Dante and the English Poets from Chaucer to Tennyson

D A N T E A N D T H E E N G LI SH PO ET S FR OM CH A UCER TO TEN N YSON

O SCAR KUHNS : Professor 0 Romance La nguages in We sieya n Univen ﬂy A act/t ar of e German and S wiss S ettlgke nt: of Pe nn sylvania

“ A great poe m is a fo untain forever overﬂowing with the wate rs o fwisdo m and de li ht ; and afte r o ne pe rson ﬂi n hi and one age have e x hauste d its divine e ue ce , w ch t eir eculiar re lations e na le t e m to s are anot e r h p b h h , h and et ano t er succe eds and new re lations are ever h . o h o rese en and an ~ de ve pe d, t e so urce of an unf un ” De e nse o Poe t conceived deli t . S HE LLEY A r . gh , f f y

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P EFACE R .

FOR many years I have found a pleasant dive rsion from the ro und o fro utine dutie s in gathering togethe r the material which o rms the sub ct o ft is o o I t is wit f je h b k . h the tho ught that it may inte rest o thers that i i n u is d rt o ft is m t ri t s o w p bl he . Pa h a e al appeared so me years since in M o dern Lan

' N t Fo r the me a re i io r guage o es. g b bl g aphy o f the subje ct (mo stly in the fo rm of

rtic s not s co rr s o nd nc and o t r a le , e , e p e e , he

m r o r rio dic it r tur see ephe e al pe al l e a e), ’ Ko ch s Catalo g ue o fthe Dante Colle ctio n

’ in Co rn niv rsit and tz s La Litte ell U e y, Be r tur m r a e Co pa é e . p I desire to express my thanks to the autho rities of the H arvard University

Libr r o se ib r it in the o nin of a y, Wh l e al y l a g V vi PREFA CE. books extends the u sefulness ofthat insti tution far beyond the limits o f its o wn

c d mic constitu nc a a e e y.

M I DD OW CONN A il 1 0 L . r ET N , , p , 9 4 . N ENTS CO T .

CH A PTER

I I R DUC I O . 0 o o o o o o o 0 o 0 0 o 0 . NT O T N I I .

MI L I F R OM C A UC R T o . I I . H E TON

I V MI LTO . N

E I E N TUR Y TH E G C . V . HTEENTH

TH E DA R VI VA L I N N I VI . NTE E THE NETEENTH

VI I TH E Po E Ts O F E A R LY NI . THE NETEENTH

VI I I BYR . ON

I X .

MA W A R LD A N D R S S I X . TTHE NO O ETT .

BR W I A D T Y S XI . G N O N N ENN ON . vii

DA TE A D THE ENGLISH POETS N N .

C ” HAPTER I .

I N T R O D UC T I O N .

N G LI S H it r tur as m uc as if not E l e a e , h , mor t n an ot r has n s d e ha , y he , bee hape by

n an v ri d in I n its r ma y d a e ﬂuences. ea ly

~ formative period it added to its Teu tonic basis those wide - reaching streams of m diav it r tur - ic did ctic and e e al l e a e , ep , a , c iv rous — w ic ound c i r ssion h al , h h f h ef exp e through the medium ofOld F rench ; in the movement of the Renaissance it was permeated with the newly revived classic s irit w ic innin in t r du p h h , beg g I aly , g a ally spread over all western Europe ; While in m odern times the cosm opolitan spirit has opened up to it the literary treas

Of rs he ure s of every other land. cou e t 2 DANTE AND THE ENGLISH POE TS . main channels through which these vari ous streams of inﬂuence have produced t ir ff ct are the r t writ rs —in s it he e e g ea e , p e ofthe fact that often those ofsecond and third rank have exerted an inﬂuence dis

ro ortion t to t ir m rit p p a e he e . I t would be of extreme value for the proper understanding of English litera tur if the in u nc u on it of the e , ﬂ e e p all great foreign writers could be investiga ted and summ riz d s ci ists — not a e by pe al , merely from a philological or scientiﬁc

oint i w b ut wit s m t tic p Of V e , h a y pa he feelin g for the aesthetic and psychological processes invo lved in the making of lit erat e uc an un rt in wou nat ur . S h de ak g ld urall r u t wit r t difficu ti s y be f a gh h g ea l e , and would need the co operation ofmany minds ; and yet if some such plan were c rri d out in the c s of om r r i a e a e H e , Ve g l ,

rv nt s sso tr rc rio sto o i Ce a e , Ta , Pe a h , A , M l ere o t and ot rs the stud nt of , G e he , he , e comparative literature would have to I NTRODUCTI ON. 3

hand the material which now lies scat

tered ov r wi d e a de ﬁel .

“ The present discussion ofthe inﬂuence ofDante on English poetry is a contribu

i n r i n t o towa d th s e d.

I n stud in t is u stion we must oo y g h q e , l k

’ for evidence of Dante s inﬂuence on the English po ets in the following forms : direct mention ; imitation of the outer form of his works ; literal translation or paraphrasing of certain passages ; repeti tion ofthought or sentiment ; adaptation

or use o fm t or or ur and st e aph ﬁg e ; la ly, the effect on life and character of his

mor t c in al ea h g . I n regard to the ﬁrst ofthese phases of

’ nt s in u nc no r im in r r m r s Da e ﬂ e e , p el a y e a k

n d to m d I n the ot rs how ee be a e . all he ,

v r we must const nt on our u rd e e , be a ly g a against undue emphasis of mere resem

nc s us in r rd to the out r bla e . Th ega e

orm ofthe ivin om d we now t t f D e C e y, k ha Dante in adopting a visionary j ourney AND THE I 4 DANTE ENGL SH POETS. through the supernatural world only fol lowed a custom almo st universal in and

or his tim in the t c in of r i bef e e , ea h g el g ious trut I t is id to sa ound hi h . le y he f s

’ prototype in the sixth book of Vergil s

ZEneid in the S omnium S el ioms of , p

ic ro in the o ofSt r nd n in C e , V yage . B a a ,

’ ’ the S on e dE n er ou d Houdan g f Of Ra l , or in the isions of St u und V . Pa l , T al ,

1 and rico t s off r c rt in Albe . All he e e e a striking resemblances to the Divine Com

’ ed but as i nor D Ancona s s : Fo s y, S g ay sero anche maggiori e piu strette le cor ris ond nz non dir mo che iu che da p e e , e , p

tr da u st nd ision of al a , q e a legge a (V Albe rico ) abbia tolto Dante forme ed

m n i l utt le not t ele e t a suo poema . T e a e visioni sono anelli di una gran catena

’ che ris t m i antichlssum : ors ale a e p e , f

1 ’ Fo r Dante s pre dece ssors in the ﬁeld o f vision ’ literature see D Anco na I Precursori di ante , D ; Oz anam De s S ource s o ti u es de la ivine , p é q D m in l o fhis (E e s om lete n die vo . uvr C s a Co V. d é , p ; n f ant Marcu s ods The Forerun ers o e . D , D I I NTRODUCT ON. 5

nc nt ote i nor r cuno i a he , Da e p g a e al d questi non sapidi frutti della letteratura

’ c ustr ma b en conosc v i s nz la ale ; e a egl , e

’ tro com cosci nz l imma ina al , e la e a e g z ione dei suoi co etanei fosser replete di cosi fatte rappresentaz ioni della vita fu ” tur a . ’ What is true ofDante s relations to his predecessors is surely as true ofthe rela tion ofhis succ ssors to him I n the v ri e . a ous attempts to trace his inﬂuence based o n the use ofdr ms d sc nts to or ea , e e hell ,

oric r r s nt tions we v but alleg al ep e e a , ha e itt r roo ahn ost r s m nc s l le eal p f, all e e bla e in such cases being capable of explana tion by means ofmediaaval conventional iti s e .

1 ’ D Ancona I Precursori di ante 6 cf , D , p . 7 ; . “ also : Ar om ento di le e nda nei devoti p . 97 g gg racconti: tema letterario ai p o eti: S pettacolo nei popolari ritrovi: canto giullare sco nelle piaz z e e nei trivi: dipinto in sulle mura delle chie se e dei ' cimiteri la Divina Commedz a e ra ia dun u e in , , g , q , e m rione e in a oz z o rim a ch e la m ano di ante b bb , p D ” d e orma immortale n el suo o em a le e ss f p . 6 E DANTE AND TH ENGLISH POETS .

The mo st obvious method of studying the inﬂuence ofone poet on another is by m ns of r s— t t is r s m nc s ea pa allel ha , e e bla e in ur s and m t ors r minisc nc ﬁg e e aph , e e es oft ou t iso d s or incid nts or v n h gh , ep e e , e e imitation of characteristic words and

r s s ph a e . With the increased attention given to the study o f comparative literature in our colleges and universities this chasse aux aralléles as it has som tim s n p , e e bee c nic c d has com to occu mor y ally alle , e py e and mor the tt ntion of inv sti tors e a e e ga . Unfortunately the extravagance and the lack of critical impartiality on the part of some investigators has brought the whole method somewhat into dis r ut ep e . The subject ofparallels is indeed a deli c t one and to tr t d ri t n ds a e , be ea e a gh ee

" not on ood s ns but wid d of ly g e e , a e ﬁel knowledge on the part of the investiga tor imi rit of t ou t or v n of . S la y h gh e e I I NTRODUCT ON.

expression do es not necessarily presup pose direct borrowing of o ne poet from

r To sa not in ofn tur c in anothe . y h g a al o

cidences the w o riod ofthe idd , h le pe M le Ages is full of a widely diﬁused materia

oetica if ma ow d the r s p , I y be all e exp e

sion consistin of const nt r t , g a ly epea ed

o s and discussions comm n th ught , o places

' Of t o o i oso and soci the he l gy , ph l phy , al

i I t is o t n im o ssi to r or es. f e p ble t ace the ultimate source o f these things : they come ﬂoating down the stream of

it r tur rom nti uit rom the l e a e f a q y, f Greek

and L tin and i ic writ rs rom th a B bl al e , f e

urc F t rs or rom the v st o Ch h a he , f a b dy of anonymous literature and oral tradi

tion — it r indi nous to w st rn E , e he ge e e u

ro or im ort d tr d r crus d r pe p e by a e , a e ,

or i rim rom the nds ofthe Ori nt p lg f la e .

As m s of t s common c s exa ple he e pla e , we may take the universal satire of

wom n the v ri tions of ortun the e , a a f e ,

in u nc of the st rs the doctrin of ﬂ e e a , e 8 POE s DANTE AND THE ENGLISH r . tru no i it and the v rious r ctions e b l y , a eﬂe on virtu s and vic s e e . The same thing is true Of certain meta

n r One ofthe mo st u phors a d ﬁgu es. bea tiful and apparently most characteristic

’ of Dante s ﬁgures is that of snow falling

1 in a e senz a vento lp , yet we find the same figure in Guido 2 Cavalcanti; while the analogous figure

of snow or ice m tin in the sun in el g , beg 3 nin wit om r and runnin down g h H e , g

he midd s t rou t i n Pro t le age h gh I al a ,

n and idd i rm n r ve gal , M le H gh Ge a , eap pears in countless forms in later litera

r 4 tu e .

I 0 I n erno X V . f , , 3 3 I n the sonne t B eltd di donna di piacente core; ! m r I l I I «35 re m o 6 6 5 e tc e e X . s f. o e . c H ( , ! , , p

' ' ' cially th e words K ozu77 0 a 5 ’ ’ ' ‘ ’ ' 3 ms 6 6 xmir K a t a rrix e r e r a x p ono l ow w — e o a w Od sse X I X 2 0 . op . y y , , 5 f Ovid C .

ies inse rto saucia sole . Met . I I Liquitur, ut glac ( , .

f Wol ram von E sc en ac Parz ival XI V C . f h b h , ( ,

en sné Der z ergienc, als in der sunn .

