreign domination between a true-hearted Italian and his goal.

Antonio Maschio[378] was close upon forty years old when the news came to him in his humble Venetian dwelling that Italy was going to celebrate her greatest Poet in his native City of Florence.

He was a simple gondolier, son of a small pork-butcher on the island of Murano. In the year ’48, so notable in the annals of Italy’s fight for freedom, he picked up some stray sheets of paper in a tobacconist’s shop, on which were printed Cantos xiii. and xiv. of the _Inferno_. He took them home and read and re-read them: From that day he took Dante as his Master, and devoted all his spare moments to the study of the _Divina Commedia_. He lived to see, as he conceived, Dante’s prophecy of the “Veltro”—the great Liberator—fulfilled in 1871; when Victor Emmanuel entered Rome, and before he died he was in correspondence with some of the greatest Dante scholars in Italy and abroad.

Far advanced in his Dante studies in 1865, and over head and ears in love with the great Poet, he dared to brave the Austrian frontier guards—for Venetia was still Austrian territory—setting out on foot for Florence to keep tryst with his Maestro “duca, signore e Maestro.” Before the middle of March he packed up in two great bundles all the Dante material he had collected and evolved, put a favourite “Dantino” in his pocket and started with his precious burden on the adventurous pilgrimage. He passed the first line of guards, posing as a wine-seller from Chioggia. His great obstacle was the river Po, running high and with current all too swift. Moreover it was night, and no boat was to be found. It was but human to shrink back, but the love of Dante conquered his fear. Did he recall the passage where Dante, shrinking from the wall of flame, hears Virgil’s appeal: “Senti figlio, Fra Beatrice e te è questo muro”?[379] Dauntless he flung himself into the chill waters and struck out for the farther shore. In a life and death struggle with the current he lost his precious bundles, and landed more dead than alive, with nothing in his pocket but the little volume of the _Divina Commedia_; and he afterwards declared that Dante had saved his disciple from drowning that night, even as in his earthly life he had saved a child in the Baptistery at Florence.[380] Next morning the hapless man fell into the hands of the Sindaco of La Mesola, who handed him over to the police, and he suffered a month’s durance in an Austrian prison, after which he was ignominiously sent back to his native town.

It was a famous gathering on that 14th of May in the broad space before the church of Santa Croce; and many learned and ingenious speeches marked the occasion. But the Festival was the poorer by the enforced absence of one who had risked his life to be there: Antonio Maschio, “il Gondolier Dantista.”

APPENDIX II

DANTE AND THE POPE

Interesting on several grounds is the Encyclical of His Holiness Benedict XV, published in the _Osservatore Romano_ of May 4th last, in which he commends to all Catholic teachers and students the study of the works of Italy’s greatest Poet. He seems to admit that a certain constraint lay upon him in the matter, that the successor of St. Peter could not afford to be silent while all the civilised world was sending up a chorus of praise. That indeed, it would befit him to propose himself as Choragus: “Jam vero tam mirifico quasi choro bonorum omnium non solum non deesse Nos decet, sed quodammodo praeesse.” Yet the eulogy which he utters, if here and there it suggests a touch of patronising, is, on the whole so spontaneous and sincere in tone, that one is inclined to forgive the half-evasion with which he manipulates the awkward fact of Dante’s fierce invective—“perquam acerbe et contumeliose”—directed against the Holy Father’s illustrious predecessors. First of all he suggests for Dante the excuse of a harassed and embittered spirit, misled by the poison of malicious tale-bearers; and next, with an appearance of candour which it would be discourteous to discount, he asks, Who denies that there were in those days; there were faults even in the ordained clergy—“Quis neget nonnulla eo tempore fuisse in hominibus sacri ordinis haud probanda?” ... a somewhat general statement which might or might not include the Infallible. For the rest, Dante is praised as a true-hearted Catholic—as indeed he was—and as an extraordinarily effective teacher of the Catholic Faith. The spirit and purpose of the _Divine Comedy_—the aim, as set forth in the famous tenth Epistle[381]—and the Poet’s treatment of his subject in his pictures of Hell, Paradise and Purgatory, all come in for hearty commendation. His ever-living treatment of an ever-living theme is rightly characterised as strikingly modern compared with the revived Paganism of some modern poets. The teaching power of his spiritual ideas outsteps the bounds of the archaic Ptolemaic system in which they are framed. True to the teaching of his great master Aquinas, he attracts moderns to that teaching by the sublimity of his poetic genius. The Pope claims to know personally unbelievers who have been converted to the Faith by the study of Dante.

This emphasis on Dante’s importance as a religious teacher is interesting in view of Benedetto Croce’s recent critique, in which he dismisses the theological aspect of Dante as irrelevant. In this connection it is worth noting that a distinguished Friar has been lecturing in Rome on Dante’s theology, and directly attacking Croce for his depreciation of the same.

We have thus two Benedicts disputing over the spirit of Dante, even as the Archangel and another disputed over the body of Moses—Benedict the Pope and Benedict the Philosopher, Critic and Minister of Education. That the latter has the greater name in the realm of literary criticism, we cannot doubt. His best friends go far to claim for him infallibility in that line. The infallible claims of the former are confined to the region of Faith and Morals; but if Dante could be called in as arbitrator he would probably decide in favour of the Pope, pronouncing with regard to his own religious teaching that it was meant to count, and does count. It is, however, with no animus against the other Benedict in his official capacity that His Holiness proceeds—making an excellent point, which most of us would applaud—to note the absurdity of a State system of secularised Education which tries to banish the Name and the thought of God from the schools, and at the same time hold up the _Divina Commedia_ as an indispensable instrument of culture. Italian priests of to-day are ready to defend the present Minister of Public Instruction as one who, whatever his personal views may be, has endeavoured to mete out evenhanded justice even to “denominational” Education.

APPENDIX III

DANTE THE POET

Benedetto Croce’s[382] contention is, of course, fundamentally true, that Dante is first and last a Poet, and that it is the magnetism of his poetic genius that attracts interest to all the varied subjects which he touches. If he had not been a Poet, these essays would never have been written; and the writer hopes that the poetic quality of his hero will have been felt as a background all through the book. His lyrical power is the driving force of his many-sided message. To the struggling patriot, whether of 1848 or of 1918, he is a Tyrtaeus; to the artist in poetry, a Horace (although he never saw the _Ars Poetica_); to the lover, a Christian Anacreon; to the religious devotee, a Psalmist and Prophet in one; to the student of human nature in its detail and its large epic aspect, a Homer and a Virgil; in every aspect a supreme poet. The very magnetism of his lyrical appeal will, however, continue to keep countless disciples busy, in the future as in the past, exploring the by-ways and investigating the by-products of his genius; gloating over his obscurities, and glorying in everything, big or little, that Dante has touched. Those “questioni dantesche” on the more puerile of which Croce rightly pours his scorn,[383] will emerge to the end of the chapter—a lush growth of mingled flowers and weeds witnessing to the extraordinary fertility of the soil.

And we may go on to ask, what, exactly, is the value, or the nature of that “lyrical quality” which Croce justly exalts if it is entirely divorced from its content, its subject-matter?

True, Beauty has a value of its own, as Dante himself saw. In theory, indeed, he makes Poetry a humble gilding of the didactic pill, on the Horatian principle of _miscere utile dulci_; a beauteous fiction for a moral purpose—“una verità ascosa sotto bella menzogna”[384] a “clumsy device,” as Professor Foligno puts it, “to rivet the attention of readers while the lessons of virtue and truth were expounded.”[385] In practice, however, the author of the _Convivio_ “spoke as Love dictated”[386]—nay, even in the _Convivio_ itself (as Prof. Foligno points out), in the _envoi_ of the first Canzone,[387] he bids his poetry, if its argument prove unintelligible, take heart of grace and draw attention to its own sheer beauty—

Allor ti priego che ti ricomforte,
Dicendo lor, diletta mia novella.
“Ponete mente almen com’ io son bella!”

