Chapter IV: Front Matter (4)

For his theory of knowledge is, that it is the natural and innate desire of the soul, as essential to its own perfection in its ultimate union with God. The use of the reason, through which he partakes of the Divine nature, is the true life of man. Its right use in the pursuit of knowledge leads to philosophy, which is, as its name signifies, the love of wisdom, and its end is the attainment of virtue. It is because of imperfect knowledge that the love of man is turned to fallacious objects of desire, and his reason is perverted. Knowledge, then, is the prime source of good; ignorance, of evil. Through knowledge to wisdom is the true path of the soul in this life on her return to her Maker, to know whom is her native desire, and her perfect beatitude.

In the exposition of these truths in their various relations a multitude of topics of interest are touched upon, and a multitude of opinions expressed which exhibit the character of Dante's mind and the vast extent of the acquisitions by which his studies had enriched it. The intensity of his moral convictions and the firmness of his moral principles are no less striking in the discourse than the nobility of his genius and the breadth of his intellectual view. Limited and erroneous as are many of his scientific conceptions, there is little trace of superstition or bigotry in his opinions; and though his speculations rest on a false conception of the universe, the revolting dogmas of the common mediaeval theology in respect to the human and the Divine nature find no place in them. The mingling of fancy with fact, the unsoundness of the premises from which conclusions are drawn, the errors in belief and in argument, do not affect the main object of his writing, and the 'Convito' may still be read with sympathy and with profit, as a treatise of moral doctrine by a man the loftiness of whose intelligence rose superior to the hampering limitations of his age.

In its general character and in its biographical revelations the 'Banquet' forms a connecting link between the 'New Life' and the 'Divine Comedy.' It is not possible to frame a complete reconciliation between all the statements of the 'Banquet' in respect to Dante's experience after the death of Beatrice, and the narrative of them in the 'New Life'; nor is it necessary, if we allow due place to the poetic and allegoric interpretation of events natural to Dante's genius. In the last part of the 'New Life' he tells of his infidelity to Beatrice in yielding himself to the attraction of a compassionate lady, in whose sight he found consolation. But the infidelity was of short duration, and, repenting it, he returned with renewed devotion to his only love. In the 'Convito' he tells us that the compassionate lady was no living person, but was the image of Philosophy, in whose teaching he had found comfort; and the poems which he then wrote and which had the form, and were in the terms of, poems of Love, were properly to be understood as addressed--not to any earthly lady, but--to the lady of the understanding, the most noble and beautiful Philosophy, the daughter of God. And as this image of Philosophy, as the fairest of women, whose eyes and whose smile reveal the joys of Paradise, gradually took clear form, it coalesced with the image of Beatrice herself, she who on earth had been the type to her lover of the beauty of eternal things, and who had revealed to him the Creator in his creature. But now having become one of the blessed in heaven, with a spiritual beauty transcending all earthly charm, she was no longer merely a type of heavenly things, but herself the guide to the knowledge of them, and the divinely commissioned revealer of the wisdom of God. She looking on the face of God reflected its light upon him who loved her. She was one with Divine Philosophy, and as such she appears, in living form, in the 'Divine Comedy,' and discloses to her lover the truth which is the native desire of the soul, and in the attainment of which is beatitude.

It is this conception which forms the bond of union between the 'New Life,' the 'Banquet,' and the 'Divine Comedy,' and not merely as literary compositions but as autobiographical records. Dante's life and his work are not to be regarded apart; they form a single whole, and they possess a dramatic development of unparalleled consistency and unity. The course of the events of his life shaped itself in accordance with an ideal of the imagination, and to this ideal his works correspond. His first writing, in his poems of love and in the story of the 'New Life,' forms as it were the first act of a drama which proceeds from act to act in its presentation of his life, with just proportion and due sequence, to its climax and final scene in the last words of the 'Divine Comedy.' It is as if Fate had foreordained the dramatic unity of his life and work, and impressing her decree upon his imagination, had made him her more or less conscious instrument in its fulfillment.