I o DANTE AND THE ENGLISH POETS.

oetica o o As an m p ab ve referred t . exa

oft is t the in s of uc r ple h , ake l e Cha e

Aboute hir eyen two a purpre ring

Bi- trent in sothfast toknin e ofhir e n , g p y e

Troi us and rise de I V ( l C y , , which are a very clo se parallel to Vita

Nuov X L ' dintom o oro si facea um a , l co or ur ur o lo u suo rir l e p p e , q ale le appa

’ er cuno m rtirio ch tri receva p al a al ,

gli o cchi son vinti

’ E s esse vo te ian on si ch more p l p g , A ” r i Li cerchia di corona di ma t ri.

And yet Chaucer undoubtedly got this id rom occ ccio who ims ot it ea f B a , h elf g

n 1 from Da te . I n discussions like the present we must proceed in some such way as lawyers do

aw ircumst nti vid nc o t in l . n C a al e e e , f e o f itt v u in its ma the st l le al e elf , y by e ab lishment of clo se personal relations b e

1 E intorno agli o cchi un purpureo giro v no del o m artire Dava ero se g su .

- m ni S ee S av Lo ez R o a a X I I . j p , , X V , 443 I I 1 I NTRODUCT ON.

m co nt An c din int r st co e ge . ex ee gly e e ing set of parallels might be made out

tw n nt and om r and if we be ee Da e H e , could believe (which ofcourse we cannot) that Dante knew and studied the latter as did r i m n of t s curious he Ve g l , a y he e coincidences would become evidence ofthe

l in u nc ofthe o d r on the t r o t ﬂ e e l e la e p e .

And et w i the inv sti tion of y , h le e ga

r s is so d ic t and diﬁcu t it is pa allel el a e f l ,

ond dou t t t suc r s do i t bey b ha h pa allel ex s . We are all inﬂuenced by the language and t ou ts o fo t rs s ci as r ss d h gh he , e pe ally exp e e

1 I n re re ading the I liad and the Ody sse y during the preparatio n o f this bo o k I hav e b e en stru ck with the numbe r o f co incidence s with the Divine

Com e d —~ all o f co urse e x laina le o n sim le y , , , p b p

rounds A s an e x am le com are the de scri tion g . p p p o f th e Elysian plain :

' ' ‘ ' of) vi ! t ré 061 a u o v woAb oﬂre wor 6 o s, p x m s p s

d sse I V (O y y. . and o f Olympu s " 067 dvéuoun rt vdaaerat 0 61 1 11- 01 6nﬁp

‘ ' ‘ ‘ Belierat ii e un im m Ava at . o r x v r , e tc (I bid r X X I wit Pu . 6 h g , , 4

Perc é non io ia no n rando no n ne v e h p gg , g , , Non ru iada no n rina in su cade g , b p , l l Che a sca e tta dei re gradi bre ve .

Nuvole s e sse non aion e tc. p p , 1 2 AND THE DANTE ENGLISH POETS . in it r tur No t on is l e a e . ly all language ro z n m t ors but t r is not in f e e aph , he e a s gle cu tiv t d writ r of n is who do s not l a e e E gl h e , conscious or unconscious w v into ly ly , ea e his own style fragments from the great

or To m ntion o n he in nc auth s, e ly t ﬂue e of Shakespeare— whose phrases have b e come part and parcel of the English language— there is scarcely a writer to da r t or sm w o s st is not y, g ea all , h e yle

l tur t dwit s r n r ssions sa a e h Shake pea ea exp e .

1 To give ex ample s o f this almo st self- evident ro o sition is li e aintin the lil et I cannot p p k p g y , y forbe ar qu oting one or two passage s taken at n e m o n T L li ra dom from cont p ra e ous writers. hu s e s e “ S tephen in the ﬁrst instalm ent o fhis Early I m ” re ssions in the Atlantic Mont l S e tem er p , h y ( p b , 1 0 ada ts wit out uotation a line rom S a e 9 3) p , h q , f h k ’ “ speare s thirtieth sonnet : When the re fore I sum mon u rem em rances o ft in s ast I am orced to p b h g p , f ” n tc W ile the New Y o r S un in an e di co e ss e . f , h k to rial anuar 1 0 unite s reminiscence s o fth e (J y 5 , 9 4) Be atitude s and the S pe ech o f Cassiu s in Shake ’ S pe are s J uliu s Cae sar t o point a gentle satire upon “ H arvard athle tics : The wo rld hungers and thirsts to know u p on what m e at the H arvard students fe e d that the y are grown so gre at in athle tic pe r m n e fo r a c s. I 1 I NTRODUCT ON. 3

I n some cases these parallels appeal to our ud m nt wit convincin orc and j g e h g f e , we straightway accept them without

u s ion I n ot r c s s the roc ss is q e t . he a e p e m or com ic t d and on t r c r e pl a e , ly af e a a e

i n an we orm an o inion us ful s fti g c f p . Th

’ in Longfellow s Sonnet on Dante we ﬁnd the lines :

The ice about thy heart melts as the snow On mountain ei ts and in swi t over ow h gh , f ﬂ

rom h i in so s o fs m Comes gushing f t yl p s b ha e .

Where did the poet get this ﬁgure ? We have already seen that it is a natural one and that examples ofit exist in all litera

Do we t n n d to s r tures. he ee eek a pa al

? so how s we s ct rom the lel If , hall ele f large number of similar expressions to be found in every literature ? And yet when we consider that Lo ngfellow is talking ab out Dante and his meeting with Bea tric in the rt r dis we are com e Ea hly Pa a e , pelled to believe that although he m ay have had in mind many other passages 1 H E 4 DANTE AND T E NGLISH POETS . cont inin the s m m t or in t is c s a g a e e aph , h a e ’ at least he was inﬂuenced by Dante s lines :

’ LO l ch m era intorno al cor ristretto ge e ,

S irito d ac ua ssi e con an oscia p e q fe , g l Per la bocca e per gli occhi usci da petto .

- Pur . . g , XXX , 97 99

most im ort nt ind ofin u nc The p a k ﬂ e e ,

ow v r of r t mor o t and t c r h e e , a g ea al p e ea he suc as nt is is s iritu f ctin h Da e , p al , a fe g the inner life oftho se who study his poem

i r r nc and ov uc in u nc w th eve e e l e . S h fl e e is most difficu t of to s im t No l all e t a e . doubt most ofthe references to Dante in the early centuries are more or less per unc or uc r ffords itt vid nc f t y. Cha e a l le e e e of vin t is s iritu r ci tion and ha g h p al app e a , the s m t in is tru v n of i ton I t a e h g e e e M l . is on in the nin t nt c ntur t t as ly e ee h e y ha , we s see t r t is d r ro d r mor hall la e , h eepe , b a e , e spiritual influence ofDante began to mani

s i in n ow r fe t tself all its fulness a d p e . Then only a whole group of the noblest int cts of n nd d votin t m elle E gla , e g he I C I 1 NTRODU T ON. 5 s v s to the stud ofthe ivin om d el e y D e C e y, saw as they pored over its pages new hori z ons o n out or t m t in t ir pe bef e he , fel he

rts the ins ir tion of no t ou ts hea p a ble h gh , and penetrated with him into the realities of the uns n wor d r is sc rc ee l . The e a ely one Of the great men ofmodern England who doe s not conﬁrm by word and exam ple the testimony of Hallam as to the “ spiritual inﬂuence of Dante ° An Eng lish mind that has drunk deep at the sourc s of sout rn ins ir tion and es e he p a , pecially that is imbued with the spirit of the mi t F or ntin wi conscious gh y l e e , ll be of r tu r s n ss and ui t ut a pe pe al f e h e q e bea y , resting on his imagination and spreading

nt ov r his ctions unti the ge ly e affe , l , by

ssin of v n it ma sor d ble g Hea e , y be ab be without lossin the pure inner light ofwhich that voice has spoken as no other can

’ Luce I ntellettual piena d amore

mor di vero ben ien di etiz ia A p l ,

tiz ia ch d lz o Le e trascende ogni o re . — Par. 0 2. XXX, 4 4 C HAPTER II .

HAU E R C C .

DAN TE di d in the r 1 2 1 an i e yea 3 , ex le rom his n iv n His i to a f at e la d. l fe all p i pearances had been a wretched fa lure . But scarcely had he been laid away in his tom t n r co nition and or n b , ha e g gl y bega to crown his m mor F or nc w ic e y . l e e , h h had treated him so harshly in his life tim now sou t for his s s men b e e , gh a he ;

an to stud his o m to writ commen g y p e , e t ri s and u o i ctur s i on a e e l g es. The le e h p the Divine Comedy established in Flor ence in 1 37 3 lasted for an hundred years and was followed by others in different citi s o ts c r t d his or and e . P e eleb a e gl y made him the constant object of their 1 6

1 8 AND HE DANTE T ENGLISH POETS.

' had met at the Council of Constance

(1 4 1 4 A copy of this transla tion was ro s nt to n nd Be p bably e E gla . or t is ow v r uc r had rou t f e h , h e e , Cha e b gh to n nd co of the t i n o m E gla a py I al a p e , and had given incontrovertible evidence in his works ofhaving been inﬂuenced by n Da te .

i i m L n nd was orn out 1 0 W ll a a gla b ab 33 , and his poem (the B text) was published in 1 376 three years after Boccaccio began his lectures on the Divine Comedy in F r nc I t is t u o i ofcours o . s ss l e e h p ble , e , that the English poet may have known the wor of nt is i o v s . s w r k Da e Th , h e e , not r nd is o and . uss r um p bable , M J e a doubtedly right in attributing the rather interesting resemblances between Piers Plowman and the Divine Comedy to 2 m r common ourc e ely s es.

1 Gladston Ninet ent nt vol 1 1 0 0 e e Ce ur . . , h y , 3 , p 4 Plum tre ante : The ivina o mme dia and Can p , D D C z onie re V 1 1 , , p . 4 . 3 “ Thus it happens that similarities might b e 1 CHAUCER. 9

’ r i st tr c s t n of nt s The ea l e a e , he , Da e inﬂuence on English poetry begin with

' uc r t suc in u nc r Cha e . Tha h ﬂ e e eally ex ists in the c s the tt r is ond , a e Of la e , bey dou t and was on a o oint d out b , l g g p e by

n is and rm r Ten E gl h Ge an schola s.

rin Louns ur m u and ot rs B k , b y , Ra bea , he have collected the evidence and drawn v rious conc usions t r rom I t is not a l he ef . n c ss r r t n to do mor t n e e a y he e , he , e ha

iv n r s tc ofthe su ct and g e a ge e al ke h bje , to refer the reader for a more detailed discussion to the various monographs on the su ct bje .

ointe d ou t wit out t ere ein the least attem t p , h h b g p at imitation e tween Lan land an d ante , b g D . Gusse 1 and Piers Plowman , , p . Am on t ese resem lances ointed out M g h b p by , Ju sserand are the following : Bo th p oets lived ab sor e d in visions ot m ade an aw ul il b , b h f p grimage through nine circle s of H ell and nine z ones Of Purgatory u ntil the y arrive d in Paradise ; both m eet the S even eadl Sins see a m stical re re D y , y p sentation of the events o f the o s el ud e the G p , j g Pa ac severe l curse th e tem oral ower o f the p y y , p p Po e acce t the le end accordin to whic Tr n p , p g g h aj a as av e w s ed, tc . 2 0 A D THE E LI H DANTE N NG S POETS .

’ A careful reading of Chaucer s various works reveals at once the fact that he was well acquainted with Italian litera

1 r Not on do s imit t tr rc tu e . ly e he a e Pe a h r but r ss s s met him f eely , he exp e ly ay he and learned from him the story of the

2 i occ ccio li wis Patient Grisild s. B a ke e ex erted an in u nc ov r him t ou ﬂ e e e , al h gh very strangely Chaucer never mentions i m 3 h s na e .