But lyrical form cannot exist as a mere abstraction. It must needs express itself in words that have a meaning—in “subject-matter.” The Poet sings of what is in his heart, and sings—

... A quel modo
Ch’ e’ ditta dentro;

he sings because he _must_. And Dante has this irresistible impulse of the artist to express himself. He tells us in the XIXth chapter of the _Vita Nuova_ the story of the birth of his canzone, “Donne ch’ avete intelletto d’ amore,” the famous song by which Bonagiunta knew him in Purgatory.[388] First, a great desire for utterance, then a pondering over the appropriate mode, and finally, “I declare,” he says, “my tongue spake as though by its own impulse and said—

Donne ch’ avete intelletto d’ amore.”[389]

That is the artistic impulse to create, and represents, indeed, the sum total of his “Message” as conceived by many an artist. But Dante took his message and his mission seriously; and unless we recognise as a factor in his poetry this sense of responsibility for the gift, and for the use of it—in however exalted a sense—as the handmaid of Religion, we surely misconceive him. He is essentially (not accidentally) didactic, prophetic, a conscious and purposeful inspirer of his own generation and of those to come.

From the point of view of purely aesthetic criticism his “Theological Romance,” his “Epic of man’s freewill,” with its massive architectural framework and its recurring theological, philosophical, political and otherwise didactic passages may be entirely secondary—may be, in fact, so much awkward and obstructive material which the poet only reduces to order and dominates by force of titanic genius.[390]

Dante certainly rises superior in fact to the contemporary theory of the Art of Poetry which he repeats in the _Convivio_ and the _De Vulgari Eloquentia_.[391] It is this which makes his verse to be, as we have called it, the driving power of his message. But this homage to the traditional theory is not mere lip-service. Supreme poet as he is, he deliberately makes his sublime verse the instrument of spiritual teaching. And in so doing only renders it the more sublime.

FOOTNOTES

[1] See esp. _Inf._ ix. 113; xx. 61: “Dante and the Redemption of Italy,” p. 15.

[2] 1865: See _ib._ p. 19.

[3] _Par._ xxv. 1, 2.

[4] “Dante and Educational Principles,” pp. 83 _sqq._

[5] Nos. III and VI.

[6] Nos. I, II, IV, and VIII.

[7] Prof. Foligno has, of course, no responsibility for the opinions set forth in this volume.

[8] _Le opere di Dante: testo critico della Società dantescha italiana, etc._ Firenze: R. Bemporad & Figlio. MCMXXI. Cited in the notes as “Bemporad.” In the case of quotations from the prose works, an attempt has been made to consult the convenience of English readers by the reference to the paging of Dr. Moore’s Oxford Edition as well as to that of the _Testo critico_ (Bemporad).

[9] Nos. V and VII.

[10] This Sermon was preached in Lincoln Cathedral on Aug. 14th, 1921 (Twelfth Sunday after Trinity).

[11] _Par._ i. 6-8.

[12] See _Osservatore Romano_, May 4th, 1921. And _cf._ Appendix II.

[13] _Par._ xvii. 55.

[14] _Purg._ xxiv. 52-4.

[15] _Cf._ A. G. Ferrers-Howell, “Dante and the Troubadours,” in the Memorial Volume, _Dante, Essays in Commemoration_, 1321-1921, London Univ. Press, 1921.

[16] _Purg._ xxiv. 57.

[17] _Inf._ iii. 5, 6.

[18] _Purg._ xvii. 103-105.

[19] _Inf._ i. 118-20.

[20] _Purg._ xxiii. 71-74.

[21] _Par._ iii. 70-72, 85.

[22] _Par._ xxxiii. 145.

[23] _The Spiritual Message of Dante_, Williams & Norgate, 1914, p. 225.

[24] 1 John iv. 16.

[25] _Par._ xxx. 133-7.

[26] _Purg._ xx. 43.

[27] _Purg._ i. 1.

[28] _Par._ xxv. 5.

[29] A pathetic episode connected with this Celebration is related in Appendix I, p. 165.

[30] _Giornale_, p. 215: Art. “Firenze e Italia nel concetto e nel cuore di Dante.”

[31] _Giornale_, p. 344.

[32] A similar chorus of reverent homage to Dante as the good genius of Italy’s fortunes, was evoked by the war, in the shape of “Dante e la Guerra,” Nos. 6-9 of _Nuovo Convito_, June-Sept., 1917.

[33] _Par._ ix. 27.

[34] “To the Defenders of the Piave: November, 1917, to November, 1918.” Art. in _Anglo-Italian Review_, Nov., 1918, p. 244.

[35] _Purg._ xxvii. 142.

[36] _Il Purgatorio_, p. 58.

[37] _Par._ xxxi. 85-89.

[38] _Inf._ i. 31-34.

[39] _Loc. cit._

[40] Italy is likened by Dante to a wood (_silva_) in _V.E._, I, xi.

[41] _Purg._ vi. 76-fin.

[42] _Purg._ vi. 91 _sqq._; _Mon._ I, xii.

[43] _Purg._ v. 61.

[44] See _Mon._ II, v. 132 _sqq._; 159 _sqq._, quoted below; pp. 355 _sq._, Oxf. Ed.; p. 379, Bemporad.

[45] _Inf._ xii. 1-21.

[46] _Defensor Pacis_ written c. 1324 (three years after Dante’s death) to support the claims of the Emperor Lewis IX (of Bavaria) against Pope John XXII, starts, as Dante does, from Aristotle and Holy Scripture, but carries the relentless exposure of papal pretensions much further, and strikes the note of appeal to a General Council which was one of the watchwords of the Reformation.

[47] This theme he took up earlier in the Fourth Treatise of the _Convivio_, chaps. iv. and v.

[48] _Cf._ especially his quotations from the _Aeneid_ in _Conv._ IV, iv. (Bemp., 252) and _Mon._ II, vii. 70 _sqq._ (Bemp., 381); the Divine injunction is taken by Dante, almost as though the _Aeneid_ were ‘Scripture’!

Tu regere imperio populos, Romane, momento,
Hae tibi erunt artes, pacique imponere morem;
Parcere subjectis et debellare superbos.

—_Aen._ vi. 852-4.

[49] _Inf._ i. 82.

[50] vi. 34-96.

[51] W. W. Vernon, _Readings on the Paradiso_, Vol. I, p. 199.

[52] _Par._ vi. 103-104.

[53] _Purg._ vii. 94; vi. 97.

[54] _Purg._ xvi. 106 _sqq._; 127 _sqq._

[55] _Purg._ vi. 76 _sqq._

[56] _Purg._ vi. fin.

[57] _Ep._ vii.

[58] _Cf._ _Purg._ x. 35.

[59] _Ep._ vii. 44, p. 410, Oxf. Ed.; p. 427, Bemporad.

[60] I. xii. 58; Oxf. Ed. p. 347; p. 365, Bemporad.

[61] _Purg._ i. 75.

[62] II, v. 158 _sqq._; Oxf. Ed. II, v. 17; p. 379, Bemporad.

[63] _Cf._ _Mon._ I, xi. Bemporad, pp. 362-364.

[64] _Mon._ I, v.

[65] _Od._ ix. 114-115. θεμιστεύει δὲ ἕκαστος Παίδων ἠδ’ ἀλόγων....

[66] οὐδ’ ἀλλήων ἀλέγουσιν.

[67] _Pol._ i. 2.

[68] It is interesting to note, in this connection, that when Dante, in his work on “The Vulgar Tongue,” is seeking a _Literary_ Tribunal—a sort of Academy of Letters—he asserts that where there is no Prince, his presence may be supplied by ‘the gracious light of reason.’ There is no king, he says, in Italy, as there is in Germany, to gather to his court poets and _literati_ and form in his own person the centre of a brilliant literary circle; but the members of such a court—the elements of such a circle—are there, though scattered, and they have a bond of union in the _gratioso lumine rationis_.—_V.E._ I, xviii. fin; Oxf. p. 389; Bemporad, p. 336.

[69] _Mon._ I, xi. 78-110. Oxf., p. 346; Bemp., pp. 363 _sq._

[70] _Ep._ vii.