Had Dante written only his prose treatises and his minor poems, he would still have come down to us as the most commanding literary figure of the Middle Ages, the first modern with a true literary sense, the writer of love verses whose imagination was at once more delicate and more profound than that of any among the long train of his successors, save Shakespeare alone, and more free from sensual stain than that of Shakespeare; the poet of sweetest strain and fullest control of the resources of his art, the scholar of largest acquisition and of completest mastery over his acquisitions, and the moralist with higher ideals of conduct and more enlightened conceptions of duty than any other of the period to which he belonged. All this he would have been, and this would have secured for him a place among the immortals. But all this has but a comparatively small part in raising him to the station which he actually occupies, and in giving to him the influence which he still exerts. It was in the 'Divine Comedy' that his genius found its full expression, and it is to this supreme poem that all his other work serves as substructure.

The general scheme of this poem seems to have been early formed by him; and its actual composition was the main occupation of his years of exile, and must have been its main, one might say its sufficient, consolation. Never was a book of wider scope devised by man; and never was one more elaborate in detail, more varied in substance, or more complete in execution. It is unique in the consistency of its form with its spirit. It possesses such organic unity and proportion as to resemble a work of the creative spirit of Nature herself.

The motive which inspired Dante in the 'Divine Comedy' had its source in his sense of the wretchedness of man in this mortal life, owing to the false direction of his desires, through his ignorance and his misuse of his free will, the chief gift of God to him. The only means of rescue from this wretchedness was the exercise by man of his reason, enlightened by the divine grace, in the guidance of his life. To convince man of this truth, to bring home to him the conviction of the eternal consequences of his conduct in this world, to show him the path of salvation, was Dante's aim. As poet he had received a Divine commission to perform this work. To him the ten talents had been given, and it was for him to put them to the use for which they had been bestowed. It was a consecrated task to which both heaven and earth set their hand, and a loftier task was never undertaken. It was to be accomplished by expounding the design of God in the creation, by setting forth the material and moral order of the universe and the share of man in that order, and his consequent duty and destiny. This was not to be done in the form of abstract propositions addressed to the understanding, but in a poetic narrative which should appeal to the heart and arouse the imagination; a narrative in which human life should be portrayed as an unbroken spiritual existence, prefiguring in its mortal aspects and experience its immortal destiny. The poem was not to be a mere criticism of life, but a solution of its mystery, an explanation of its meaning, and a guide of its course.

To give force and effect to such a design the narrative must be one of personal experience, so conceived as to be a type of the universal experience of man. The poem was to be an allegory, and in making himself its protagonist Dante assumed a double part. He represents both the individual Dante, the actual man, and that man as the symbol of man in general. His description of his journey through Hell, Purgatory, and Paradise has a literal veracity; and under the letter is the allegory of the conduct and consequences of all human life. The literal meaning and the allegorical are the web and woof of the fabric, in which the separate incidents are interwoven, with twofold thread, in designs of infinite variety, complexity, and beauty.

In the journey through Hell, Dante represents himself as guided by Virgil, who has been sent to his aid on the perilous way by Beatrice, incited by the Holy Virgin herself, in her infinite compassion for one who has strayed from the true way in the dark forest of the world. Virgil is the type of the right reason, that reason whose guidance, if followed, leads man to the attainment of the moral virtues, by the practice of which sin may be avoided, but which by themselves are not enough for salvation. These were the virtues of the virtuous heathen, unenlightened by divine revelation. Through the world, of whose evil Hell is the type and fulfillment, reason is the sufficient guide and guard along the perilous paths which man must traverse, exposed to the assaults of sin, subject to temptation, and compelled to face the very Devil himself. And when at last, worn and wearied by long-continued effort, and repentant of his frequent errors, he has overcome temptation, and entered on a course of purification through suffering and penitence, whereby he may obtain forgiveness and struggle upward to the height of moral virtue, reason still suffices to lead him on the difficult ascent, until he reaches the security and the joy of having overcome the world. But now reason no longer is sufficient. Another guide is needed to lead the soul through heavenly paths to the attainment of the divine virtues of faith, hope, and charity, by which the soul is made fit for Paradise. And here Beatrice, the type of theology, or knowledge of the things of God, takes the place of Virgil, and conducts the purified and redeemed soul on its return to its divine source, to the consummation of its desires and its bliss in the vision of God himself.