I t tran e t at rai could dou t t is I t is s g h C k b h . ma b e u e stione d t en ifm uc more t an the y q , h , h h me o fI talian so n h ad reac ed the e r o f ce r fa g h a Chau . t I Hi t En Li . s . . ( g , , 2 I wo l yow telle a tale which that I Lerne d at Padowe o fa wort cler hy k , reved his worde s and hi wer A s p by s k .

Praunce s Petrark the laureat oete , p , ’ Pr l te t is cler . o o e to the r High h k ( gu Cle ke s Tale . ) ” This remarkable silence has b een the subj ect o fmuc S eculation on th e art o fC aucer sc olars h p p h h .

The simplest as well as the m ost sensible ex plana~ “ ion is t at iv n Dr o n oc o t h g e by . J h K h : The nly ex lanation t ere o re is to assum e t at C aucer p h f h h , t ou he new t at Boccaccio wrote o ems did h gh k h p , not now his nam e or t at o f the aut or o f the k , h h ” MS S h e au cer had o t C u . E a . ( h ) b gh ( ss ys o n a cer ub C aucer S oc C u . . . h , p by h , p 2 I CHAUCER.

Equally well established is the fact of ’ n in n u tion a to Da te s ﬂue ce . The q es s the t nt oft is in u nc ow v r has ex e h ﬂ e e , h e e ,

cit d no inconsid r discussion som ex e e able , e undou t d r tin it ot rs a b e ly exagge a g , he s undou t d mini in i As an m b e ly fy g t . exa

ofthe orm r we ma t m u ple f e , y ake Ra bea , when he speaks of the ﬁb ermachtigen

” 1 Einﬂus of nt on the o ofF m s Da e H use a e . On the other hand I am inclined to think

Professor Lounsbury underestimates this

2 inﬂuence A in imi r ion . s s u st s all la q e , the truth probably lies between the two

tr m ex e es.

Let us in the ﬁrst place gather to

’ gether those facts concerning Chaucer s relations to Dante which no o ne is dis

os d to d n r are r p e e y . The e seve al cases ofactual mention ofthe Italian poet and

En S tud vol I I . . mi . I I n sum n u the re sult g , . g p s o f his inve sti ations owever R am eau uses g , h , b more m oderate lan ua e g g . 3 S tudie s in C aucer vol I I h , . . 2 2 DANTE AND THE ENGLISH POETS.

n u r us t r i his works i Cha ce . Th he e s a reference to the Inferno in Book I ofthe

ous of F m w r the n is o t H e a e , he e E gl h p e tells all tho se who wish to know

Ever tourment eek in e e y h ll , that they must

rede many a rowe On Virgile or on Claudian

D n t hit tel e can Or au te t a . , h l

’ And in the Fri r 1 1 6 if the a s Tale ( 5 . ) ﬁend in shape ofa yeoman tells the S om nour how her- afterward he will be where

o r thee needeth nat ofme t le e . For thou shalt by thyn owene ex perience Conne in a ebayer rede ofthis sentence

Bet t an Vir l wh l he was on ve h gy e, y ly

Or aunt so D al .

I n several passages we have direct men

’ tion of Dante s name in connectio n with tr ns tions rom the ivin om d a la f D e C e y .

’ Thus in the Wyf of Bath s Tale (lines 2 CHAUCER. 3

2 uc r iv s an n is v rsion of 1 1 5 ff. )Cha e g e E gl h e

’ Dante s discussion ofdegenerate children :

Wel can the wyse poete ofFlorence T at hi hte ant s e en in this sentence h g D , p k ’ LO in swich maner rym is Dante s tale F111 selde up ryseth by his branches smale

Prowesse ofman for od o fhis oo dnesse ; g , g , ” 1 o l m r ln W l that ofhim we c ay e ou genti esse .

R ade vo lte risurge per li rami ’ L uman probitate : e questo vuole uei che la da erc da lui S i c iami Q , p hé h . Pur I I 1 2 1 — . V g , , 3. Chaucer repeats this m edimval commonplace in the s o rt oe m on Gentilne se H e al o mu t ve h p s . s s ha had in mind o f course the assa e o f Bo é thius , , p g I I I since he had translated it in his En lis ( , g h versio n o f De Co nsolatione PhiIOS Ophiae :

u i ae (no b litas si ad claritudine m refe rt ur aliena e st . Q ) ,

f E i i n M ’ C . d t o R orris f by . o Chaucer s translatio n in the E arl En Te x t 8 0 f l o om an . 0 . a s R de y g C . la R ose

Noblece vient de bon corage Car ge ntillece de lignage ’ N est pas gentillece qui vaille

— line s which seem almo st literally translated by Tenny son in Lady Clara Vere de Vere

’ owe er it be it H , se ems to me ’ Tis o nl no le t y b o b e goo d.

Kind earts are mo re t an coro ne ts h h , And sim le ait p f h than Norman blo o d. 2 4 DANTE AND THE ENGLISH POETS.

Similarly Chaucer in the Prolo gue to the Legend ofGood Women paraphrases the

1 in s ofthe n rno on nv who l e I fe E y , ,

I s avender in the rete court a wa l g l y,

For she ne artet neit er ni t no da p h , h gh y, Out o fthe H ons of esar t us sait ant C ; h h D e .

The best ofthese translations or versions as well as the longest is that of Ugolino and the ow r of un r iv n in the T e H ge , g e

’ on s w ic uc r contr r to M k Tale , h h Cha e , a y his usu custom has cond ns d to n r al , e e ea ly one half Ofits length in the original :

Ofthe erl Hugelyn ofPyse the languor Ther may no tonge telle for pitec;

1 ’ La m eretrice che m ai dall Ospiz io Di Ce sare non torse gli o cchi putti

Mo rte co mune e dell iz i , e corti v o . I nf I I I 6 — 6 6 . , X , 4 . ower has the sam e t ou t w ic he ow ever G h gh , h h , h , attributes to S ene ca : S e ne c witne sse th o pe nly How that E nvie prop re ly I s o fthe o urt the c m w h C o un e nc e .

- Amant . I I 0 on . 8 . C f , , 3 95 9

Maca l in his e ditio n o f the E n lis C. u a G . y g h r s f owe r Earl En T x t in o e t S oc . s W k o G ( y g. ) h k “ this passage m ay b e base d re ally upon the well ” no wn a a e o f ante k p ss g D .

2 6 A ND THE DANTE ENGLISH POETS .

Than sholde nat hunger in my wo mbe crepe ;

T r is no t in save reed t at m w e e ere ev r. h h g , b , h l e

T us da da t is chi d i an to cr e h y by y h l b g y , Ti in his fadres arme adoun it la ll b y, “ And se de far- wel ader I moot d e y , f , y , i ad r nd d d th m And ste his e a e e e sa e da . k f , y y And w an the wo u ader deed it se h f l f y,

For wo his armes two he an to te g by , “ And se de as ortune ! and we lawa ! y , All , f y y ” wo l ma I Thy false wheel my a y wyte .

His children wende that it for hunger was That he his armes now and not for wo g , , “ And se de ader do not so a as! y , f , ll But rather cet the ﬂesh upon us two ;

Our esh t ou afus tak our es us fro ﬂ h y , ﬂ h ” And ect - nou ri t t us t e to him se de y gh ; gh h h y y ,

And a t r t at within a da or two f e h , y ,

Th l de h m in his a e adoun and de d ey ey e l pp y e .

Himsel des eired eek for un er starf , p , h g ; Thus ended is this mighty erl ofPyse ;

i h estaat ortune awe him car From he g f y f .

di it o ht - nou suff s Ofthis Trage e g e y gh y e .

ho - so wol ere it in a en er w se W h l g y ,

R ed th the rete oete ofI taille e g p ,

t hi hte ant for he can al dev s Tha g D , y e l oint to oint not 0 word wol h faill ro e e . F p p ,

1 f I n erno I I I 1 if C . . f , XXX , C R 2 CHAU E . 7

I n ddition to the ov ss s a ab e pa age , w r t r is s ci m ntion of nt he e he e pe al e Da e , we have several others so deﬁnite that I think there can be little doubt as to their

n n ur I n the r m nt of Da tea so ce . Pa le e Foules we ﬁnd an inscription over the gate to the Park which is evidently imi ’ tated from Dante s dread inscription o ver the entrance to Hell

Thorgh me men goon ln—to that blisful place ’ Ofherte s hele and dedly woundes cure ;

Thor h me men oon unto the we e of race g g ll G , Ther grene and lusty M ay shal ever endure ; This is the way to al good aventure ;

Be ad t ou reder and th sorwe ofcaste gl , h , y , 1 AI o en am I asse in and b the aste . p ; p , y f

S o too the in s in the st st nz of , , l e la a a Troilus and Criseyde

T ou oon and two and t ree terne ou- ve h , , h , e ly ,

T at re nest a in t ree and two and oon h g y h ,

ncircumscri t and al ma st circumscr ve U p , y y ,

1 P r m e si va nella cittadolente e , ’ Per m e si va nell eterno dolore ,

r m si v tr erdut ente Pe e a a la p a g .

’ i e o i r nz oi ch entrate Lasc at gn spe a a v . I I 1 if I nf. , I , . 28 A D THE DANTE N ENGLISH POETS .

l are v r in t n rom the Paradiso e y pla ly ake f , while the exquisite prayer in the 33d ' 2 canto ofthe same cantI/ m is thus rendered in the Prologue to the Seconde Nonnes Tale

T ou ma de and mooder do hter ofth sone h y , g y ,

T ou we e ofmerc sin u sou es cure h ll y, f l l ,

I n w om t at God for b ontee c ees to wo h h , o , h ne

T ou um e and ei over ever creature h , h bl , h gh y ,

T ou nobledest so er ort our nature h f f h ,

T at no desde n the ma er hadde of inde h y k k ,

His som in blod and es to c ot e and wind e e ﬂ h l h e .

Within the cloistre blisful o fthy sydes

Too mannes s a the eterna ove and ees k h p l l p ,

T at ofthe tr me com as ord and de is h y p l gy ,

uel Uno e Du e e Tre ch e sem re vive Q p , E re na sem re in Tre e Due e Uno g p , n ircon critto e tutto circonscriv No c s , e .

Par X I V 2 8— 0 . , , 3 . 3 er ine Madre ﬁ lia del tu o Fi lio V g , g g , Umile e d alta iu che creatura p , ’ Termine ﬁsso d eterno consi lio g , ’ ’ colei che 1 umana natura Tu se , No ilitasti si che il suo Fatto re b , Non disde no di arsi sua attura etc g f f , .

Par I I I 1 ff . , XXX , . f wit t is the eauti ul Canz one I I I o f C . h h b f (V ) Petrarch

’ e r ine ura d o ni arte inte ra V g p , g p e e Del tuo parto gentil ﬁgliuola madr , etc. 2 CHAUCER. 9

W om erth and s and ven out o frelees h ee he ,

A herien and t ou vir in wemmelees y ; h g , ,

Bar ofth od and dwelt st ma den ure y b y, e y p , r r f r The c eatou o every creatu e .

Assembled is in thee magniﬁcence

Wit merc oodnesse and ith swic itee h y , g , W h p ,

T at thou that art the sonne ofexce ence h ll , Nat only helpest hem that preyen thee But o te t me ofth beni nitee f y , y g Ful frel er t at men th n e bise che y, h y h lp

T ou oost biforn and art hir l ves ec e . h g , y l h

There are still other passages which may

no v m nt Of or may t ha e come fro Da e . such is the reference to the famous re mark ofFrancesca da Rimini

Nessun maggior dolore Che ricordarsi del tempo felice 1 Ne a miseria e cio sa il tuo dottore ll ; , which seems to be pretty closely imitated in roi u an ri d 1 6 2 ff s d s . T l C ey e (III , 5 )

For offortunes sharp adversitee The worste kind ofinfortune is this A man to have ben in prosperitee 2 And it remembren w an it assed is , h p ;

nf 1 2 1 - I . v , , 3. 3 Chaucer may have taken this thought from 0 AND THE I 3 DANTE ENGL SH POETS. so too it s ms ro t t the invoc , , ee p bable ha a tion to Apollo in the opening lines ofBook III ofthe House ofFame :

0 God ofscience and of i t l gh ,

o o t rou h th rete mi t Ap ll , h g y g gh , This litel laste book thou gye !