[71] _Par._ xxx. 133 _sqq._

[72] At the last moment before going to press, it is cheering to find this contention (treated more fully by the present writer in an article in the _Anglo-Italian Review_, Dec., 1918), corroborated by Prof. A. J. Grant, who, in an article on “Dante’s conception of History” (_History_, Vol. VI, Jan., 1922), speaks thus of the Poet’s praise of the Empire: “It is a demand for a world-order resting on laws that are sensible and generally known, and which control the lives of states as well as of individuals. It is little exaggeration to say that it is a plea for a League of Nations; and the _De Monarchia_ is not a bad handbook for those who are called upon to speak for the League” (p. 229).

[73] _Par._ xxii. 151.

[74] _Mon._ iii. 16; Oxf., p. 376; Bemp. p. 411.

[75] _Mon._ I, xi; Oxf. p. 345; Bemporad, p. 364.

[76] _Mon._ I, xi., _ut supra_.

[77] _Mon._ I, xi.

[78] III, iv. init. Oxf., p. 365; Bemporad, p. 394. Dante combats and refutes the traditional argument in vogue in his day, which assumed that the creation of sun and moon in Gen. i. had a mystical reference to the Spiritual and Temporal powers respectively and argued that therefore, because the moon derives her _light_ from the sun, the Temporal must owe its _authority_ to the Spiritual; but, later in the chapter (Oxf., p. 366 _sq._; Bemporad, p. 396), he seems to admit a workable _analogy_ between the luminaries and the authorities.

[79] _Purg._ xvi. 106 _sqq._

[80] _Par._ vi. 121 _sq._

[81] 2 Cor. iii. 17.

[82] _Inf._, i. p. 124.

[83] _Cf._ _V.E._, I, vii. 28; p. 382, Oxf.; p. 324, Bemporad. _Ipsum naturantem, qui est Deus._

[84] _Par._ xxxiii. 145.

[85] Oxf. Ed., p. 282; Bemporad, p. 222.

[86] _Gerusalemme Liberata_, xvii. 63.

[87] The best spirits among our late enemies have already begun to reap the reward of their deadly earnestness in a wider and saner point of view: a realisation of variety of national characteristics and an appreciation of them; a longing to clear away misapprehensions, and “openly to call injustice injustice—to forgive and to expect forgiveness.” See an excellent article by Hedwig von Saenger in _Student Movement_, Oct., 1921.

[88] _Il comico, l’ umorismo e la satira nella Divina Commedia._ Da Enrico Sannia. 2 vols. Milan, 1909.

[89] _Vita_, s. 8.

[90] _Mag. Mar._ i, 31, 1193. εὐτραπελία δ’ ἐστὶ μεσότης βωμολοχίας καὶ ἀγροικίας. ὅ τε γὰρ βωμολόχος ἐστὶν ὁ πάντα καὶ πᾶν οἰόμενος δεῖν σκώπτειν, ὅ τε ἄγροικος ὁ μήτε σκώπτειν βουλόμενος, μήτε σκωφθῆναι, ἀλλ’ ὀργιζόμενος. ὁ δ’ εὐτράπελος ἀνὰ μέσον τούτων, ὁ μήτε πάντας καὶ παντῶς σκώπτων, μητ’ αὐτὸς ἄγροικος ὤν. ἔσται δ’ ὁ εὐτράπελος διττῶς πως λεγόμενος. καὶ γὰρ ὁ δυνάμενος σκῶψαι ἐμμελῶς, καὶ ὃς ἂν ὑπομείνῃ σκωπτόμενος.

[91] _De divinatione per somnum_ ii. (464ᵃ 33) οἱ δὲ μελαγχολικοὶ διὰ τὸ σφόδρα, ὥσπερ βάλλοντες πόρρωθεν, εὔστοχοί εἰσιν. _Cf._ _Eth. Nic._ vi. 10 (1142ᵇ 2), where εὐστοχία is distinguished from βούλευσις as “swift and wordless”; ἄνευ τε γὰρ λόγου καὶ ταχύ τι ἡ εὐστοχία. And a little further on it is said that ἀγχίνοια—“ready wit,” “shrewdness,” is a kind of εὐστοχία.

[92] _Rhet._ iii. II, 1412ᵃ. εὐστοχία sees analogies, like Archytas, who says “a διαιτητὴς is like an altar”—for to both the injured flee!

[93] _Eth. Eud._ vii. 5, 1240ᵃ 2.

[94] _Cf._ Ps. cxv. 4-8. Esp. Isaiah xliv. and xlvi.

[95] A recent writer, H. McLachlan (_St. Luke, the Man and his Work_, Manchester Univ. Press, 1920), has drawn attention to the humorous gift of the third Evangelist, and entitles one of his chapters “Luke the Humorist.” See also the present writer’s _St. Luke_ (Westminster Commentaries, Methuen, 1922, Introduction, pp. xxix. _sq._).

[96] _Cronica Fratris Salimbene de Adam_ (Ed. Holder-Egger, Hanover, 1905-1913), pp. 77 _sqq._ “Florentini ... trufatores maximi sunt.”

[97] _Rhet._ ii. 1389ᵇ 10. οἰ νέοι ... φιλογέλωτες, διὸ καὶ εὐτράπελοι; ἡ γὰρ εὐτραπελία πεπαιδευμένη ὕβρις ἐστίν.

[98] _Purg._ x. 130-3.

[99] Nino Tammassia, _S. Francesco d’ Assisi e la sua Leggenda_, Padova, Drucker, 1906. (Eng. Tr. Fisher Unwin, 1910).

[100] D. G. Rossetti, _The Early Italian Poets, etc._

[101] _Purg._ xxiii. 115 _sqq._

[102] _Op. cit._ pp. 55-6.

[103] _Conv._ III, viii. 70; Oxf., p. 282; Bemporad, p. 222.

[104] _Portraits of Dante from Giotto to Raffael: a critical study, with a concise iconography_, by Richard Thayer Holbrook. London: Philip Lee Warner, 1911.

[105] Holbrook, _l.c._ pp. 68-72.

[106] Holbrook, _op. cit._ p. 102 and illustration opposite p. 98.

[107] _Vita_, § 8. Ne’ costumi domestici e publici mirabilmente fu ordinato e composto, e in tutti più che un altro cortese e civile.

[108] _Hist._ ix. 136. Per lo suo sapere fu alquanto presuntuoso e schifo e isdegnoso, e quasi a guisa di filosofo mal grazioso. Non bene sapea conversare co’ laici.

[109] _Cf._ Toynbee, _Dante Alighieri_, Methuen, 3rd ed., 1904, p. 176 _sqq._

[110] This is quoted from C. Bruni’s excellent _Guida al Casentino_, p. 167. B. does not specify his authorities, but says in a footnote: “Questo aneddoto è così riferito da varii scrittori danteschi.”

[111] _Dante and His Italy_, pp. 141, 2.

[112] _Inf._ xxii. 118.

[113] _Inf._ xxiii, 4 _sqq._

[114] Sannia not inappropriately describes this passage as “il comico populare della D.C.” (p. 193).

[115] _Inf._ xxii. 25.

[116] _Inf._ xxii. 41, 57, 60, 72, _cf._ xxi. 55 _sqq._

[117] _Inf._ xxi. 7-15.

[118] _Inf._ xxii. 130.

[119] _Inf._ xxiii. 37.

[120] _Inf._ xxi. 31, 88 _sqq._, 127 _sqq._; xxii. 31.

[121] _Inf._ xxx. 103.

[122] _Inf._ xxx. 131, 2.

[123] _Inf._ xiii. 120 _sqq._

[124] _Inf._ xix. 52 _sqq._ _Cf._ Boccaccio, _Vita_, § 17.

[125] _Inf._ xix. 72.

[126] _Purg._ vi. 149 _sqq._

[127] _Purg._ vi. 141.

[128] _Par._ xxi. 130 _sqq._

[129] _Par._ xxi. 134.

[130] _Par._ xxix. 34 _sqq._

[131] _Par._ xxix. 110.

[132] _Purg._ xx. 108.

