Chapter VI: Front Matter (6)

But there was also in Dante a quality of mind which led him to unite the results of knowledge with poetry in a manner almost peculiar to himself. He was essentially a mystic. The dark and hidden side of things was not less present to his imagination than the visible and plain. The range of human capacity in the comprehension of the spiritual world was not then marked by as numerous boundary-stones of failure as now limit the way. Impossibilities were sought for with the same confident hope as realities. The alchemists and the astrologers believed in the attainment of results as tangible and real as those which travellers brought back from the marvellous and still unachieved East. The mystical properties of numbers, the influence of the stars, the powers of cordials and elixirs, the virtues of precious stones, were received as established facts, and opened long vistas of discovery before the student's eyes. Curiosity and speculative inquiry were stimulated by wonder and fed by all the suggestions of heated fancies. Dante, partaking to the full in the eager spirit of the times, sharing all the ardor of the pursuit of knowledge, and with a spiritual insight which led him into regions of mystery where no others ventured, naturally connected the knowledge which opened the way for him with the poetic imagination which cast light upon it. To him science was but another name for poetry.

Much learning has been expended in the attempt to show that even the doctrine of Love, which is displayed in "The New Life," is derived, more or less directly, from the philosophy of Plato. It has been supposed that this little autobiographic story, full of the most intimate personal revelations, and glowing with a sincere passion, was written on a preconceived basis of theory. A certain Platonic form of expression, often covering ideas very far removed from those of Plato, was common to the earlier, colder, and less truthful poets. Some strains of such Platonism, derived from the poems of his predecessors, are perhaps to be found in this first book of Dante's. But there is nothing to show that he had deliberately adopted the teachings of the ancient philosopher. It may well, indeed, be doubted if at the time of its composition he had read any of Plato's works. Such Platonism as exists in "The New Life" was of that unconscious kind which is shared by every youth of thoughtful nature and sensitive temperament, who makes of his beloved a type and image of divine beauty, and who by the loveliness of the creature is led up to the perfection of the Creator.

The essential qualities of the "Vita Nuova," those which afford direct illustration of Dante's character, as distinguished from those which may be called youthful, or merely literary, or biographical, correspond in striking measure with those of the "Divina Commedia." The earthly Beatrice is exalted to the heavenly in the later poem; but the same perfect purity and intensity of feeling with which she is reverently regarded in the "Divina Commedia" is visible in scarcely less degree in the earlier work. The imagination which makes the unseen seen, and the unreal real, belongs alike to the one and to the other. The "Vita Nuova" is chiefly occupied with a series of visions; the "Divina Commedia" is one long vision. The sympathy with the spirit and impulses of the time, which in the first reveals the youthful impressibility of the poet, in the last discloses itself in maturer forms, in more personal expressions. In the "Vita Nuova" it is a sympathy mastering the natural spirit; in the "Divina Commedia" the sympathy is controlled by the force of established character. The change is that from him who follows to him who commands. It is the privilege of men of genius, not only to give more than others to the world, but also to receive more from it. Sympathy, in its full comprehensiveness, is the proof of the strongest individuality. By as much as Dante or Shakspeare learnt of and entered into the hearts of men, by so much was his own nature strengthened and made peculiarly his own. The "Vita Nuova" shows the first stages of that genius, the first proofs of that wide sympathy, which at length resulted in the "Divine Comedy." It is like the first blade of spring grass, rich with the promise of the golden harvest.

[Footnote 1: _Vita di Dante_. Milan, 1823, pp. 29, 30.]

[Footnote 2: _Vita di Dante_, p. 69.]

[Footnote 3: For _vita nova_ in the sense of _early life_, see _Purgatory_, xxx. 115, with the comments of Landino and Benvenuto da Imola; and for _età novella_ in a similar sense, see Canzone xviii. st. 6. Fraticelli, who supports this interpretation, gives these with other examples, but none more to the point. Mr. Joseph Carrow, who had a translation into English of the _Vita Nuova_, printed at Florence in 1840, entitles his book "The Early Life of Dante Allighieri." But as giving probability to the meaning to which we incline, see Canzone x. st. 5.

"Lo giorno che costei nel mondo venne,
Secondo che si trova
Nel libro della mente che vien meno,
La mia persona parvola sostenne
Una passion nova."

That day when she unto the world attained,
As is found written true
Within the book of my now sinking soul,
Then by my childish nature was sustained
A passion new.

In referring to Dante's Minor Poems, we shall refer to them as they stand in the first volume of Fraticelli's edition of the _Opere Minore al Dante_, Firenze, 1834. There is great need of a careful, critical edition of the _Canzoniere_ of Dante, in which poems falsely ascribed to him should no longer hold place among the genuine. But there is little hope for this from Italy; for the race of Italian commentators on Dante is, as a whole, more frivolous, more impertinent, and duller, than that of English commentators on Shakespeare.]

[Footnote 4: The word in the original (Villani, Book vii. C. 89) is _Giocolari_, the Italian form of the French _jongleur_,--the appellation of those whose profession was to sing or recite the verses of the troubadours or the romances of chivalry.]

[Footnote 5: See Boccaccio, _Decamerone_, Giorn. vi, Nov. 9, for an entertaining picture of Florentine festivities.]

[Footnote 6: The feeling which moved Florence thus to build herself into beauty was one shared by the other Italian republican cities at this time. Venice, Verona, Pisa, Siena, Orvieto, were building or adding to churches and palaces such as have never since been surpassed.]

[Footnote 7: Cicognara, _Storia della Scultura_, II. 147.]

[Footnote 8: Guido Guinicelli will always be less known by his own verses than by Dante's calling him

------"father
Of me and all those better others
Who sweet chivalric lovelays formed."
_Purg._ xxvi. 97-99.

And Guido Cavalcanti, "he who took from this other Guido the praise of speech," (_Purg._ xi. 97,) is more famous as Dante's friend than as a poet.]

[Footnote 9: _Purgatory_, xxiv. 53-60.]

[Footnote 10: _Decamerone_, Giorn. vi. Nov. 9. _Logician_ is here to be understood in an extended sense, as the student of letters, or _arts_, as they were then called, in general.]

* * * * *

AT SEA.

The night is made for cooling shade,
For silence, and for sleep;
And when I was a child, I laid
My hands upon my breast, and prayed,
And sank to slumbers deep:
Childlike as then, I lie to-night,
And watch my lonely cabin light.

Each movement of the swaying lamp
Shows how the vessel reels:
As o'er her deck the billows tramp,
And all her timbers strain and cramp
With every shock she feels,
It starts and shudders, while it burns,
And in its hingèd socket turns.

Now swinging slow, and slanting low,
It almost level lies;
And yet I know, while to and fro
I watch the seeming pendule go
With restless fall and rise,
The steady shaft is still upright,
Poising its little globe of light.

O hand of God! O lamp of peace!
O promise of my soul!--
Though weak, and tossed, and ill at ease,
Amid the roar of smiting seas,
The ship's convulsive roll,
I own, with love and tender awe,
Yon perfect type of faith and law!

A heavenly trust my spirit calms,
My soul is filled with light:
The ocean sings his solemn psalms,
The wild winds chant: I cross my palms,
Happy as if, to-night,
Under the cottage-roof, again
I heard the soothing summer-rain.

* * * * *

BULLS AND BEARS.

[Continued.]