Thou s a see me o as bl ve h ll g , y ,

nto the nexte aure I see U l ,

And kisse hit for hit is th tree , y , wa u t d r di o 1 ff s s s s . gge e by Pa a , I , 3 ;

o é thiu s I n o mni adver itat fortunae infli B : s e , e cis ” simum e st enus infortunii uisse felicem De on g f ( C s. “ P il I I or rom S t T omas A uinas : Memoria h . , , f . h q rae teritorum onorum in uantum sunt amissa p b q , ” at tri titiam S um T eol I I ii 6 T i caus s . . s ( h , , , 3 , h sentiment was enormou sly popular through out the i n v m rn tim e m ddle age s a d e en in ode es . W shall ﬁnd it rea earin in ower ru mm ond Words pp g G , D , wort Al re d de Musset Tenn son and m an h , f , y , y t ers o h . 1 ’ O uono A ollo all ultim o lavoro b p , Fammi del tuo valor si atto v aso f , ’ Come dimandi a dar l am ato alloro .

O divina Virtu se mi ti re sti , p ’ Tanto che l ombra del b eato re gno S e nata nel mio ca o io m ani e sti g p f , ’ Venir ve dra mi al tuo diletto legno E coronarmi alor i uelle o lie d q f g . 1 CHAUCER. 3

’ and t t nt s in s in n rno 8 ha Da e l e I fe , II ,

’ are the original ofChaucer s allocution to

min in oo 1 ff his own d . ; B k II , 5

0 t ou t t at wroot al t at I mette h gh , h h ,

And in th tresorie hit s otte e h , Ofmy brayn! Now shall men see n I fany vertu i th ee be . Still other parallels that have been at tributed to Chaucer with more or less probability are as follows

The da an failen and the der ni t y g , ke gh , That reveth bestes from hir besinesse P fF ar . o ou es 8 ( l l , 5

’ ’ Lo iorno s andava e aer runo g , l b Toglieva gli animai che sono in terra

I n I I 1 a e atic e oro . f. D ll f h l ( , ,

’ 1 mente ch e scrive sti cio ch io vidi O , , ui i arrala tua no ilitate Q s p b . 1 Yet t is ex re ssion is ver common as m a be h p y , y seen from the following ex ample s : Nox e rat : e t terras animalia fe ssa per o mnis

Alitum pecudumque genus so po r altus hab eb at . I I I 2 6 (Verg. Aim , V , , La nuict estoit o sc e tri e e b ur , st t sombre , oute tran uille e t re ste a male ice T q , p f ,

Tous animaulx repo santz soub z son u mbre . u (Fe rne tte du G illet). Nun ru en alle alder h W , ie e nsc en S tadt und e lde r V h , M h , F ; Es sc l t die auz e el h af g W t. 2 AND HE I S 3 DANTE T ENGL H POETS .

The metaphor taken from leaves

And as in winter leaves been biraf

Ech a ter ot er til the tre be are f h , l b , is i the ss in n rno 1 1 2 l ke pa age I fe , III ,

’ Come d autumno si levan le foglie ’ ’ L una a resso de a tra inﬁn che il ramo pp ll l , al t rr t tt 1 Vede la e a u e le sue spoglie .

S o too the , ,

wete brondes in hir brennin e g ,

And at the brondes ende out- ran anoon

As it were bloody dropes many oon

Kni htes Ta e ( g l , recall the similar phenomenon mentioned

nt in n rno X 0 by Da e I fe , III , 4

’ om d mstiz z d ch rso sia C e u o ver e, e a ’ ’ ’ a un de ca i che da a tro eme D ll p , ll l g i n 2 E c gola per ve to che va via.

1 The m etaphor o fde ad and falling leave s is very common o ccurrin in H omer I liad VI , g ( , , E I 0 Ario sto O F I X Tasso Ver il n V . . g ( , , 3 9), ( , , 7), L I X S a e s eare M wa o f li e G . . ( , , h k p y y f , I s allen into the sere the ellow lea — Mac et f , y f b h , V Leo ardi disse il ve lio di C io Con orme , p g h , f ’ ebb ernatura Le fo glie e l uman sem e and Lamar tine j e suis semblable ala feuille ﬂé trie 2 S till other resemblances have been pointed out

D E 34 DANTE AN TH ENGLISH POETS. the tt ntion of inv sti tors som o a e e ga , e f whom have certainly allowed their enthu siasm to run w wit t ir ud m n a ay h he j g e t .

’ Thus Rambeau speaks ofDante s over ” whelming inﬂuence ; Skeat declares the poem to be the translation from Dante

1 spoken of by Lydgate ; Morley says Chaucer here shows himself more clearly than in any other ofhis works a disciple 1 of Dante ; and Ten Brink declares that the English poet deliberately sought to produce ein heiteres und leichtes Gegen ” uc z ur GOttlichen KomOdie st k .

Now t t uc r had nt mor or , ha Cha e Da e e less in mind when he wrote the House of

F m t r can itt dou t for a we a e he e be l le b , , s

v s n d nit m ntions him ha e ee , he eﬁ ely e , and v r r l are r ct vid n se e al pa al els pe fe ly e e t .

Yet to seek a wide - reaching and inten tional imit tion or rod is oin too a , a pa y, g g far m u in hi rtic in the En . Ra bea s a le g

1 he n ke cer T Mi or Poem . xx S at C au : s l . , h , p 1 n li Write rs vol 2 1 E . s V . . g h , , p 9 CHAUCER. 35

l . m u o lische Studien (vo . II I ) su s p all p s

i oints of com rison wit out much s ble p pa , h care as to whether they are real or merely

tui ou us s s ot oo s or t s. f Th , ay he , b h b k are in the form of a dream ; in b oth the poet is saved by the interposition of Heaven ; Beatrice and Vergil as guides correspond to the eagle who guides Chau ’ cer s s wit m n s voic r ds his , peak h a a e , ea

t ou ts nsw rs his u stions and dis h gh , a e q e ,

cuss s dif cult ro ms wit him ot e ﬁ p ble h . B h

m ntion ri m ido t tius son and e P a , D , S a , Ja ,

s or of o rs salvo 05 mm of a c e the . The Dante corresponds with the durre Wriste

at the end of B ook I ; the ice - rock on which the House ofFame is built is like

ur tor i st and rd to c im P ga y, h gh , eep , ha l b . As Dante says to Vergil that he is neither ZE 1 St . u nor I neas so uc r to Pa l , Cha e says the eagle

I neit er am Eno n E h k e lye .

1 I o non Enea io n n l n I nf o Pao o so o . I I , . ( , , 6 E S 3 DANTE AND THE ENGLISH PO T .

As the noise ofthe Phlegethon falling into the abyss reminds Dante ofthe sound of

s 1 so uc r rd bee , Cha e hea

A noise aprochen blyve That ferde as been done in an hyve

en her t me ofout- ﬂe in ookI I I Ag y y g(B , and the scene where the eagle

2 Terribil come folgor discendesse is r r s d or most tr ns t d ac pa aph a e al a la e , cordin to or 3 in oo : g M ley , B k II

This e e ofw ic I have ow to d gl , h h y l

T at s oon wit fethres as of o d h h h g l ,

' hich t at so h e an to soar W h y g , I gan beholde more and more To see hir beautee and the wonder;

But never was the dint oft under h , Ne that thing that men calle foudre at smoot somet me a tour to oudre Th y p ,

And in his swifte comin rende g b ,

T at so sw t e an descende h y h g ,

1 — of er il — f X I 1 . eor I I n V V G . V 2 6 0 2 6 . , , 3; g , , , 3. z I X 1 — Pur . . g, , 9 33 “ ’ Which eagle has ﬂown into Chau cer s poem out ’ ” f the Nint Canto of ante s Pur at r En o h D g o y . ( g.

Writers V . , , p CHAUCER.

And t is ou w an hit behelde h f l , h

That I a- roume was in the felde ; And with his grimme pawes strong Within his S harp e nayles longe

M e ﬂein e at a swa e he hente , g pp

And wit his sours a a mu wente h g y p , M c rr in i i l t r e a y ge n h s c awes s a ke .

I have quoted the above parallels from the o us o fF m no t c us i v H e a e , be a e I bel e e that in every case the inﬂuence of Dante is rov n but to iv an id ofthe ind of p e , g e ea k evidence brought to bear o n this question

Ten rin m u and ot rs Um by B k , Ra bea , he . doubtedly many o fthe similarities should be attributed to the general bo dy ofme di val conv ntion iti orm of aa e al es. The f a dream was one of the commonplaces o f the tim and uc r kn w w the S om e , Cha e e ell nium S ci ionis of ic ro the onso p C e , De C la tion Philoso hiae of o et ius the om n e p B h , R a de o s the rium s of tr rc to la R e , T ph Pe a h , sa not in of i rs owm n ou y h g P e Pl a , Ra l

’ d H oudan and ui um de Guileville , G lla e .

I n r rd to m t ors isod s and re ega e aph , ep e , 8 A 3 DANTE ND THE ENGLISH POETS.

ﬂections on i and soci t uc r was l fe e y, Cha e likewise well acquainted with all that the it r tur of the da cou d urnis him l e a e y l f h , and although in some cases he undoubt edl o ow d nt in ot rs we c nnot y f ll e Da e , he a t t o itiv w hi r s a e p s ely hat s sources we e .

’ Chaucer s character was not one to be com t ttr ct d to nt was ple ely a a e Da e . He not i o so r or o itici n or theolo a ph l phe , p l a , “ i n I n the w rd o fMr rd . o s . g a Wa , If he had stron o itic o inions of his own g p l al p , or strong personal views on questions of cc si stic o ic or r i ious do ctrin e le a al p l y el g e ,

did not use his o tr oric or he p e y , alleg al ot rwis as v ic ofhis wis s o s he e , a eh le he , h pe , ” n t o ds was or rs o s . fea h e hea He gay , i t - t m r d nt ov d irds ﬂow l gh e pe e , ge le ; l e b , ers c r u com n the ri i nt soci , hee f l pa y , b ll a

fthe court and tr v D nt was et o . y , a el a e

ad rim t rri in his int ns rn st s , g , e ble e e ea e

man of one id r i ious and ness ; a ea , a el g

orm r nc the d st of political ref e . He e eepe all inﬂuences which Dante can exert CHAUCER. 39

t u on i and c r ct r and s iritu tha p l fe ha a e , p al ideal i — was sm in the c s of uc r s all a e Cha e .

On the ot r nd uc r d i t d he ha , Cha e el gh e in stori s o ow d his in the use e , he f ll e age o f or in the ondn ss for t os mor alleg y , f e h e aliz ing reﬂections (almost commonplaces) which were so characteristic ofmediaeval

o tr nc the ruit o fhis r din of p e y . He e f ea g Dante— a reading which I conceive to be su erﬁcial— consists as ma s n rom p , y be ee f the uot tions iv n in the o v s q a g e ab e page , in the appropriation oftho se parts ofthe

’ latter s works which were in harmony with his own disposition and po etical c r ct ristics ha a e . C HAPTER III .

F R OM CH AUCE R TO MI LTON .

WI TH the death of Chaucer and the o pening o fthat longperiod when English it r tur was at its ow st r ctic l e a e l e ebb , p a ally

’ all trace o f Dante s inﬂuence dies out for

undr d r two o ts over a h e yea s. The p e who form an apparent exception to this statement are both of secondary impor t nc and s ow litt if an r now a e , h le y eal k l

of n edge Da te .