[133] _Purg._ xix. 72, 124.

[134] _Purg._ xx. 116-17.

[135] _Purg._ xxii. 67-9.

[136] _Purg._ xxviii. 139.

[137] _Purg._ xxviii. 145.

[138] _Par._ xxiii. 22.

[139] _Par._ xxvii. 4.

[140] _Par._ xxviii. 137-8.

[141] _Essay on Richter_, cited by Glover, _Virgil_, Methuen, 1920, p. 27.

[142] _Eth. Eud._ iii. 1234ᵃ 17.

[143] _Conv._ III, viii., 95 _sqq._ p. 282, Oxf.; p. 222, Bemporad.

[144] Oxf. Ed. p. 248; Bemporad, p. 165.

[145] Oxf. Ed. p. 249; Bemporad, p. 166; Toynbee, _In the Footprints of Dante_, p. 303.

[146] (vi.) Oxf. Ed. p. 259; Bemporad, p. 183.

[147] xi. 60 _sqq._; p. 263, Oxf. Ed.; (x.) p. 190, Bemporad.

[148] xi. 100 _sqq._; p. 287, Oxf. Ed.; p. 230, Bemporad.

[149] IV, xxviii. 70 _sqq._; p. 335, Oxf. Ed.; p. 311, Bemporad.

[150] IV, xvi. 69; p. 318, Oxf. Ed.; p. 283, Bemporad. Salimbene (_ed. cit._), pp. 457, 512, 530 _sqq._

[151] IV, xiv. 105; p. 315, Oxf. Ed.; p. 278, Bemporad.

[152] IV, xv. 135; p. 316, Oxf. Ed.; p. 280, Bemporad.

[153] I, xiv.; p. 387, Oxf. Ed.; pp. 329, 332, Bemporad.

[154] p. 385, Oxf. Ed.; p. 329, Bemporad.

[155] _V.E._ I, xiii. _fin._; p. 387, Oxf. Ed.; p. 331, Bemporad.

[156] “Quid nunc personat tuba novissimi Frederici? quid tintinabulum secundi Caroli? quid cornua Iohannis et Azzonis marchionum potentum? quid aliorum magnatum tibiae? nisi _Venite carnifices, etc._,” p. 386, Oxf. Ed.; p. 330, Bemporad.

[157] _V.E._ II, vi. 42-6; p. 394, Oxf. Ed.; p. 343 _sq._, Bemporad.

[158] Hor. _Ep._ I., xiv, 43.

[159] No. 616.

[160] Dr. Reid, in an article on “Humour” (_Encyclopaedia of Religion and Ethics_, Vol. VI, p. 272), which had not yet appeared when these lines were written, describing the gift as follows: “Humour is invariably associated with alertness and breadth of mind, a keen sense of proportion, and faculties of quick observation and comparison. It involves a certain detachment from, or superiority to, the disturbing experiences of life. It appreciates the whimsicalities and contradictions of life, recognises the existence of what is unexpected or absurd, and extracts joy out of what might be a cause of sadness....”

[161] _Op. cit._ p. 51.

[162] _Inf._ xx. 61-3.

[163] Vol. II, p. 534.

[164] _Par._ i. 1 _sqq._, 103 _sqq._

[165] _Inf._ iii. 16-18.

[166] _Cf._ e.g., the legend of St. Gregory alluded to in _Purg._ x. 75.

[167] _Inf._ iv. 131.

[168] See above, pp. 28 _sqq._ and “Dante and A League of Nations,” _Anglo-Italian Review_, December, 1918, pp. 327-335.

[169] _Purg._ i. 7 _sqq._; _Par._ i. 13 _sqq._; _cf._ _Inf._ ii. 7.

[170] _Purg._ vi. 118.

[171] _Mediaeval Mind_, Vol. II, p. 544.

[172] _Inf._ xxxi.

[173] _Inf._ iv. 144.

[174] _Mediaeval Mind_, Vol. II, p. 541, note.

[175] _Par._ xxv. 3.

[176] _Conv._ III, ix., fin.; p. 285, Oxf. Ed.; p. 227, Bemporad.

[177] Croce on the contrary urges with perhaps too great a bias in the other direction, that if Dante were not so great as a Poet, little would be thought of his achievements in other lines: “Se Dante non fosse, com’ è, grandissimo poeta, è da presumere che tutte quelle altre cose perderebbero rilievo.”—_Poesia di Dante_, p. 10.

[178] “On Dante the Poet,” see an admirable lecture delivered before the British Academy on May 4th, 1921, by Professor Cesare Foligno. (Humphrey Milford, 1/6 net). See also Appendix III.

[179] _Osservatore Romano_, May 4th, 1921. See Appendix II.

[180] _La Poesia di Dante_, Laterza, 1921.

[181] _Id._, pp. 9, 10.

[182] _Id._, p. 27.

[183] _Cf._ Statius’ words in _Purg._ xxii. 76—

Già era ’l mondo tutto quanto pregno
De la vera credenza, seminata
Per li messaggi dell’ etterno regno.

[184] See _The New Teaching_, edited by Prof. John Adams (Hodder and Stoughton, 1918, 10/6), pp. 9, 11. This work came into the writer’s hands after the virtual completion of the present essay; but it sums up so compactly the point of view of the modern principles he desired to illustrate, that he has found occasion to refer to it with some frequency.

[185] _Cf._ _The New Teaching_, p. 64, where Prof. J. Adams says of the study of English Literature: “the radical difference between the old teaching and the new is that we have passed from books about books to the books themselves.”

[186] See _La Poesia di Dante_, pp. 14, 15.

[187] See H. O. Taylor, _The Mediaeval Mind_. Mr. Taylor heads his 43rd and last chapter “The Mediaeval Synthesis: Dante.” See Vol. II, p. 534; and _Dante and Mediaeval Thought_, in the present volume, p. 80.

[188] _Par._ xxv. 3; _Conv._ III, ix. 146 _sqq._; p. 285, Oxf. Ed.; p. 226 _sq._, Bemporad.

[189] Federzoni, _Vita di Beatrice Portinari_, 2nd Ed., p. 14; and below _Dante and Casentino_, pp. 148 _sq._

[190] _Inf._ xv. 82-85.

[191] _Conv._ II, xiv. (xiii.), pp. 265-7, Oxf. Ed.; pp. 193-7, Bemporad.

[192] Benedetto Croce (_op. cit._) has much to say on the power of Dante’s poetic genius to transmute the intractable and unpoetical scholastic and didactic matter. See esp. pp. 67, 161.

[193] _Dante and Aquinas_, p. vii; _cf._ and pp. 226 _sqq._, and esp. p. 232.

[194] Wicksteed, _loc. cit._

[195] _Purg._ xxvii. 140, 142. The English renderings are mainly from Tozer’s Translation. Oxford: Clarendon Press.

[196] _Epist._ x. (xiii.), p. 416, Oxf. Ed.; p. 439, Bemporad. “Locutio vulgaris in qua et muliercule communicant.”

[197] _Epist._ x. (xiii.) 265 _sqq._; p. 417, Oxf. Ed.; p. 440, Bemporad.

[198] _Inf._ i. 113 _sq._

[199] _Inf._ i. 118-120.

[200] See esp. Luke vii. 18-23, where, in answer to a question from the Baptist’s disciple, He gives a “demonstration” of Messianic works, and says “Go and describe what you have seen.”

[201] Not only in the formally “didactic passages” does he act—in Croce’s words, “like a master who knows, and is bent on making it clear to the pupil.” _Op. cit._, p. 121.

[202] _Purg._ i. 71.

[203] _Purg._ v. 61 _sqq._

[204] _Purg._ xxvii. 142.

[205] _Par._ xxxi. 85.

[206] _Purg._ xxvi. 13.

[207] _Purg._ xxiii. 73 _sqq._

[208] _Purg._ xxi. 61 _sqq._

[209] Mme. Montessori’s earlier utterances were justly criticised for a too thoroughgoing individualism that claimed to have rung the death-knell of the “class system.” The individualist attitude and the collective have each a place in the New Teaching, though the former tends to be emphasised most. The characteristic Montessorian expression of the social instinct is the “Silence Game.” See _The New Teaching_, pp. 15, 16, 22.