Such is the general scheme of the poem, in which the order of the universe is displayed and the life of man depicted, in scenes of immense dramatic variety and of unsurpassed imaginative reality. It embraces the whole field of human experience. Nature, art, the past, the present, learning, philosophy, all contribute to it. The mastery of the poet over all material which can serve him is complete; the force of his controlling imagination corresponds with the depth and intensity of his moral purpose. And herein lies the exceptional character of the poem, as at once a work of art of supreme beauty and a work of didactic morals of supreme significance. Art indeed cannot, if it would, divorce itself from morals. Into every work of art, whether the artist intend it or not, enters a moral element. But in art, beauty does not submit to be subordinated to any other end, and it is the marvel in Dante that while his main intent is didactic, he attains it by a means of art so perfect that only in a few rare passages does beauty fall a sacrifice to doctrine. The 'Divine Comedy' is indeed not less incomparable in its beauty than in its vast compass, the variety of its interest, and in the harmony of its form with its spirit. In his lectures 'On Translating Homer' Mr. Arnold, speaking of the metre of 'Paradise Lost,' says:--"To this metre, as used in the 'Paradise Lost,' our country owes the glory of having produced one of the only two poetical works in the grand style which are to be found in the modern languages; the 'Divine Comedy' of Dante is the other." But Mr. Arnold does not point out the extraordinary fact, in regard to the style of the 'Divine Comedy,' that this poem stands at the beginning of modern literature, that there was no previous modern standard of style, that the language was molded and the verse invented by Dante; that he did not borrow his style from the ancients, and that when he says to Virgil, "Thou art he from whom I took the fair style that has done me honor," he meant only that he had learned from him the principles of noble and adequate poetic expression. The style of the 'Divine Comedy' is as different from that of the AEneid as it is from that of 'Paradise Lost.'

There are few other works of man, perhaps there is no other, which afford such evidence as the 'Divine Comedy' of uninterrupted consistency of purpose, of sustained vigor of imagination, and of steady force of character controlling alike the vagaries of the poetic temperament, the wavering of human purpose, the fluctuation of human powers, and the untowardness of circumstance. From beginning to end of this work of many years there is no flagging of energy, no indication of weakness. The shoulders, burdened by a task almost too great for mortal strength, never tremble under their load.

The contrast between the inner and the outer life of Dante is one of the most impressive pictures of human experience; the pain, the privation, the humiliation of outward circumstance so bitter, so prolonged; the joy, the fullness, the exaltation of inward condition so complete, the achievement so great. Above all other poetry the 'Divine Comedy' is the expression of high character, and of a manly nature of surpassing breadth and tenderness of sympathy, of intensity of moral earnestness, and elevation of purpose. One closes the narrative of Dante's life and the study of his works with the conviction that he was not only one of the greatest among poets, but a man whose character gives to his poetry its highest and its most enduring interest.

NOTES

For the student of Italian, the following books may be recommended as opening the way to the study of Dante's life and works:

1. Tutte le Opere di Dante Alighieri. Nuovamente rivedute nel testo da Dr. E. Moore. Oxford, 1894, 1 vol.; sm. 8vo; pp. x. 490. [The best text of Dante's works, and the only edition of them in one volume. Invaluable to the student.]

2. La Divina Commedia di Dante Alighieri. Riveduta ... e commentata da G. A. Scartazzini. 2d ediz., Milano. 1896, 1 vol.; sm. 8vo; pp. xx, 1034; col Rimario ed Indice, pp. 122. On the whole the most useful edition for the beginner. The historical and biographical notes and the references to the sources of Dante's allusions are abundant and good; but interpretations of difficult passages or words are not always unquestionable.

Scartazzini's edition of the 'Divina Commedia' in three volumes, with his volume of 'Prolegomeni,' may be commended to the more advanced student, who will find it, especially the volume of the 'Paradise,' a rich storehouse of information.

For the English reader the following books and essays will be useful:--Cary's translation of the 'Divine Comedy,' in blank verse, modeled on Milton's verse, and remote from the tone of the original. This is the version of a refined scholar; it has been much admired and is generally quoted in England. It is furnished with good notes.

Longfellow's verse-for-verse unrhymed translation is far the most accurate of the English translations in verse, and is distinguished also for the verbal felicity of its renderings. The comment accompanying it is extensive and of great value, by far the best in English.

Of literal prose translations, there are among others that of the 'Inferno' by Dr. John Carlyle, which is of very great merit; that of the whole poem, with a comment of interest, by Mr. A. J. Butler; and that also of the whole poem and of the 'New Life' by C. E. Norton.