John Gower (1 32 5 ?— 1 40 8) in the Con

io m utis 2 2 t the fe s ff. s s A a (VII , 3 9 ) ell

’ well- known story of Dante s answer to 1 the ﬂatterer:

1 This story is given by Petrarch in his Libri Mem orandarum S ee a n i R erum . P a t ante p , D

ondo la Tradiz ione e i Novellato i 1 sec r . . , p 3 40

2 4 DANTE A ND THE ENGLI SH POETS.

— oft s are not t n rom nt all he e ake f Da e , but rom comm on o c f s ures.“ John Lydgate marks a still farther step in the degradationofEnglish

‘ literature in the period between Chaucer

and the liz t n writ rs and we n d E abe ha e , ee not be surprised to ﬁnd little evidence of

’ nt s in u nc on him in s it ofthe Da e ﬂ e e , p e

1 statement made by VVarton that he had

i F or n in n muc stud d the r t t . s e g ea l e e I a h , ’ ow v r as us d occ ccio s m t ri h e e , he e B a a e al in the Fall ofPrinces (taken from the for

’ m r s Casibus Virorum I llustrium it e De ),

is natural that we should ﬁnd at least a mention ofthat Dante who was the object

f uc v n r tion on the rt of occ ccio o s h e e a pa B a . I n the Fall ofPrinces he tells how Dante

of F or nc the ur t o t d mur l e e , la ea e p e e , e e ” of o ul d wit ti nc rs to l ke , f ﬁlle h pa e e , appea

occ ccio and comm nds him to writ the B a , a e

f u t r u of F n 2 I n o or c . tale G al e , D ke l e e another place he declares Chaucer had

1 En Po e tr vol I f . . I I . H i t o . s . g y , , p 54 1 X e e arton o I 1 who l I . I S W v . I oo . B k , , p 7 , 43

1 n t d nt st t m nt w ic h tra sla e Da e , a a e e h h as

z z uc r c o r greatly pu led Cha e s h la s.

Before taking up the discussion of

’ Dante s inﬂuence on the Eliz abethan

o ts let us see how his r ut tion stoo d p e , ep a in i about this time Italy tself . We know that for many years after his death his fellow countrymen admired him ex ceedin l and t t in num r ofciti s gy, ha a be e public lectur‘eships on the Divine Comedy t i d Owin had n s s . ow v r bee e abl he g , h e e , to the increasing neglect ofthe vernacular as m ns of it r r r ssion and to a ea l e a y exp e , the use ofLatin almo st exclusively am ong the um nists the dmir tion for in H a , a a dige

’ also note s that in the Prologu e to Book I V Dante s t ree oo s on H ell Pur ato r and Paradise e h b k , g y , ar l c mmende particular y o d. Lydgat e translate d (1 4 2 6) the Pilgrim age o fthe Life o f Man from Guillaum e de Guileville which b e ars a certain fortuitous resemblance to ante and w ic some ave loo ed on as a sour D , h h h k ce ’ ’ un an s Pil rim s Pro ress o fB y g g . 1 H e wrote also full m any a day agone aunt in En l sh h m se lfe so dot e x re sse D gy , y h p . Louns ur S tudies in C aucer vol I . . 2 0 b y , h , , p 4 . AND THE I OE S 44 DANTE ENGL SH P T . nous po etry was greatly lessened during the w o riod o fthe n iss nc and h le pe Re a a e , Dante himself was to a certain extent n u d in t i n ct r r i c d s . t c the l e h egle Pe a h , ound r of the n iss nc t ou f e Re a a e , al h gh he

v r unctor r is to nt ro ga e pe f y p a e Da e , p

1 d n v r to v r d him I n the fesse e e ha e ea . sixteenth century the great literary in

ﬂuence on Italian lyrical poetry was this

m tr rc who r ctic i nor s his sa e Pe a h , p a ally g e

r t r d c ssor w i riosto and sso g ea p e e e , h le A Ta

2 reign supreme in the domain of the ro

1 e Carducci S tu di Lette rari I n S e . 2 . , , p 7 7 ’ rion o d Am o re I V 1 Petrarc ma e s the are T f ( , 3 ) h k b “ n i n o f ante : Ecco ant e e Be atrice The me t o D D . fﬁ n e co di Pe rarc Piet oso E ita o a t s F r. t a p D , Hic j ace t e lo quii mo le s facunda latini itus or is h o nos hic tu scas lo ri en i Hic s b , g a g t s , Hic de cus e t vatum rince s hic co r us humatum p p , p Bantis Ali eri atria ui u lsu s ab ur e g , p q p b I nvidia ma nis decoravit laudibu s o r em , g h , qu ot ed by Del Balz o (Po e sie di Mille Autori I ntorno i i i vo l I I 1 nte Al er . . 6 is ro a l the a D a gh , , p 3) p b b y ” k o f an enem o r un su o tro o amico wor y pp . ’ Fo r a discu ssion o f Dante s re putation among the

l H umanists see R o ssi I l u attrocento 0 if e r . . a y , Q , p 7 1 Fo rthe conte st as to the comparative greatne ss o f asso see Um erto o mo Giorn nte andT C s . Storico Da , b , ,

XLI I . M A TO MI LT FRO CH UCER ON. 4 5 m n ic ic Na v n suc wri r a t . t a ep y, e e h e s s

Sannaz aro u rini m nni and t r , G a , Ala a , la e

rim rt d v st mor in u nc in Ma , exe e a ly e ﬂ e e

n nt imi r t t m n Italy tha Da e . A s la s a e e t

1 is tru of ot n nd and Fr nc e b h E gla a e . I n England there is but little evidence

1 Dante is m entio ne d with re spect a numbe r o f tim e s in France at t is time De Bai calls him h . f the

Pre mie r Tuscan (qu e lo n pe nlt dire Pe re ) Partou t o h e lle court de sa langue v ulgaire P e De v ui aimait sa atri l al o o l. . Q ( B z , V , p 337 ) Du Bellay in his Ode (1 54 9) a Madame Mar ’ gu e rite d E scrire e n sa Langu e mentions D ante amo n e e t writers I bid w ile th r a . . g g ( , p h ’ Margaret o fNavarre o n the occasio n o fhe r bro the r s de ath re peats the well- known sentiment o f Fran ce sca da R imini:

’ ’ Do ule ur n y a qu au te mps de la misere ’ S e re co rde r de l he ure ux e t p ro spere

Co mm e autre fois e n Dante j ai tro uvé .

f H nte n ell Po e sia France e e C . auve tte a a s d l , D R in n ascim e to .

nt i ne in his E ssa s Liv re I ch 2 uo te Mo a . s g y , , 5 , q n the li e ,

’

S e m re a ue l v e r0 h a accia di m e n o na I nf. XVI 1 p q f z g ( , ,

in Livre I I ch 1 2 uo te and . s : , , q Co si p e r e ntro loro schie ra bru na ’ ’ ' S ammusa I una con 1 altra formica

o r e s i r 1 1 vi e F s a p a 0 a 101 fortuna.

P r . X XVI ( u g , . 34

f urt er Oelsner ante in Frankreic . C . f h , D h 6 A ND THE I 4 DANTE ENGL SH POETS. of an actual knowledge of Dante on the part ofmany who mention him as a great

o t uc r r nc to his r n p e . S h efe e es g eat ess are in n r r unctor and s em ge e al pe f y, e based on the statement of others or on general reputation rather than on personal

nvi ion co ct .

As m tt r of ct nt i mo t a a e fa , Da e s al s invariably coupled with Bo ccaccio and Petrarch as forming one ofthe great tri

virate of t i n o u o n um I al a p ets. Th s J h Leland compares Chaucer to Dante and Petrarch

Praedicat Ali herum merito F orentia Dantem g l ,

I talia et numeros to ta Petrarche tuos 1 hau rum v n ratur m str m Anglia C ce e e o a p oetam.

us too om s urc rd s s Ver Th , , Th a Ch hya ay gil is a greater poet than Dawnt or Pe trarche and in in his r is of o tri , aga , P a e P e e ,

1 el ante in der En Litt de s 1 6 h oe . . . K pp , D g . J ; f v e leic nde Litt N I ri t ur r e . E I I eitsc . Z h f g h , , , if I av e m ade re u ent u se o ft is article in 4 2 6 . h f q h the reference s qu ot ed fro m the m ore ob scure writers i c a ter m entione d in th s h p . R M R TO MI LTON F O CHAUCE . 4 7 refers to Dante as one ofthe three great Italian poets :

I n I taly ofyore did dwell Three men ofspecial spreete ;

ose a ant sti es did sure exce Wh g ll l ll, ir r s The ve ses were o sweet.

Of the t r nt was vid nt far h ee , Da e e e ly

known as can s n the n u less , be ee by la g age used in most of the passages where they are m ntion d and s ci in the ct e e , e pe ally fa “ that William Thomas in his Diction ” arie (published in 1 550 ) deﬁnes Dante

Aldighieri as the name of a famous ” o t in the t i n ton u w i do p e I al a g e , h le he es not think it necessary to do the same for

cc cio and tr rc Bo ac Pe a h .

Another phase of this second- hand ac

’ quaintance with Dante s works is seen in the fact that during the great religious polemic in the latter half ofthe sixteenth century Dante is frequently referred to simply as a forerunner of the Reforma

ion as s v r critic ofthe corru tion of t , a e e e p 8 AND THE I 4 DANTE ENGL SH POETS. the urc w i his r tn ss as o Ch h , h le g ea e a p et is left untouched Thus Foxe in his

A cts and Monuments speaks of him as “ one who to o his rt inst k , pa aga three sorts of m en which he sayd were enemyes to the truth : that is the Pope ; the order of religious m en ; thirdly the ” r ofd r and cr ir c docto s ec ees de etals. D e t references are also made by Foxe to the donation of Constantine (discussed by

nt in the on rc i and in the Da e De M a h a ,

n rno to the oc of rist in I fe , XIX), ﬂ k Ch be g fed wit wind r diso and to h (Pa a , XXIX),

’ 1 he o s in wo r diso I X t . P pe be g a lf (Pa a , ) I t is very probable that Foxe him self did

’ not now nt s oo s but t t ot k Da e b k , ha he g the above facts from certain controver

m ts t n so num rous on the sial pa phle , he e ’ in n Cont e t .

1 A s will b e se en later all t re e o ft e se re ference s , h h n in Milton are likewise fou d . 1 he tradition o fConstantine and Po e S lv e ster T p y , th e ori in o fthe tem oral o wer o fth e o e s and g p p p p , was strongly contested by Nicolas von Cusa and

0 5 DANTE AND THE ENGLISH POETS . etry of Wyatt and Surrey indeed gives v r itt vid nc of suc in u nc e y l le e e e h ﬂ e e , although the latterwrites his Restless State ’ 1 r te m ma Sir hi i Sid ofa Love in r m . P l p ne it is tru in his ns of o si y, e , Defe e P e e

1 m ntions nt s v r tim s r ( 595) e Da e e e al e (he e ,

in ormin wit occ ccio and Pe aga , f g h B a trarch the conv ntion trio and v n e al ), e e “ r rs to tric : To ood men who efe Bea e g ,

onor the o ts romis s r w rd h p e , he p e e a .

us doin our sou s l c d Th g , y le hall be p a e

’ ’ with Dante s Beatrix or Vergil s An

hises Yet t t t is i wis is m r c . ha h l ke e e ely a repetition of the perfunctory praise mentioned ab ov e is shown in the fact that

’ no trace ofDante s inﬂuence can be found in the rc di stro and t or A a a , A phel S ella , he son s and sonn ts of idn t g e S ey . The one man who shows internal evi dence o fknowing Dante fairly well is Sir

1 The use ofth e term rima oweve r had ecom e , h , b eneral in I tal t is tim e and was well nown in g y by h , k h nce f. astner T e Terz a Rima in Fr nc r . a e . F a C K ,

f Fr. S r. und Litt . VI 2 1 . Z t . ur p , XX , 4 TO MI L 1 FROM CHAUCER TON. 5

o n rrin ton the tr ns tor of Or J h Ha g , a la

ur o o I n his o o of o tr lando F i s . Ap l gy P e y ’ r rs to nt s r tions to r i he efe Da e ela Ve g l , “ ” and in the Allegorie ofthe fourth b ook ofhis translation ofA riosto he translates the ﬁrst three lines ofthe Inferno

t m i e was in the midd e race While ye y l f l ,

I o nd I wandred in a dar some wood f u k ,

t wa ost with min unst adi The righ y l e e e pace .