[210] _Op. cit._, p. 234.

[211] _Purg._ x. 31 _sqq._

[212] _Purg._ xii. 16 _sqq._

[213] Very little transpires as to the office and function of those Angels except in the matter of removal of the P’s from the forehead of penitents as they mount up to the successive Terraces. In _Purg._ xvi. 142-5, there is a glimpse of their usefulness, where Marco Lombardo is reminded of the boundary of his “beat” by the nearness of the Angel of the Anger-Terrace. “L’Angelo è i’vi!”

[214] _Purg._ ii. 30.

[215] _Purg._ xvi. 76-78. For this reference and several others the writer is indebted to an illuminating article on “La Pedagogia in Dante Alighieri,” by Sac. Dott. Fernando Cento in _Il VIº Centenario Dantesco_, March, 1916.

[216] _Purg._ iv. 88-95.

[217] _Purg._ xii. 110; xv. 38; xvii. 68 etc.

[218] _Inf._ xxx. 136 _sqq._

[219] _Par._ xxxiii. 58 _sqq._

[220] _Purg._ xviii. 141.

[221] _Purg._ xix. 1 _sqq._

[222] _Purg._ xix. 28.

[223] _Purg._ xxvii. 88 _sqq._

[224] As in the case last quoted, or e.g. in _Purg._ xvii. 40 _sqq._: _Come si frange il sonno, etc._, where the sleep is broken by the sudden striking of a light upon the sleeper’s eyes.

[225] _Purg._ xxvii. 112.

[226] _Inf._ xxvi. 7.

[227] See pp. 95 _sqq._

[228] p. 120 _sq._

[229] p. 121. He goes on: “Perciò i concetti esposti vi si rivestono d’immagini corpulenti e fulgidissimi.”

[230] Croce, p. 135.

[231] _Par._ i. 100.

[232] Strictly, from _Inf._ i. 112 to _Purg._ xxvii. 142; Virgil disappears, _Purg._ xxx. 49.

[233] _Purg._ xxi. 33.

[234] _Purg._ xxi. 103; _cf._ i. 125; xix. 85 _sqq._, etc.

[235] _Gerus. Lib._ xvii. 63.

[236] _Purg._ xvi. 77.

[237] _Inf._ ii. 1-5.

[238] _Inf._ i. 77-78; _Purg._ xxvii. 35-36.

[239] _Op. cit._, p. 37.

[240] _Inf._ xvii. 79 _sqq._

[241] _Purg._ xxvii. 22 _sqq._

[242] Homer, _Od._ xx. 18. Dante, _Inf._ xxvi. 56 _sqq._; _Purg._ xix. 22; _Par._ xxvii. 83.

[243] _Purg._ iv. 89 _sqq._

[244] _Inf._ xi. 10-66; xii. init.

[245] _Purg._ xvii. 88-139.

[246] _Cf._ _The New Teaching_, p. 40, where Prof. Adams remarks, “The postponing of grammar studies to a comparatively late stage in school life is one of the most striking recognitions of the elementary psychological truths that underlie the principles of teaching.”

[247] _Purg._ xviii. esp. 40-43.

[248] Acts i. 1.

[249] _Inf._ iv. 13-15; _cf._ _Inf._ xvii. 79 (above), and _Purg._ xxvii. 46.

[250] _Inf._ iv. 14.

[251] _Purg._ iii. 7-9.

[252] _New Teaching_, p. 153 (Dr. Rouse).

[253] _Inf._ xiii, 28 _sqq._; _Aen._ iii. 22 _sqq._

[254] _Inf._ xii. 114.

[255] _Purg._ xxv. 25 _sqq._

[256] _Purg._ xv. 76-78. _Cf._ _Purg._ xviii. 46-48.

[257] _Purg._ xxvii. 139 _sqq._

[258] _Inf._ i. 122 _sqq._

[259] _The New Teaching_, pp. 20, 26 (Prof. Adams).

[260] _Purg._ xxvii. 139-142.

[261] There is some reason (see below, pp. 121 _sqq._) for attributing to a common origin some of the points of resemblance which are noted in the body of this Essay. Professor Foligno, however, like Dr. Parodi (see below, pp. 133 _sq._) is convinced of the fallaciousness of all arguments hitherto adduced in favour of direct contact of Dante with Moslem sources—and, in particular, of the reasoning of Professor Asín (p. 133).

[262] _The Gospel of Barnabas._ Edited and translated from the Italian MS. in the Imperial Library at Vienna by Lonsdale and Laura Ragg. Oxford: 1907.

[263] On this subject, see below, pp.

[264] See Introduction to Oxford Ed., pp. xiii. _sq._ and xliii.

[265] As for instance in his definition of the word “Pharisee,” “_farisseo propio uolle dire cercha DIO nella linggua di chanaam_” (_Barnabas_, 157ᵇ).

[266] _Par._ i. 56-7. _Cf._ _Barn._ 40ᵃ, _sq._

[267] _Purg._ xxviii. 94, etc., _cf._ _Barn._ 41ᵇ-43ᵇ.

[268] _Barn._ 189ᵃ, _cf._ (for angels) Canz. iv. 24, 25, _Par._ xx. 102.

[269] _Barn._ 189ᵃ, _Koran_, Surah xlvii. The _original_ source is perhaps _Gen._ ii. 10 _sqq._

[270] _Purg._ xxviii. 25 _sqq._

[271] _Barn._ 187ᵃ, 189ᵃ.

[272] _Purg._ xxvii. 134.

[273] _Purg._ xxviii. 36.

[274] _Purg._ xxviii. 41, 42.

[275] _V.E._ i. 7, 10-11. Oxf. p. 382; Bamp. p. 324.

[276] 185ᵃ.

[277] 185ᵇ.

[278] _Par._ xxxi. 97; xxxii. 39.

[279] _Par._ xxiii. 71, 72.

[280] 190ᵃ.

[281] _Par._ xxvi. 64-66.

[282] 185ᵇ.

[283] _Par._ iii. 70 _sqq._

[284] _Barn._ 189ᵇ.

[285] _Par._ iii. 65.

[286] _Par._ iii, 82-85. A reviewer of the Oxford Edition (_Guardian_, Aug. 21st, 1907) points out a further significant resemblance between _Par._ xxxi. 7 _sqq._ and _Barn._ 56ᵇ, where it is said of the angels that, “chome appe uenirano intorno per circuito dello nontio di DIO.”

[287] _Barn._ 111ᵃ, _cf._ 190ᵇ.

[288] 111ᵃ.

[289] iiiᵇ, 190ᵇ.

[290] 190ᵇ.

[291] _Cf._ E. Blochet, _Les sources orientales de la Divine Comédie_, Paris, 1901, p. 193: “Ce qui distingue surtout la _Divine Comédie_ de toutes les autres formes de la Legende de l’ Ascension, ce qui la rende même supérieure aux livres religieux de toutes les epoques et de tous les pays, c’est que le poête a su décrire aussi completement le bonheur éternel du Paradis que les tortures infinies du Malebolge.”

[292] E.g. in the Motalizite Sect (see _Encycl. Brit._ vol. xvi, p. 592).

[293] 149ᵇ _sqq._

[294] 146ᵇ-149ᵃ.

[295] _Studies in Dante_, Series II.

[296] 146ᵇ.

[297] 147ᵃ.

[298] 148ᵃ.

[299] 148ᵇ.

[300] 43ᵃ.

[301] _Inf._ xiv. 85 _sqq._; xxxiv. 130.

[302] _Inf._ ix. 85.

[303] _Inf._ ix. 66 and 76 _sqq._

[304] 149ᵇ.

[305] 150ᵃ.

[306] _Barn._ 113ᵃ, _cf._ _Inf._ xxxii. 22 _sqq._

[307] _Barn._ 63ᵃ: Dante, _Inf._ iii. 103.