The various works on Dante by the Rev. Dr. Edward Moore, of Oxford, are all of the highest worth, and quite indispensable to the thorough student. Their titles are--'Contributions to the Textual Criticism of the Divina Commedia,' 'Time References in the Divina Commedia,' 'Dante and his Early Biographers,' and 'Studies in Dante.'

Lowell's essay on 'Dante' (prose works of James Russell Lowell, Riverside edition, Vol. iv.), and 'Dante,' an essay by the Rev. R. W. Church, late Dean of St. Paul's, should be read by every student. They will open the way to further reading. The 'Concordance to the Divine Comedy,' by Dr. E. A. Fay, published by Ginn and Company, Boston, for the Dante Society, is a book which the student should have always at hand.

C. E. N.

SELECTIONS FROM THE WORKS OF DANTE

In making the following translations from Dante's chief works, my attempt has been to choose passages which should each have interest in itself, but which, taken together, should have a natural sequence and should illustrate the development of the ruling ideas and controlling sentiment of Dante's life. But they lose much of their power and beauty in being separated from their context, and the reader should bear in mind that such is the closeness of texture of Dante's work, and so complete its unity, that extracts, however numerous and extended, fail to give an adequate impression of its character as a whole. Moreover, no poems suffer greater loss in translation than Dante's, for in no others is there so intimate a relation between the expression and the feeling, between the rhythmical form and the poetic substance. C. E. N.

FROM THE 'NEW LIFE'

1. The beginning of love.
2. The first salutation of his Lady.
3. The praise of his Lady.
4. Her loveliness.
5. Her death.
6. The anniversary of her death.
7. The hope to speak more worthily of her.

FROM THE 'BANQUET'

1. The consolation of Philosophy.
2. The desire of the Soul.
3. The noble Soul at the end of Life.

FROM THE 'DIVINE COMEDY'

1. Hell, Cantos i. and ii. The entrance on the journey through the
eternal world.
2. Hell, Canto v. The punishment of carnal sinners.
3. Purgatory, Canto xxvii. The final purgation.
4. Purgatory, Cantos xxx, xxxi. The meeting with his Lady in the
Earthly Paradise.
5. Paradise, Canto xxxiii. The final vision.

The selections from the 'New Life' are from Professor Norton's
translation, copyrighted 1867, 1892, 1895, and reprinted by
permission of Professor Norton and of Houghton, Mifflin and
Company, Boston, Mass.

THE NEW LIFE

I

THE BEGINNING OF LOVE

Nine times now, since my birth, the heaven of light had turned almost to the same point in its own gyration, when the glorious Lady of my mind, who was called Beatrice by many who knew not why she was so called, first appeared before my eyes. She had already been in this life so long that in its course the starry heaven had moved toward the region of the East one of the twelve parts of a degree; so that at about the beginning of her ninth year she appeared to me, and I near the end of my ninth year saw her. She appeared to me clothed in a most noble color, a modest and becoming crimson, and she was girt and adorned in such wise as befitted her very youthful age....

From that time forward Love lorded it over my soul, which had been so speedily wedded to him: and he began to exercise over me such control and such lordship, through the power which my imagination gave to him, that it behoved me to do completely all his pleasure. He commanded me ofttimes that I should seek to see this youthful angel; so that I in my boyhood often went seeking her, and saw her of such noble and praiseworthy deportment, that truly of her might be said that word of the poet Homer, "She seems not the daughter of mortal man, but of God." And though her image, which stayed constantly with me, gave assurance to Love to hold lordship over me, yet it was of such noble virtue that it never suffered Love to rule me without the faithful counsel of the reason in those matters in which it was useful to hear such counsel. And since to dwell upon the passions and actions of such early youth seems like telling an idle tale, I will leave them, and, passing over many things which might be drawn from the original where these lie hidden, I will come to those words which are written in my memory under larger paragraphs.

II

THE FIRST SALUTATION OF HIS LADY

When so many days had passed that nine years were exactly complete since the above-described apparition of this most gentle lady, on the last of these days it happened that this admirable lady appeared to me, clothed in purest white, between two gentle ladies, who were of greater age; and, passing along a street, she turned her eyes toward that place where I stood very timidly, and by her ineffable courtesy, which is to-day rewarded in the eternal world, saluted me with such virtue that it seemed to me then that I saw all the bounds of bliss.... And since it was the first time that her words came to my ears, I took in such sweetness that, as it were intoxicated, I turned away from the folk, and betaking myself to the solitude of my own chamber, I sat myself down to think of this most courteous lady.