I n his epigrams he paraphrases an aneo dot to d of nt to the f ct t t hav e l Da e , ef e ha ing asked a bore which was the largest ” st and in nsw r d nt bea be g a e e , The elepha , “ r i d n let me on d r epl e , The al e , ea ele ” nt s in s t ou n . o r pha The e l e , al h gh g eat

ddition to n is o tr are r iv n a E gl h p e y , he e g e i n as a literary curios ty . Harri gton uses the point against atheists

’ The easant learn d I ta ian oet ant pl , l p D ,

Hearin an atheist at the scri ture est g p j ,

s ed him in est which was th r at s ast ? A k j , e g e e t be H e sim said he t ou ht an n ply , h g elepha t; Then elephant (quoth Dant) it were commodious

That t ou wou dst o dth eace or et thee hence h l h l yp , g , 2 AND THE I 5 DANTE ENGL SH POETS.

Breeding our conscience scandal] and offence

i h ro an c most i n i W t t ed s ee v e a d od ous. h y p f p h , l Oh I ta t ou breedst but few suc ants ly , h h D , 1 r En and r d no I would ou gl b e elephants.

There are two longer poems by writers but little known except to special students of n is lit r tur w ic v r E gl h e a e , h h ha e appa ently so clo se a resemblance to the Divine Comedy as to have led some to attribute

dir ct in u nc on the rt ofthe tt r a e ﬂ e e pa la e .

rst oft s the Dreme ofSir vid The ﬁ he e , Da

n a a 1 0 t s us ho Ly des y (c . 49 ell w the Poet fell asleep one morning in Janu ar saw d c d s m nc who y, a la y alle Re e bla e

ds him rst to lea ﬁ Hell ,

oun t row the eird in m ddis ofcenteir D h y , I in 2 Or ever wist to awest e . , l h ll

Here he saw popes and kings and cardi

1 ee e l T is stor is n S Ko pp e . h y give by Poggio racciolini in his F acetiaz see Pa auti B . ( p , p “ and is containe d in Mer Tale s Wittie ue stions y , Q ” n uie e Answe rs b H W e London a d u . . s Q k , p by yk , , S ee Eliz a et an Translations rom the 1 557 . b h f lian Mar Au u sta S cott Pub Mo d L n I t a . . a . , by y g ( g N vol I I I S . A ssoc . . . , , , p 2 “ f in ue sto asso in e rno I n C . f I I I q b f ( . , V , M H T MI FRO C AUCER O L TON. 53 nals imon us i s om t , S Mag , Ca apha , Mah e , and many other characters named by

nt s s so in c rt Da e . He ee al a pla e apa

rinc s and no s w os r n v t m p e ble , h e a k ga e he what Michael Wigglesworth calls the eas

” 1 i t room in ar r mind d of es Hell . We e e e Dante by many ofthe details

Offt is resoun the anis in s eciall h p , p p 2 Th it the a th do o r nd di e e c de e u a s te etc. h , l , l py ,

o t n t visits ur tor and Lim o The p e ex P ga y b ,

Quhare mony babbis war makand drery mone B ecause they wantit the Fruitioun

OffGod.

1 I m o rtab ll aine t e had but comfort n p y p h y , y g T are loo d ro all maid t am e no su ort n h b y h pp y g.

Dante assigns an e asier lot to the great pagans in Lim o and se arate s in s and rince s rom b , p k g p f the o t ers in anto VI I o f Pur ator Mic ael h C g y . h Wi le swort the uaint Puritan o et o f the Da gg h , q p y of oom ma es the Almi t t re at un a tiz ed D , k gh y b p children with the sam e indulgence

A crime it is t ere or in liss , h f b You may no t ho pe to dwe ll; But unto you I shall allo w he e e e ll T asi st room in h . 1 f S a e s e are C . h k p

To at e in ﬁer ﬂoo ds o r to re side b h y ,

rillin - e I n th g regions ofthick ribbed ic .

. for I I I I M M , 54 DANTE A ND THE ENGLISH POETS.

After which he ascended through the at mos heres of air and of ﬁre visit d the p , e s v n n ts mon ot rs the moon e e pla e , a g he , w ic he c s in uti u in h h all , a bea f l l e ,

uen ofthe s e and bewtie ofth n ch Q e e , e y t, and nus who Ve ,

is provocatyve 1 T ll all t ame t at ar su ect to hir cure y h h bj , and ﬁn r c s the m r n w r ally ea he E py ea , he e dwell God and the nine orders ofthe celes ti i r rc r o ds m n al h e a hy . He e he beh l a y of t o s s n nt the tri rc s h e ee by Da e , Pa a h ,

on ssors rt rs rist the t in C fe , Ma y , Ch Cap a , ” and St t r th Luf nand n r . Pe e e ete Ge e all of the v n o st stin his s hea e ly h . Ca g eye

c w rd s s the rt ow ba k a , he ee ea h bel ,

2 Bot e i a rit t me lyk one mo t as it ppe o .

1 “ Cf ne t o n o rta Lo el ia a h amar c . . b p c e ad f

r I 1 . Pu . g , , 9 1 ’ f L aiuola che ci fa tante eroci C f , ’ l en om io co n li e terni emelli Vo g d g G , ’ ” Tutta m apparve dai colli alle foci. — Par I I 1 1 . . , XX , 5 3 F M C UC TO MI T RO HA ER L ON. 55

Resemblance shows him the Garden of

r dis d wit ow rs Pa a e ﬁlle h ﬂ e ,

ait er e and tree t are rowis ever r n B h h b , h g g e e

T row vertew ofthe tem erat air serene h p ,

and risin ov the mid- r ion ofair g ab e eg ,

Quhare no manner ofperturbatioun 1 Offwodder ma ascend so hi s air y e a th .

Very many details equally striking could

dd d b ut nou has n iv n be a e , e gh bee g e to show the general nature of the resem

nc s On v r th bla e . e e y page e reader of

nt is struc wit mi i r sc n s e i Da e k h fa l a e e , p sodes and r ctions I n it of . s , eﬂe p e all t is ow v r w i m in the com ri h , h e e , h le ak g pa son tw n the two v i d to be ee , I ha e fa le be convinced of anything m ore than a gen r r s m nc ntir in e al e e bla e , e ely expla able rom the conv ntion iti ofthe tim f e al es es. A nother poem of the same general

’ nature is Lord S ackville s Induction to “ the irror of istr t s in w ic M Mag a e , h h all

1 f 1 1 Pur XX n . . I 6 n ee no te o . C . a d s g , , 4 , p 6 AND THE I 5 DANTE ENGL SH POETS. the illustrious but unfortunate characters from English history are introduced be

or the o t who as rton s s de f e P e , , Wa ay ,

1 c nds i n into s t . e , l ke Da e , Hell The Poet meets a woman dressed in

c who turns out to orrow the bla k , be S (

Frau Sorge ofGerman folk - lore) who says to him

I shall thee guide ﬁrst to the grisly lake

And t enc nto th iss u ac ofr h e u e bl f l pl e est.

Like Dante he enters a forest

Ere I was ware unto a desert wood ,

W w r no com e e e w e, where had it not been for his guide he had

n o st for bee l ,

t as no or n morta i I w way f a y l W ght.

rd r t nois ow s and the He hea g ea e , h l

r in ofdo s so t t i nt und r ba k g g , ha , l ke Da e e

1 S ackville - We st in his e dition ofthe work ofhis noble ance stor says he had form ed his plan after Dante ; while Lowell ex pre sses the opinion that “ ” ro a l S ackville had read the ivine Comed p b b y D y . The Mirror o fMa istrates o fw ic S ackville wrote g , h h ’ onl the I nduction li e L d ate s Fall of Princes y , k y g , ’ was confessedly borrowed from Boccaccio s De m ll m Casibus Viroru I ustriu .

8 DANTE AND THE I P E 5 ENGL SH O TS .

The Induction ends with the meeting wit nr u of uc in m who h He y D ke B k gha , ” t s his om int ell C pla .

’ r as in the c s of L ndesa s He e , a e y y

Br m v iv n an out in of t is e e , I ha e g e l e h

o m so u ofsu stions ofthe ivin p e , f ll gge D e

om d not t t i v t t c C e y , ha I bel e e ha Sa k

vi imit t d the F or ntin o t but to lle a e l e e p e , give examples of the resemblances which have led some to believe in such an inﬂu

nc e e .

I n discussing a question which has re

ceived the ffirm tion ofcom t nt critics a a pe e , we must exercise m ore than usual cau

tion ot in the m tt r ofco ctin evi , b h a e lle g

d nc and in the n ud m nt m d e e , ﬁ al j g e a e

on the m t ri at nd us we v a e al ha . Th ha e

c rt in v r ositiv st t m nts as to e a e y p e a e e ,

the in u nc of nt on ns r suc ﬂ e e Da e Spe e , by h

m en as Low who in uotin the m stic ell , q g y

1 ro c ssion in the rt r dis as p e Ea hly Pa a e , a parallel to the tenth Canto of B o ok VI o f

1 I X Pur . XX g , XX X , . M T M L FRO CHAUCER O I TON. 59 the Fa ri u n sa s in not : S en e e Q ee e , y a e p ser who had i nt toniz in , l ke Da e a Pla g sid and who was ro the rst En e , p bably ﬁ g lish poet since Chaucer that had read the

omm di has imit t d the ictori sid C e a , a e p al e of t s ss s in the F ri u n he e pa age ae e Q ee e .

has turn d it into com im nt nd He e a pl e , a a v r uti u one to ivin mistr ss I t e y bea f l , a l g e . is instructive to compare the effect ofhis

ur s nsuous v rs wit t t of nt p ely e e e h ha Da e , which has such a wonderful reach behind

” 1 the v rs e e .

1 T is assa e o f S enser oweve r is more like h p g p , h , Tasso (the nake d maidens) and Politian (I sland of Venu s in S tanz a t an ante the onl reminis ) h D , y cence of whom is in the casting o fthe ﬂowe rs on ’ ” th l l e cf e Pur . e ol she heard s ass . j y p ( g , XXX , 2 8 ff Lowell re e ats several times his elie ). p b f t at en er at time s deli eratel imitate s ante h Sp s ( ) b y D . ” “ Li e Milton t e ars later sa s he S enser k ﬁf y y , y , p ’ shows that he had re ad his (Dante s) works clo sely “ (E ssay on Dante); and again ' Spenser was amiliar wit the ivine Com ed t o u I do not f h D y , h gh rem ember that his comm entators have pointe d ” o ut his c ie o li ati n it E o n S enser h f b g o s to ( ssay p ). This last statem ent would se em to prove that ’ Lowell was unacqu ainte d with Todd s e dition of S enser whic oint s o ut a num er o fw at ur ort p , h p b h p p b e imitations of ante to D . 6 o AND THE I DANTE ENGL SH POETS.

not r r as Low t in s A he pa allel , ell h k , be tween Dante and Spenser is found in the in s of the F ri u n c nto l e ae e Q ee e (II , a 3, stanz a

Who - so in pompe ofprowd estate (quoth she)

oes swim and at es himselfe in court is D , b h ly bl ,

Does waste his dayes in dark obscuritee And in oblivion ever buried is; which he compares to the famous pas sage :

che seggendo in piuma

I n ama non si vien me sotto co tre f , l ,

nz a la ua chi sua vita consuma Se q l , ' Cotal vestigio in terra di Se lascia 1 a ummo in a red in ac ua la s i m Qu l f e q ch u a.