[308] In 23ᵃ, 81ᵃ, 225ᵇ. It is characteristic of the MS. that the three passages furnish as many different spellings of the last word: _bugiari_, _bugiardi_ and _buggiardi_! Cf. _Inf._ i. 72.

[309] _Inf._ i. 47; _Barn._ 62ᵇ.

[310] 85ᵇ and 87ᵃ.

[311] A little earlier (76ᵇ) he has what seems to be a quotation from memory of Lev. xxvi. 11, 12; the Law of the Jubilee is to be found, of course, in the chapter immediately preceding.

[312] _Antiquorum habet_ (Coqueline, iii. 94).

[313] E.g. Cron. Astense (Muratori, R. S. I., tom. xi. p. 192): Jacobus Cardinalis (in Raynald, tom. iv. sub an. 1300): Villani, viii. 36.

[314] Another point that might have been adduced is the counsel “habbandonare il perchè,” _Barn._ 95ᵇ; _cf._ _Purg._ iii. 37.

[315] _Inf._ iv. 67 _sqq._ Here, standing apart, but near the heroes and heroines of ancient Rome, Dante places the Moslem champion Saladin (_ib._ 129).

[316] _Inf._ xxviii. 35.

[317] Prof. N. Tamassia, _S. Francesco d’ Assisi e la sua Leggenda_, p. 88.

[318] Including (38ᵇ) a striking statement of the impossibility of penitence (and therefore of absolution) to one meditating fresh sin: _cf._ Dante, _Inf._ xxvii. 118 _sq._

[319] Introduction to Oxford Edition, p. xxxiv.

[320] _La Escatologia musulmana en la “Divina Commedia.”_ Discorso leído en el acto de su recepción, par D. Miguel Asín Palacios ... Madrid, Estanislao Maestre, 1919.

[321] _Les sources Orientales de la Divina Comédie._ Paris, E. Blochet. Paris, Maisonneuve, 1901.

[322] _Koran_, chap. xvii. (xv.) init. “Praise be unto him who transported his servant by night, from the sacred temple of Mecca to the further temple of Jerusalem, the circuit of which we have blessed, that we might shew him some of our signs; for God is he who heareth and seeth.” (Sale’s translation). On this passage a most elaborate story was built up by subsequent legend-makers.

[323] Ireland is undoubtedly the focus in Europe of legends _Persian_ in origin. Appropriate to our subject are not only the St. Brendan Legend, but also the Purgatory of St. Patrick and the Descent of St. Paul. Blochet, _op. cit._, p. 117 _sqq._

[324] _Ib._ p. 161.

[325] _Ib._ p. 172.

[326] _Bulletino della Società dantesca italiana_, Nov. Ser., fasc. 4, (Dec., 1919), pp. 163-181.

[327] See above, p. 131, note 4.

[328] _Bulletino_ _ut supra_, p. 166.

[329] _Bulletino_ _ut supra_, esp. p. 181. Ma il meglio sarà contentarsi di meditare sull’ affinità delle menti umane e sulla verosimiglianza che cause simili producano, in luoghi diversi, effetti non troppo dissimili.

[330] Dr. Parodi’s view would probably be like that of Gherardo de’ Rossi about the vision of Alberic, which he quotes on p. 163: that the _Miradj_ “possa aver all’ Omero italiano suggerito l’ idea della _Commedia_ come un pezzo di marmo potrebbe somministrare ad uno scultore l’ idea d’ una statua.”

[331] _Inf._ iv. 129, 143-4.

[332] _Par._ x. 136-8.

[333] _Par._ xxv. 2.

[334] _Ep._ x. (Oxford Ed.), xiii. (Bemporad), 87 _sqq._ See Sir T. W. Arnold, “Dante and Islam,” _Contemp. Review_, Aug., 1921, to which the present writer owes most of the substance of this paragraph and what follows.

[335] Arnold, p. 205-6.

[336] _Ib._ p. 206-7.

[337] _Conv._ I, iii.; Oxf. Ed., p. 240; Bemporad, p. 151 _sq._

[338] _Purg._ xiv. 16 _sqq._

[339] _Inf._ xxx. 64 _sqq._

[340] _Purg._ xiv. 46 _sqq._

[341] _Villani_, v. 37.

[342] _Inf._ xvi. 37.

[343] _Purg._ xiv. 43.

[344] _Inf._ x. 85.

[345] _Par._ xi. 106.

[346] _Vill._ vii. 131; _Dino_, i. 9.

[347] Leonardo Bruni Vita di Dante. Dove mi trovai non fanciullo nelle armi, e dove ebbi temenza molta....

[348] _Inf._ xxx. 37 _sqq._ Perhaps of English extraction: in a document at Ravenna he is described as “de Anglia.”

[349] _Inf._ iv. 106 _sqq._

[350] _Inf._ iv. 48.

[351] _Inf._ iv. 42.

[352] _Inf._ iv. 118.

[353] _Inf._ xxx. 78.

[354] It is strange to find even in so recent a work as Mr. Tozer’s Prose Translation of the _Divine Comedy_, reference still made to the fountain of the name in _Siena_. The context is all in favour of a spring near Romena.

[355] _Dino_, i. 10.

[356] _Sacchetti_, Nov. clxxix.

[357] _Purg._ v. 116 _sqq._

[358] _Villani_, vii. 130-131.

[359] _Villani_, vii. 13-14.

[360] _Purg._ v. 85-129.

[361] _Purg._ v. 97 _sqq._

[362] _Par._ xxii. 49.

[363] _Purg._ v. 126 _sq._

[364] Fioretti: Prima considerazione delle sacre sante stimate.

[365] _Par._ xi. 107-8.

[366] Fioretti: seconda considerazione.

[367] _Inf._ xii. 1-45.

[368] _Fioretti_: _loc. cit._

[369] _loc. cit._

[370] _Ex._ xxxiii. 11.

[371] Buti, on _Inf._ xvi. 106. _Purg._ xxx. 42.

[372] _Inf._ xvi. 106. For further “Franciscan” references see Paget Toynbee, _Life of Dante_ (last Ed.) p. 72 n.

[373] _Federzoni_, _Vita di Beatrice Portinari_, 2nd Ed., p. 14.

[374] _Purg._ xxx. 41 _sq._

[375] _Par._ xi. 106-108.

[376] Vol. II, p. 18, (Sept., 1918). _Tasso and Shakespeare’s England._

[377] _Inf._ i. 104 _sqq._ _Inf._ ix. 133 _sqq._ and xx. 59 _sqq._ (See above, pp. 13 _sq._)

[378] The facts about Maschio are drawn from an article in the _Strenna per l’ anno._ 1897, of the Venetian _Educatorio Rachitici, “Regina Margherita,”_ by Signor Giuseppe Bianchini.

[379] _Purg._ xxvii. 25.

[380] _Inf._ xix. 16, _sqq._

[381] _Thirteenth_ in the _Testo Critico_ of 1921 (Bemporad).

[382] Benedetto Croce, _La Poesia di Dante_. Bari: Laterza, 1921, p. 10.

[383] _Ib._ pp. 63, 197 _sqq._

[384] Foligno, _Dante, the Poet_, p. 8.

[385] Foligno, p. 15.

[386] _Purg._ xxiv. 52-54.

[387] Oxford Ed., p. 251; Bemporad, p. 171.

[388] _Purg._ xxiv. 51.

[389] _V.N._, xix. _ad init._ (Oxf. Ed., p. 215; Bemporad, p. 21).

[390] Croce, _Poesia di Dante_, p. 67.

[391] _V.E._, II, iv. _sub init._ (Oxf. Ed., p. 393; Bemporad, p. 341; _cf._ Foligno, p. 8.)

INDEX

PROPER NAMES, ETC.