And thinking of her, a sweet slumber overcame me, in which a marvelous vision appeared to me.... And [when I awoke] thinking on what had appeared to me, I resolved to make it known to many who were famous poets at that time; and since I had already seen in myself the art of discoursing in rhyme, I resolved to make a sonnet, in which I would salute all the liegemen of Love, and would write to them that which I had seen in my slumber.

III

THE PRAISE OF HIS LADY

Inasmuch as through my looks many persons had learned the secret of my heart, certain ladies who were met together, taking pleasure in one another's company, were well acquainted with my heart, because each of them had witnessed many of my discomfitures. And I, passing near them, as chance led me, was called by one of these gentle ladies; and she who had called me was a lady of very pleasing speech; so that when I drew nigh to them and saw plainly that my most gentle lady was not among them, reassuring myself, I saluted them and asked what might be their pleasure. The ladies were many, and certain of them were laughing together. There were others who were looking at me, awaiting what I might say. There were others who were talking together, one of whom, turning her eyes toward me, and calling me by name, said these words:--"To what end lovest thou this thy lady, since thou canst not sustain her presence? Tell it to us, for surely the end of such a love must be most strange." And when she had said these words to me, not only she, but all the others, began to await with their look my reply. Then I said to them these words:--"My ladies, the end of my love was formerly the salutation of this lady of whom you perchance are thinking, and in that dwelt the beatitude which was the end of all my desires. But since it has pleased her to deny it to me, my lord Love, through his grace, has placed all my beatitude in that which cannot fail me."

Then these ladies began to speak together: and as sometimes we see rain falling mingled with beautiful snow, so it seemed to me I saw their words issue mingled with sighs. And after they had somewhat spoken among themselves, this lady who had first spoken to me said to me yet these words:--"We pray thee that thou tell us wherein consists this beatitude of thine." And I, replying to her, said thus:--"In those words which praise my lady." And she replied:--"If thou hast told us the truth, those words which thou hadst said to her, setting forth thine own condition, must have been composed with other intent."

Then I, thinking on these words, as if ashamed, departed from them, and went saying within myself:--"Since there is such beatitude in those words which praise my lady, why has my speech been of aught else?" And therefore I resolved always henceforth to take for theme of my speech that which should be the praise of this most gentle one. And thinking much on this, I seemed to myself to have undertaken a theme too lofty for me, so that I dared not to begin; and thus I tarried some days with desire to speak, and with fear of beginning.

Then it came to pass that, walking on a road alongside of which was flowing a very clear stream, so great a desire to say somewhat in verse came upon me, that I began to consider the method I should observe; and I thought that to speak of her would not be becoming unless I were to speak to ladies in the second person; and not to every lady, but only to those who are gentle, and are not women merely. Then I say that my tongue spoke as if moved of its own accord, and said, _Ladies that have intelligence of Love_. These words I laid up in my mind with great joy, thinking to take them for my beginning; wherefore then, having returned to the above-mentioned city, after some days of thought, I began a canzone with this beginning.

IV

THE LOVELINESS OF HIS LADY

This most gentle lady, of whom there has been discourse in the preceding words, came into such favor among the people, that when she passed along the way, persons ran to see her; which gave me wonderful joy. And when she was near any one, such modesty came into his heart that he dared not raise his eyes, or return her salutation; and of this many, as having experienced it, could bear witness for me to whoso might not believe it. She, crowned and clothed with humility, took her way, showing no pride in that which she saw and heard. Many said, when she had passed: "This is not a woman; rather she is one of the most beautiful angels of heaven." And others said: "She is a marvel. Blessed be the Lord who can work thus admirably!" I say that she showed herself so gentle and so full of all pleasantness, that those who looked on her comprehended in themselves a pure and sweet delight, such as they could not after tell in words; nor was there any who might look upon her but that at first he needs must sigh. These and more admirable things proceeded from her admirably and with power. Wherefore I, thinking upon this, desiring to resume the style of her praise, resolved to say words in which I would set forth her admirable and excellent influences, to the end that not only those who might actually behold her, but also others, should know of her whatever words could tell. Then I devised this sonnet:--

So gentle and so gracious doth appear
My lady when she giveth her salute,
That every tongue becometh, trembling, mute;
Nor do the eyes to look upon her dare.
Although she hears her praises, she doth go
Benignly vested with humility;
And like a thing come down she seems to be
From heaven to earth, a miracle to show.
So pleaseth she whoever cometh nigh,
She gives the heart a sweetness through the eyes,
Which none can understand who doth not prove.
And from her countenance there seems to move
A spirit sweet and in Love's very guise,
Who to the soul, in going, sayeth: Sigh!