I nf. I , XX V, 47 .

I t s ms to me ow v r t t t is v u ee , h e e , ha h ag e resemblance in the utterance ofa common place cannot have much weight as a

1 on S enser I n a note Lowell sa s : I t E ssay p . y shows how little Dante was re ad during the last century that none o fthe comm e ntators o n S penser notice s his m ost important obligations to the ” e t Tuscan gr a . 6 1 FROM CHAUCER TO MI LTON. piece of evidence as to the inﬂuence on

ns r Spe e .

’ I n Todd s edition o fSpenser we have a num r of r s iv n odd ton be pa allel g e , by T , Up , and ot rs o t n ccom ni d the he , f e a pa e by positive statement that Spenser actually

mit t nt I n the o owin s i a ed Da e . f ll g page we shall discuss the more important o f

s r s the e pa allel .

I n the rst c do we find in ns r fi pla e , Spe e definite mention ofDante or ofhis works as in the case ofChaucer? I n the Epistle to ri rv r d to the Gab el Ha ey , p efixe Shep

’ hearde s nd r in w ic the sourc s of Cale a , h h e t t oo are iv n m ntions Pe ‘ ha b k all g e , he e trarch occ ccio ntu n S annaz aro , B a , Ma a , , “ rot and div rs ot rs c nt ot Ma , e he ex elle b h

t i n and Fr nc o ts w os ootin I al a e h p e , h e f g t is ut or everie w r o ow t et so h a h he e f ll e h , y as few but t w s nt d can tr c , hey be ell e e , a e ” him out I t s t . eems hardly credible hat ifSpenser had really known and appre ’ ciated Dante s works; he would have 6 2 DA E E P E NT AND TH ENGLISH O TS .

placed him merely in the last catch - all

r ph ase . S o likewise in the Letter to Sir Walter

i oundin his w o int nt in Rale gh , exp g h le e ” the cours oft is wor F ri u n e h k ( ae e Q ee e),

t s us how o ow d rst om r he ell he f ll e ﬁ H e ,

t n r i and t r him riosto and he Ve g l , af e A 1 sso r i wis not word out Ta . He e l ke e a ab Dante in the very place we should expect

it if ns r had m d v n s i t use , Spe e a e e e a l gh fhim o .

r is one c ow v r w ic has The e pla e , h e e , h h

n su os d to r r dir ct to nt bee pp e efe e ly Da e , “ and that is the reference to the sad ” Florentine in the following lines :

’ M uc richer t en that vesse seem d to h h ll be,

hich did to t at sad F orentin a r W h l e ppea e . isions of el a XI V B l y, I I .

1 The suggestion of D ean Plumptre as to the ’ resemblance b etween this letter and Dante s n ran e della S cala I cannot cce t Epistle to Ca G d a p . “ lo er arallel is urnis e d the rase Whic A c s p f h by ph , h r as I ave well entere d into ifGo d s all lease wo k h , h p t at I m ni etc n the re m li e a s . a d spa y f h y ﬁ h , , n ara ra ofthe Vita Nuova concludi g p g ph . 6 FROM CHA UCER TO MI LTON. 3

dif cu t to see s s Plum tre to I t is ﬁ l , ay p , what passage in the Divine Comedy the

c t o ssi ur tor allusion is ex ep p bly P ga y, II ,

1 Yet even if we could deﬁnitely

usion t is wou d v no locate the all , h l ha e ’ bearing on the question of Spenser s

of nt for tr ns t s knowledge Da e , he a la e

' 2 lines literally from Du Bellay .

n t n t t in the rst c We have see , he , ha ﬁ pla e n it r in t nor in Fr nc wit w os e he I aly a e , h h e contemporary literature Spenser was so

ou c u int d was nt inﬂu thor ghly a q a e , Da e ential enough to presuppose any great in ﬂuence on the English po et ; and in the

1 E quei (the angel) sen venne a riva on un vasello snelletto e le iero C gg . 1 Plu s riche assez qu e ne se monstroit celle ui a arut au triste Florentin Q pp . Del Balz o vol , . V. S om e have seen in the se lines a re ference to ’ Charon s bark ; o thers think Du Bellay re fers t o ’ Petrarc s Canz one I V S tandomi un iorno h (XX ), g , ” ’ olo a la ene stra S ense r s Visions o f Petrarc s f . p h is a translation o ft is anz one h C . La Boé tie likewise re fers to Pe trarch as a Floren ’ tin ee Montai ne E a Livre I ch 2 8 e s s ss s . : ; g y , , S i mon amour ne sent e n sa doule ur diverse

Du lorentin tr e re F ansi l s re grets langu o ux . 6 AND THE I 4 DANTE ENGL SH POETS.

second place that there is not a single

usion to nt n m are t all Da e by a e . We lef then to discover not merely corroborative

vid nc s of nown ct as in the c s e e e a k fa , a e

of for inst nc but to st is Shelley , a e , e abl h

that fact itself by circumstantial evi

d nc e e .

By collecting all the parallels brought

orw rd b o dd ton Low Gro f a y T , Up , ell ,

s rt Lon ow and r we cou d a , gfell , Ca y , l ex

t nd t is discussion to r n e h g eat le gth . We

c nnot do m or r ow v r t n se a e he e , h e e , ha

ct the m ost stri in c s s as s m s of le k g a e , a ple

the r st t s do not convinc us the e . If he e e ,

r st c r in wou d not e e ta ly l . All comparisons of Ro salind and Una to Beatrice as a symbol cannot prove any

in u nc of nt ov r ns r t ou ﬂ e e Da e e Spe e , al h gh the symbolism of early Italian poetry is ’ 1 visi in the tt r s wor s v n so ble la e k . E e

1 ’ S e a in o f Una Au re de Vere Gro sart s p k g , b y ( en er v ol I I i n t on e d o f S s . sa : o i . s t s t at c ce p , ) y h p ofcharacter at once Christian and womanly which

6 6 DANTE A ND THE ENGLI SH POETS.

n oo n we ﬁnd he I to st . 1 t B k I , Ca I , 3, words

T is is the wandrin wood t is Errours den h g , h ,

monster vi e w om God and man does ate A l , h h , ofwhich Upton declares it is very plain ’ t t ns r had in vi w nt s in s ha Spe e e Da e l e ,

” E o la ﬁera con la coda a z z a t cc u e c. g ,

I nf. I 1 if I . , XV ,

The same annotator (Upton) thinks that

’ d n of ros r in F ns r s r . . Spe e Ga e P e p a ( Q , II ,

1 was su st d the ood ofthe 7 , 5 ) gge e by W

I nf X w i wri id s . t r in Suic e ( , III), h le a e

nd u ri s com r s ot s a . N e Q e e (5, VI , p 7) pa e the in s l e , i i For he whose da es n wilfull woe are wome,

The race ofhis creator dot dis ise g h p ,

it n rno 1 2 1 ff W h I fe , VII , .

Fitti nel limo dicon: Tristi fummo ’ ’ 1 Nel aer do ce che dal sol s al e ra etc. l l l g ,

1 There is no nee d here of seeking a p articular ’ for S enser s t ou t The sin o f acedia source p h gh . was universally known throughout the middle a es andwas discu ssed Petrarc De Contem tu g , by h ( p Mundi I I rom w om S enser was more li el to , ), f h p k y e the idea t an rom ante tak h f D . R M C R TO MI LTON 6 F O HAUCE . 7

I n not to oo c. 1 2 0 a e B k IV , , ,

I t is a dar some de ve arre under round k l f g ,

Todd says : Spenser probably had in mind the o nin ofthe n rno st t m nt pe g I fe , a a e e which I conceive to be insufﬁciently sup d porte . Other points of resemblance are found in n ro who Ig a ,

As he orward moo vd his oo tin old f f g , 1 So backward still was turnd his wrincled face ;

F . . I 8 : 1 . Q , , 3 in the phrases standing as a stedfast ” 1 tow r and e ,

1 a to tr m e v r im a B eg n e bl e e y l be nd vaine . F — . Q . , VI , 7 22 ;

1 f the oot sa er in nf S s I . 1 C . h y , XX , 3

lle reni e r Che da a tornato il volto , Ed in e r e nir di t o v gli convenia. 1 ” ta come torre erm a Pur S . V Tod f ( g , , d ’ refers to Milton s de scription o f S atan standing L I nd li e a tower P. . a sa s he m k ( , , y ay have i ﬂuenced ot ante n een n a d S enser cf. b by b h D p ; , owever Ver il: h , g

I lle velut ela i ru es immota resistit E n VI I p g p ( , , 1 f C .

’ S i condusse a tremar 8 per ogm vena. Purg . XI 1 3 ) ( , 68 DANTE A ND THE ENGLISH POETS. while in the Teares ofthe Muses o ccur the

o owin in s w ic r c the simi r f ll g l e , h h e all la

1 famous passage in Dante :

Whoso hath in the lap ofsoft delight

een on time luId and fed wit easures sweet B l g , h pl ,

Yfchaunce him fall into calamitie 1 F n ofhi indes greater burthe s miserie .

As for the description of the Garden situated on top of the high mountain

F to w ic tt ntion has n ( . Q. , VI , h h a e bee dr wn Lon ow t r is no n c ssit a by gfell , he e e e y

’ m r e i l e lla mi fa tre a l vene e o si I nf. I Ch p ( , , f also the similar ex ression in Arnaut aniel: C . p D

Non ai m embre 11 0m fremisca. artsc re stomat ie Proven ale (B h , Ch h c , 1 n te n 2 f o o . f V 1 2 1 o . . I n . , , ; p 9 1 ’ l l ter t an S enser s time Wm rum A litt e a h p . D mond (1 585 of H awthorne has the same thought But ah ! w at serv e d it to b e a so h h ppy , Sith passed ple asures double b ut ne w woe I Thomas H ughes in The Misfo rtune s o f A rthur (1 58 7) has a still closer p arallel: Of all misfort une s and unh appy fate ' m e Th unhappiest see s to have b een happy o nc .

P . A . M . n sso c X 1 ub . od a ( L g , , f also Gavin ou las C . D g

Th e maist o nsill nd of ortou n is y ky f ,

To have bene happy ; B oetius tech es so . M “ TO M L 6 FRO CHAUCER I TON. 9 ofseeking an origin in the Earthly Para dise of Dante The whole description is f f L ar mor in the m nn r o sso . . e a e Ta (G ,

ust as the simi r rd n in Mui XVI), j la Ga e ’ opotmo s resembles Politian s I sland of

1 n n in s Venus more tha a yth g el e . I n concluding this brief discussion of the ossi r tions of ns r to nt p ble ela Spe e Da e ,

o i d to st t t t t r consu t I feel bl ge a e ha , af e l ing all discussions accessible to me on t is su ct and t r vin c r u h bj e , af e ha g a ef lly r d ov r the wor s of ns r t ou ea e k Spe e , al h gh

v const nt m et d scri tions re I ha e a ly e p ,

ﬂections s m o s and m t ors t t , y b l , e aph ha

v r mind d me mor or ss of nt ha e e e e le Da e , yet I have not received that feeling of assurance which would lead me to b e

1 Most of the garden descriptions of the middle n he en n r n nt l The ages a d t R aissa ce a e co ve iona . basis o fthem all was probably the garden o fAlcinous Od sse VI I to w ic m an details were added ( y y, ), h h y ’ trou adours romans d aventures the R om an de by b , , R e e tc T ere is ence v e evident amil la o s . a r , h h y f y eness in the de scri tion o f ardens Tasso lik p g by , Politian Marini en r Milton riosto S se . A , , , p , 0 AND T I E 7 DANTE HE ENGL SH PO TS . lieve with any degree of certainty that Spenser had ever consciously imitated

nt own o inion is t t w i Da e . My p ha h le he m ay have been more or less familiar with his n m t rou uc r and ot rs a e ( h gh Cha e he ), he n v r r d an ofhis wor s e e ea y k .