N.B.—_Names of characters in the DIVINE COMEDY are not included as such. See INDEX OF REFERENCES TO DANTE’S WORKS._

Abelard: p. 74

Adams, Professor: pp. 87, 112 _sq._

Albertus, Magnus: pp. 74, 80 _sq._

Alcuin: pp. 85, 88

Alfonso X: p. 135

Alfraganus: 132 _sq._

_Anglo-Italian Review_: pp. 22, 36, 77, 152 _sq._

Aquinas, S. Thomas: pp. 74, 79, 80 _sq._, 126

Arabi, Ibn: p. 135 _sq._

Archiano (river): p. 146 _sq._

Arda-Viraf: p. 132

Aristotle: pp. 34, 45 _sqq._, 64, 75, 77, 88, 90

Ariosto: p. 151

Arnold, Dr. Thomas: p. 86

Arnold, Sir T. W.: 135

Asín, Professor: 118 _sqq._

Augustine, S.: p. 76

Averroes: pp. 79, 134

Bacon, Roger: p. 74

Balbo, Cesare: p. 12

_Barnabas, Gospel of_: pp. 118 _sqq._

Basil, S.: p. 84

Benedict XV, Pope: pp. 81, 168 _sqq._

Benvenuti, E.: p. 11

Berardi, L.: p. 20

Bernard, S.: p. 74

Biagi, Dr. Guido: p. 21

Bianchini: p. 166

Blochet, E.: pp. 125, 131

Boccaccio, Giovanni: pp. ix, 44, 53, 58

Boethius: p. 85

Bonaventura, S.: p. 74

Boyd Carpenter, Bishop: pp. 7 _sq._

Browning, Mrs. E. B.: pp. 32, 35

Bruni, C.: p. 54

Bruni, Leonardo: p. 142

Brunetto Latino: p. 135

_Bulletino della Società dantesca italiana_: pp. 11, 118, 133 _sq._

Burton (_Anatomy of Melancholy_): pp. 44, 46

Buti: p. 148

Butler, A. G.: p. 80

Capponi, Gino: p. 12

Carlyle, Thomas: p. 63

Carroll, Lewis: p. 64

Casentino, Valley of: pp. 137 _sqq._

Croce, Benedetto: pp. 83, 89, 91, 94, 109, 169, 171

Crusades: pp. 152 _sqq._, 160

_Centenario Dantesco, Il viº_: 102

_Centenario, Giornale del_: pp. 18 _sq._

Cento, F.: p. 102

Clement of Alexandria, S.: p. 84

Creighton, Bishop: p. 41

Campagni, Dino: pp. 140, 143

_Cronicon Astense_: p. 129

D’Ancona: p. 131

D’Annunzio: pp. 10, 22, 156

Dante Alighieri: _passim_

——, Commemorations of: pp. ix, 2, 14 _sqq._, 18 _sqq._, 138, 165 _sqq._

——, Educational principles in: pp. 83 _sqq._

——, Franciscan relations of: pp. 148 _sq._

——, and Italian language and literature: p. x, 15, 20 _sqq._, 93

——, learning of: pp. 72 _sqq._

——, love-poetry of: pp. 3 _sqq._

—— as patriot: pp. ix, 13 _sqq._

—— as poet: pp. 171 _sqq._

—— as psychologist: pp. 106 _sqq._

—— as religious teacher: pp. 168 _sqq._

Del Lungo, Isidoro: p. 14

D’Ovidio, F.: pp. 24, 25, 131

Duns Scotus: p. 74

Emperor, Empire, Roman: pp. 16 _sqq._, 25, 27 _sqq._, 34 _sq._, 77, 84

Erasmus: pp. 87, 88

Federzoni, Prof.: pp. 90, 149

Ferrara, Court of,: p. 157

_Fioretti di S. Francesco_: pp. 48, 147 _sqq._

Fiume: pp. 14, 15

Florence: pp. 19, 30, 48 _sq._, 50, 59

Foligno, Prof. Cesare: pp. 81, 118, 172 _sq._

Fonte Branda: p. 142

Foscolo, Ugo: p. 12

Francis, S.: pp. 137 _sqq._, 140, 146 _sqq._

Freud, Dr.: p. 106

Froebel: 86, 88, 98 _sq._

Gardner, Prof. E. G.: p. 95

Giotto: p. 52

Glover, Dr.: p. 63

Grant, Prof. A. J.: p. 36

Gregory, Nazianzeu, S.: p. 84

Gregory the Great, S.: pp. 62, 76

Gregory of Tours: p. 85

Grosseteste: p. 88 _sq._

Guidi, Couti: pp. 142 _sq._

Harnack, Dr. A.: p. 84

Henry VII, Emperor: pp. 17, 30, 36

Holbrook, R. T.: pp. 51 _sqq._

Homer: p. 34, 113

Horace: p. 69, 172

Howell, A. G. Ferrars: p. 3

Islam: pp. 118 _sqq._

Jerome, S.: p. 76

Jerusalem: p. 153

Jubilee: pp. 129 _sq._

Jung, Dr.: p. 106

Kirkup, Seymour: p. 52

Koran: pp. 120, 126, 129, 132

_League of Nations_: pp. 36 _sqq._, 77

Lee, Sir Sidney: pp. 152 _sq._

McLachlan, H.: p. 48

Marsiglio da Padova: p. 27

Maschio, Antonio: pp. 165 _sqq._

Mazzini, Giuseppe: pp. 10, 12, 23, 31

Metternich: p. 13

_Miradj_: p. 132

Mohammed: pp. 120 _sqq._

Montaperti, Battle of: p. 140

Montessori, Dr.: pp. 87 _sq._, 95, 97 _sqq._, 101 _sq._, 111 _sq._

Moore, Dr. E.: pp. 76, 80, 89, 126

Myers, F. W.: p. 106

_New Teaching, The_: 87 _sq._, 98, 112 _sq._

Norton, Eliot: p. 80

_Nuovo Convito, Il_: p. 21

Origen: p. 84

_Osservatore Romano_: pp. 2, 168

Parodi, Dr.: pp. 118, 133 _sq._

Pestalozzi: pp. 86, 88, 95

Peter Pascual, S.: p. 136

Petrarch: p. 151

Piave, river: pp. 21 _sqq._

Pola: pp. 14 _sqq._

Pope, Alexander: p. 60

Psychology: pp. 86, 106 _sqq._

_Quadrivium_: p. 90

Quintilian: p. 88

Rabanus Maurus: p. 92

Ragg, Lonsdale: pp. 48, 56, 77, 119

Ravenna: pp. 14, 148

Raymond Lull: p. 135

Reid, Dr.: p. 70

Roman, _see_ Empire

Rossetti, D. G.: p. 50

Rouse, Dr.: p. 115

Rousseau: p. 86

Sacchetti, Franco: p. 48

Salimbene: pp. 48 _sqq._, 67, 105

Sannia, Prof. E.: pp. 43 _sqq._, 56

Sanudo, Marin: p. 132

Shakespeare: p. 73

_Spectator, The_: p. 70

Spenser: p. 152

Statius: pp. 61 _sqq._

_Student Movement, The_: p. 42

Tamassia, Prof. N.: pp. 49, 130

Tasso: pp. 41, 110, 151-162

Taylor, H. O.: pp. 73 _sqq._

Thring, Dr.: p. 86

Toynbee, Dr. Paget: pp. 53, 55, 65, 132, 148

Tozer, H. F.: pp. 92, 142

Trentino, The: pp. 16, 22, 72

Trevelyan, G. M.: p. 72

Trieste: pp. 16, 22

Troya, Carlo: p. 12

Verna, La: pp. 146 _sqq._

Vernon, W. W.: pp. 29, 60

Villani, Giovanni: pp. 53, 129, 139 _sq._, 144

Virgil: pp. 10, 13, 28, 61, 63, 77, 96, 112 _sqq._, 134

Vossler, K.: p. 131

Wicksteed, P.: pp. 91, 99 _sq._

Witte, K.: pp. 10, 11

Zoncada, A.: p. 19

REFERENCES TO DANTE’S WORKS

_VITA NUOVA_
xix _ad init_: p. 172 _sq._

_CONVIVIO:_ pp. 15, 44, 55, 80
I: p. 64
I, iii: p. 137
I, xi: p. 64
II: p. 65
II, vii: p. 65
II, xi: p. 66
II, xiv: pp. 67, 91
III, viii: pp. 41, 51, 64
III, ix: pp. 80, 90
III, xi: p. 66
IV, iv, v: p. 27
IV, xv: p. 67
IV, xvi: pp. 66, 67
IV, xxviii: p. 66