V

THE DEATH OF HIS LADY

After that I began to think one day upon what I had said of my lady, that is, in these two preceding sonnets; and seeing in my thought that I had not spoken of that which at the present time she wrought in me, it seemed to me that I had spoken defectively; and therefore I resolved to say words in which I would tell how I seemed to myself to be disposed to her influence, and how her virtue wrought in me. And not believing that I could relate this in the brevity of a sonnet, I began then a canzone.

_Quomodo sedet sola civitas plena populo! facta est quasi vidua
domina gentium._ [How doth the city sit solitary, that was full of
people! How is she become as a widow! she that was great among the
nations.]

I was yet full of the design of this canzone, and had completed [one] stanza thereof, when the Lord of Justice called this most gentle one to glory, under the banner of that holy Queen Mary, whose name was ever spoken with greatest reverence by this blessed Beatrice.

VI

THE ANNIVERSARY OF THE DEATH OF HIS LADY

On that day on which the year was complete since this lady was made one of the denizens of life eternal, I was seated in a place where, having her in mind, I was drawing an angel upon certain tablets. And while I was drawing it, I turned my eyes and saw at my side men to whom it was meet to do honor. They were looking on what I did, and, as was afterwards told me, they had been there already some time before I became aware of it. When I saw them I rose, and saluting them, said, "Another was just now with me, and on that account I was in thought." And when they had gone away, I returned to my work, namely, that of drawing figures of angels; and while doing this, a thought came to me of saying words in rhyme, as if for an anniversary poem of her, and of addressing those persons who had come to me.

After this, two gentle ladies sent to ask me to send them some of these rhymed words of mine; wherefore I, thinking on their nobleness, resolved to send to them and to make a new thing which I would send to them with these, in order that I might fulfill their prayers with the more honor. And I devised then a sonnet which relates my condition, and I sent it to them.

Beyond the sphere that widest orbit hath
Passes the sigh which issues from my heart:
A new Intelligence doth Love impart
In tears to him, which guides his upward path.
When at the place desired, his course he stays,
A lady he beholds in honor dight,
Who so doth shine that through her splendid light,
The pilgrim spirit upon her doth gaze.
He sees her such, that dark his words I find--
When he reports, his speech so subtle is
Unto the grieving heart which makes him tell;
But of that gentle one he speaks, I wis,
Since oft he bringeth Beatrice to mind,
So that, O ladies dear, I understand him well.

VII

THE HOPE TO SPEAK MORE WORTHILY OF HIS LADY

After this, a wonderful vision appeared to me, in which I saw things which made me resolve to speak no more of the blessed one, until I could more worthily treat of her. And to attain to this, I study to the utmost of my power, as she truly knows. So that, if it shall please Him through whom all things live that my life be prolonged for some years, I hope to say of her what was never said of any woman.

And then may it please him who is the Lord of Grace, that my soul may go to behold the glory of its lady, namely of that blessed Beatrice, who in glory looks upon the face of Him _qui est per omnia saecula benedictus_ [who is blessed forever].

The translations from the 'Convito' are made for 'A Library of the
World's Best Literature' by Professor Norton

THE CONVITO

I

THE CONSOLATION OF PHILOSOPHY

"When the first delight of my soul was lost, of which mention has already been made, I remained pierced with such affliction that no comfort availed me. Nevertheless, after some time, my mind, which was endeavoring to heal itself, undertook, since neither my own nor others' consoling availed, to turn to the mode which other comfortless ones had adopted for their consolation. And I set myself to reading that book of Boethius, not known to many, in which he, a prisoner and an exile, had consoled himself. And hearing, moreover, that Tully had written a book in which, treating of friendship, he had introduced words of consolation for Laelius, a most excellent man, on the death of Scipio his friend, I set myself to read that. And although it was difficult for me at first to enter into their meaning, I finally entered into it, so far as my knowledge of Latin and a little of my own genius permitted; through which genius I already, as if in a dream, saw many things, as may be seen in the 'New Life.' And as it sometimes happens that a man goes seeking silver, and beyond his expectation finds gold, which a hidden occasion affords, not perchance without Divine guidance, so I, who was seeking to console myself, found not only relief for my tears, but the substance of authors, and of knowledge, and of books; reflecting upon which, I came to the conclusion that Philosophy, who was the Lady of these authors, this knowledge, and these books, was a supreme thing. And I imagined her as having the features of a gentle lady; and I could not imagine her in any but a compassionate act; wherefore my sense so willingly admired her in truth, that I could hardly turn it from her. And after this imagination I began to go there where she displayed herself truly, that is to say, to the school of the religious, and to the disputations of the philosophers, so that in a short time, perhaps in thirty months, I began to feel so much of her sweetness that the love of her chased away and destroyed every other thought."

'The Banquet,' ii. 13.

II

THE DESIRE OF THE SOUL

The supreme desire of everything, and that first given by Nature, is to return to its source; and since God is the source of our souls and Maker of them in his own likeness, as is written, "Let us make man in our image, after our likeness," to him this soul desires above all to return. And as a pilgrim, who goes along a road on which he never was before, thinks every house he sees afar off to be his inn, and not finding it so, directs his trust to the next, and thus from house to house till he comes to the inn, so our soul at once, on entering the new and untraveled road of this life, turns her eyes to the goal of her supreme good, and therefore whatever thing she sees which seems to have in it some good, she believes to be that. And because her knowledge at first is imperfect, not being experienced or instructed, small goods seem to her great, therefore she begins with desiring them. Wherefore we see children desire exceedingly an apple; and then proceeding further, desire a little bird; and further still a beautiful dress; and then a horse, and then a woman, and then riches not great, and then greater, and then as great as can be. And this happens because in none of these does she find that which she is seeking, and she trusts to find it further on....

Truly this way is lost by error as the roads of earth are; for as from one city to another there is of necessity one best and straightest way, and another that always leads away from it, that is, one which goes in another direction, and many others, some less diverging, and some approaching less near, so in human life are divers roads, of which one is the truest, and another the most deceitful, and certain ones less deceitful, and certain less true. And as we see that that which goes straightest to the city fulfills desire, and gives repose after weariness, and that which goes contrary never fulfills it, and can never give repose, so it falls out in our life: the good traveler arrives at the goal and repose, the mistaken never arrives there, but with much weariness of his mind always looks forward with greedy eyes.

'The Banquet,' iv. 12.

III

THE NOBLE SOUL AT THE END OF LIFE

The noble Soul in old age returns to God as to that port whence she set forth on the sea of this life. And as the good mariner, when he approaches port, furls his sails, and with slow course gently enters it, so should we furl the sails of our worldly affairs and turn to God with our whole mind and heart, so that we may arrive at that port with all sweetness and peace. And in regard to this we have from our own nature a great lesson of sweetness, that in such a death as this there is no pain nor any bitterness, but as a ripe fruit is easily and without violence detached from its twig, so our soul without affliction is parted from the body in which it has been. And just as to him who comes from a long journey, before he enters into the gate of his city, the citizens thereof go forth to meet him, so the citizens of the eternal life come to meet the noble Soul; and they do so through her good deeds and contemplations: for having now rendered herself to God, and withdrawn herself from worldly affairs and thoughts, she seems to see those whom she believes to be nigh unto God. Hear what Tully says in the person of the good Cato:--"With ardent zeal I lifted myself up to see your fathers whom I had loved, and not them only, but also those of whom I had heard speak." The noble Soul then at this age renders herself to God and awaits the end of life with great desire; and it seems to her that she is leaving the inn and returning to her own house, it seems to her that she is leaving the road and returning to the city, it seems to her that she is leaving the sea and returning to port.... And also the noble Soul at this age blesses the past times; and well may she bless them, because revolving them through her memory she recalls her right deeds, without which she could not arrive with such great riches or so great gain at the port to which she is approaching. And she does like the good merchant, who when he draws near his port, examines his getting, and says: "Had I not passed along such a way, I should not have this treasure, nor have gained that which I may enjoy in my city to which I am drawing near;" and therefore he blesses the way which he has come.

'The Banquet,' iv. 28.

The selections from the 'Divina Commedia' are from Professor
Norton's translation: copyrighted 1891 and 1892 and reprinted by
permission of Professor Norton and of Houghton, Mifflin and
Company, Publishers, Boston, Mass.

HELL