_MONARCHIA:_ pp. 10, 27
I: p. 27
I, v: p. 34
I, xi: pp. 33, 35, 38
I, xii: p. 31
II, p. 28
II, v: pp. 26, 33
III, iv: p. 39
III, xvi: p. 37

_DE VULGARI ELOQUENTIA_
I, vii: pp. 40, 122
I, xi: pp. 25
I, xii: p. 16
I, xiii: p. 68
I, xiv: p. 67
II, iv: p. 173
II, vi: p. 69

_EPISTOLAE_
vii: pp. 30, 36
x (xiii): pp. 92 _sq._, 135

_LA DIVINA COMMEDIA_

_Inferno:_ p. 126

_Inf. i:_
31-34: p. 25
47: p. 128
72: p. 128
77, 78: p. 112
82: p. 28
104 _sqq._: p. 165
113 _sq._: p. 93
118-120: pp. 6, 93
122 _sqq._: p. 116
124: p. 40
177 _sq._: p. 83

_Inf. ii:_
1-5: p. 111
7: p. 78

_Inf. iii:_
5, 6: p. 5
16-18: p. 74
103: p. 128

_Inf. iv:_
13-15: p. 114
42: p. 142
48: p. 142
67 _sqq._: p. 130
106 _sqq._: p. 142
118: p. 142
129: p. 130
131-133: pp. 72, 77
143, 144: pp. 79, 134

_Inf. ix:_
66: p. 127
76 _sqq._: p. 127
85: p. 127
113: pp. ix, 15
133 _sqq._: p. 165

_Inf. x:_
85: p. 140

_Inf. xi:_
10-66: p. 113

_Inf. xii:_
1 _sqq._: p. 113
1-21: p. 26
1-45: p. 148
114: p. 115

_Inf. xiii:_
28 _sqq._: p. 115
120 _sqq._: p. 58

_Inf. xiv:_
85 _sqq._: p. 127

_Inf. xv:_
82-85: p. 90

_Inf. xvi:_
87: p. 139
106: p. 148

_Inf. xvii:_
79 _sqq._: p. 112

_Inf. xix:_
16: p. 167
52 _sqq._: p. 58
72: p. 58

_Inf. xx:_
59 _sqq._: p. 165
61: pp. ix, 16, 72

_Inf. xxi:_
7-15: p. 57
31: p. 57
55 _sqq._: p. 56
88 _sqq._: p. 57
127 _sqq._: p. 57

_Inf. xxii:_
25: p. 56
31: p. 57
41: p. 56
57: p. 56
60: p. 56
72: p. 56
118: p. 86
130: p. 57

_Inf. xxii, xxiii:_ p. 56

_Inf. xxiii:_
4 _sqq._: p. 56
37: p. 57

_Inf. xxvi:_
7: p. 108
56 _sqq._: p. 113

_Inf. xxvii:_
118 _sq._: p. 131

_Inf. xxviii:_
35: p. 130

_Inf. xxx:_
37 _sqq._: p. 142
64: pp. 137, 139
78: p. 142
103 _sq._: p. 57
131: p. 57
136 _sqq._: p. 106

_Inf. xxxi:_ p. 78

_Inf. xxxii:_
22 _sqq._: p. 127

_Inf. xxxiv:_
130: p. 127

_PURGATORIO:_ 87, 126

_Purg. i:_
1: p. 18
7 _sqq._: p. 78
71: p. 96
71 _sq._: p. 24
75: P. 33
125: p. 110

_Purg. ii:_
30: p. 102

_Purg. iii:_
7-9: p. 115
9: p. 151
37: p. 130

_Purg. iv:_
88-95: p. 103
89 _sqq._: p. 113
106: p. 54

_Purg. v:_
61: pp. 25, 96
85-129: p. 145
97 _sqq._: p. 145
116 _sqq._: p. 143
126 _sq._: p. 146

_Purg. vi:_
66: p. 151
76-_fin._: pp. 25, 30
91 _sqq._: p. 25
97: p. 30
118: p. 78
_fin._: p. 30

_Purg. vii:_
94: p. 30

_Purg. x:_
31 _sqq._: p. 100
35: p. 30
75: p. 76
130-133: p. 49

_Purg. xii:_
16 _sqq._: p. 100
110: p. 105

_Purg. xiv:_
16 _sqq._: 138
43: 139
46 _sqq._: 139

_Purg. xv:_
38: p. 105
76-78: p. 116

_Purg. xvi:_
76-78: p. 102
77: p. 111
106 _sqq._: pp. 30, 39
127 _sqq._: p. 30
142-145: p. 108

_Purg. xvii:_
40 _sqq._: p. 108
68: p. 105
88-139: p. 113
91 _sqq._: p. 105, 114
103-105: p. 6

_Purg. xviii:_ p. 114
40-43: p. 114
46-48: p. 116
141: p. 107

_Purg. xix:_
1 _sqq._: p. 107
22: p. 113
25 _sqq._: p. 115
28: p. 107
72: p. 61
85 _sqq._: p. 110
124: p. 61

_Purg. xx:_
40-96: p. 34
43: p. 17
108: p. 60
116 sq.: p. 61

_Purg. xxi:_
33: p. 110
61 _sqq._: p. 98
103: p. 110

_Purg. xxi and xxii:_ p. 61

_Purg. xxii:_
67-69: p. 61
76: p. 84

_Purg. xxiii:_
71-74: p. 6
73 _sqq._: p. 97
115 _sqq._: p. 50

_Purg. xxiv:_
51-54: p. 172

_Purg. xxv:_
25 _sqq._: p. 115

_Purg. xxvi:_
13: p. 97

_Purg. xxvii:_
22 _sq._: p. 112
25: p. 167
35 _sq._: p. 112
46: p. 114
88 _sqq._: p. 107
112: p. 108
134: p. 122
139 _sqq._: pp. 116, 117
140, 142: p. 92
142: pp. 24, 96

_Purg. xxviii:_
25 _sqq._: p. 122
36: p. 122
41 _sq._: p. 122
94: p. 122
139: p. 61
145: p. 62

_Purg. xxx:_
41 _sq._: p. 149
42: p. 148
49: p. 110

_PARADISO i:_
1 _sqq._: p. 75
6-8: p. 2
13 _sqq._: p. 78
56 _sq._: p. 122
100: p. 110
103 _sqq._: p. 74

_Par. iii:_
65: p. 124
70 _sqq._: p. 124
70-72, 75: p. 7
82-85: p. 124

_Par. v:_
19-24: p. 32

_Par. vi:_ p. 77
34-96: p. 29
103 _sq._: p. 29
121 _sq._: p. 39

_Par. ix:_
27: p. 21

_Par. x:_
136-8: p. 134

_Par. xi:_
106: p. 140
106-108: p. 149
107 _sq._: p. 147

_Par. xiv:_
125: p. 151

_Par. xvii:_
55: p. 3

_Par. xx:_
102: p. 122

_Par. xxi:_
130 _sqq._: p. 59
134: p. 60

_Par. xxii:_
49: p. 146
151: p. 37

_Par. xxiii:_
22: p. 62
71 _sq._: p. 123

_Par. xxiv:_
52-54: p. 3
57: p. 3

_Par. xxv:_
1, 2: p. x
2: p. 135
3: pp. 80, 90
5: p. 19

_Par. xxvi:_
64-66: p. 123

_Par. xxvii:_
4: p. 62
83: p. 113

_Par. xxviii:_
133-135: p. 62

_Par. xxix:_
34: _sqq._: p. 60
110: p. 60

_Par. xxx:_
133 _sqq._: p. 36
135-137: p. 17

_Par. xxxi:_
85: p. 96
85-89: p. 24
97: p. 123

_Par. xxxii:_
39: p. 123

_Par. xxxiii:_
58 _sqq._: p. 107
145: pp. 7, 40