‘ More or less discussion has also been ’ held as to Dante s inﬂuence on Shake s r om rs a o on rtic as pea e . S e yea g a l g a le w published by Konig on this subject in the Jahrbuch der deutschen Shakespeare Ge

ll chaft 1 0 ff But the d sir of se s . , VII 7 e e the author to prove his thesis at all co sts

o vid nt and the n tur ofhis roo s was s e e , a e p f

far- tc d t t the r d r far rom so fe he , ha ea e , f

in rsu d d invo unt ri ssum s be g pe a e , l a ly a e a 1 ou t ul ttitud Of sti still more d b f a e . ll

1 S ome o fthe parallels cited by Konig are singu larl inconclu sive —suc as the re erences to the y , h f

h r the use o f the turtle - ove inﬂuence o f t e sta s, d “ s m ol o f ait ul love the rim Boatm an as a y b f hf , g I I act I e tc H e n R I . d un oets . . s s g by p ( , , ﬁ ’ in the undiscovered country o f H amlet s solilo P r I 1 1 a re erence to u . quy f g , , 3 Ch e mai non vide navicar sue acqu e

Uomo che di tornare sia oscia e s erto . , p p M MI 1 FRO CHAUCER TO L TON. 7 more untrustworthy character are the arti

’ cles published in Blackwood s Magaz ine

vo s 1 1 in w ic an tt m ( l . 35, 37 , h h a e pt

’ to prove Dante s inﬂuence on Shake speare is made chieﬂy from a study ofhis

onn ts r i i it of t s rti s e . The el ab l y he e a cles may be gathered from such statements as the o owin : s ntim nts ur s f ll g The e e , ﬁg e , and phraseology in Shakespeare and Dante prove that Shakespeare got from Dante m n id s ur s and orm s of r s a y ea , ﬁg e , f exp e ” “ sion ; and again : The identity oftheme and purpose of the other poet (Dante) and OfShakespeare is by these statements established beyond the possibility ofrea

u nt and idn m sonable do bt . Da e S ey see to have been the poetic masters under whom the genius of Shakespeare was

A clo ser arallel owever would b e Catullu s p , h ,

unc it er iter t ene rico um Qui n p b s ,

I lluc unde negant re dire que m quam .

b x 2 1 ° Be o re I o w ence I s all f also o . C . J f g h h ot return even to the land ofdar ne ss and the n , k f de t shadow o a h . 2 A ND THE I 7 DANTE ENGL SH POETS . trained till it attained to its marv ellously

” 1 o d r ction devel pe pe fe . Now it is perfectly evident that Shake speare was much interested in Italy ; he places there the scenes ofa number ofhis plays ; he quotes not only Italian words but w o r s s and the oc co or of h le ph a e , l al l the Merchant of Venice and the Taming of the r w is so ccur t t t s s Sh e a a e , ha , ay “ r nd s t c nnot v n n B a e , hey a ha e bee glea ed ” 1 o s or conv rs tion from b o k e a .

1 The writer o fthe article s declare s further that S hake spe are fram e d the structure o f his sonne ts o n Dante ; that the sonnet s are the Vita Nu ova o f e s eare who in the 1 2 th sonnet descends S hak p , 9 ’ to H ell and sum s up Dante s nine circle s in mne it et s and t at ep h , h “ that affable familiar ghost Which nightly gulls him with inte llige nce

r t n Be trice F art er t an thi is none othe ha a . h h s arallé les could rdl o th e chasse aux p ha y g . 1 re l I Elz e tron l li m S a e s ea vo . . s Wil a h k p , g y insists and Brande s is incline d to b elieve that vi ite d I tal Man o f his con S hake sp e are h ad s y . y in the dram a had cert ainl done so t emporaries y ,

iel re ene The last - nam ed Nas an . Lyly h , , G , D e m ore t an o nce I n the de ate m entions Dant h . b ollie and Love he sa s : Love s rin et between F , y p g h

S 74 DANTE AND THE ENGLISH POET . elusive is the evidence adduced to prove a similar knowledge ofDante on the part of

s r Shake pea e . Coming to speciﬁc instances of par

s r s the most strikin are t os allel , pe hap g h e lines which must have occurred inde

nd nt to m n minds b ut w ic pe e ly a y , h h

Lowell was ﬁrst to call public attention “ ” ﬁnd two ss s in n to . t s s I pa age Da e , ay

t t cont in the ct st ossi he , ha a exa e p ble deﬁnition ofthat habit or quality ofHam

’ let s mind which justiﬁes the tragic turn of the and r nd rs it n tur and play , e e a al

n void rom the innin u a able f beg g . The ﬁrst is from the second canto of the I n ferno :

E ua e uei che disvuol cio che vo e q l e q ll , E er nuovi ensier can ia ro osta p p g p p , Si che dal cominciar tutto si tolle ; ’ Tal mi fec io in quella oscura costa Perche pensando consumai la impresa ” h f n l comin r C e u e cia cotanto tosta.

in in the t c nto of the ur to Aga , ﬁf h a P ga rio M FROM CHAUCER TO I L TON.

’ Che sempre l uomo in cui p ensier rampolla

Sovra ensi r da se dilun a il se no p e , g g , ’ ’ Perche la foga l un dell altro insolla.

nt was ro ound m t sici n Da e a p f e aphy a , and as in the ﬁrst passage he describes and d n s c rt in u it of mind so in eﬁ e a e a q al y , the other he tells us its result in the char

ct r and i n m ind cision and a e l fe ; a ely , e

i ur the o rt r offat the end t n fa l e , g al fa he ha a he innin I t is r m r ho t t beg g . e a kable w c os r s mb nc oft ou t and v n l e a e e la e h gh , e e o f r ssion t r is tw n the orm r exp e , he e be ee f e

’ ofthese quotations and a part ofHamlet s fam ous solilo quy :

T us conscience t at is consciousness dot h (h , ) h make cowards ofus all And thus the native hue ofresolution ’ I s sic ied o er wit the a e cast oft ou t kl h p l h gh , And enterprises ofgreat pith and moment

Wit t is re ard t eir currents turn awr h h g h y, ” 1 And os h nam l e t e e ofaction.

Another passage adduced as affording

’ evidence of Dante s inﬂuence on Shake

1 S a e s e are Once More h k p . 6 E AND THE I S 7 DANT ENGL SH POET . speare is found in the words ofClaudio in

sur for sur 1 Mea e Mea e (III , )

1 A e but to di and o we now not w ere y e g k h , where Shakespeare is suppo sed to sum up the characteristic features of the Dan e ue n rno Yet t is ss con t sq I fe . h pa age tains only the comm onplaces o fthe mediae val conc tion of r ss d in the ep Hell , exp e e v rious isions st ri s and ir c a V , My e e , M a le

s and int d in the c urc s and play , pa e h he 2 i s n r r sourc ifan c m t r . w r e e e e A ea e e , y e e ’ d d would Sackville s nduction n . ee e , be I Many other briefer parallels have been

oint d out diff r nt writ rs of p e by e e e , all

m utt r inconc usiv suc as the ref the e ly l e , h

1 To lie in cold o stru ction and to rot b , ; This sensible warm m otion to b ecom e A kneaded clo d; and the delighted spirit To at e in er ﬂoods o r to reside b h ﬁ y ,

I n thrilling re gions of thick- ribbed ice ’ To b e im rison d in the viewless wind t p s, e c.

f the at etic allade m ade C . p h b by Villo n at the request o fhis m other:

Au moustier voy dont suis parroissienne

Paradis painct on sont ar e s e t luz , h p , Et un en er damne so nt bo ull g f z uz . FROM CHAUCER TO MI LTON. 7 7

1 erences to the v in of c i s to the ja el A h lle ,

1 b r of ron to i in in the s r a k Cha , l fe be g e e

3 and ow to the two s of ro s yell leaf , key P

1 “ ’ ro to the r ssion At war twi t pe , exp e x

” 1 wi and wi not the c in ofan rtist ll ll , all g a

6 r sin the ape of Nature . A ather gular “ coincidence is in the expression top of ” u n for w ic rr s on j dgme t (M . h h co e p ds

’ ct to nt s Cima di iudiz io ur exa ly Da e g (P g . ,

VI ,

ost sin u r of t s coincid nc s M g la all he e e e , “ ow v r is the ou t ndis word ono h e e , la h h riﬁcabilitudinatibus L L L . . . of ( , V , which the only other example that has

1 2 H enr I V act f I nf I V 1 . C . . y , , , XXX , 5 . 2 Troilus and Cre ssi a n d I I I 2 . f I f. I I . , , C . , I , 8 2 ﬁ 1 M t ac e V . f I nf I I 1 2 C . I 1 ff b h , , 3 . , , . 1 Tem e st I 2 f nf . I . C . I I I 8 : p , , , X , 5 Tenni ambo le chiave

Del cor di Fe derico . 5 Measure fo r Me asure I I 2 f nf I I C . I I 1 , , . . , V , 1 1

Che il si e il no nel ca o mi e p t nzona. 1 ’ Winter s Tale V 2 f I nf . I C . . 1 Yet , , , XX X , 39 . the ape was the conventional symb ol o fan artist ; the uild o fthe oldsmit s in um en G G h Berne is calle d Z A ﬁ . 1 Lo ngfellow qu o te s from Du Cange the le gal ' ex re ssion a ex un S p p j . 8 A ND THE I 7 DANTE ENGL SH POETS.

’ been found is in Dante s De Vulgari Elo

uio S icut illud onori cabilitudin q (II , ﬁ i

1 tale .

But too muc r s has r d h , pe hap , al ea y been said concerning a question the con e usion ofw ic am sur im rti l h h , I e , all pa al stud nts must r rd as n tiv one e ega a ega e . The result of all the discussions as to the relations between Shakespeare and Dante is w s m d u in the r m r of r ell um e p e a k M . Furnivall : My belief is that if Shake

’ s r had nown nt he d v so pea e k Da e , ha e used him and so often as to have left no

” 1 dou t on t is oint b h p .

1 S ee article Bo rinsk in An lia I I I by y g , XV , 0 ff p . 4 5 . 1 No te s nd ueri : a es 6 . Q , 5 X 39 CHAPTER IV

I LT N M O .

I N the early part ofthe seventeenth cen tury we ﬁnd but few cases of mention of

Dante on the part o fthe well - known Eng

wri rs ic rd urton 1 — 1 660 lish te . R ha B ( 57 7 ) in the A natomy of Melancholy quotes Dante as an authority for the location of

in the c ntr of the rt r m hell e e ea h . Je e y

1 or 1 6 1 s in ofmir c s Tayl ( 3 peak g a le , says that they are all the effect of Divine

ow r wit out the coo r tion o f Na P e , h pe a tur or t t ma use the nt e , ha I y elega ex

r ssion of nt it was suc p e Da e , h

a cui natura

Non sca do erro mai ni att a cu l f b e n de . P ar. X I 1 1 , X V, 0 .

1 The Life o four Ble sse d Lo rd and S avio r J e su s C rist iscourse X I V Of the Miracle s w ic h , D , h h ro t Je sus W ugh . 80 AND THE I DANTE ENGL SH POETS .

While Sir Thomas Browne in the Urn ' Burial (I V) refers to the fact that while

nt c s to and ocr t s in Da e pla e Pla S a e hell , “ Cato is found in no lower place than ” Purgatory ; and in the Religio Medici

ud s to the Omo w ic ccordin he all e , h h a g

' ' to Dante can be read nel u so deglz uomzl ' 1 m — a minute touch which goes far to prove that Browne had an actual knowl f n edge o Da te .

’ ’ As for un n s i rim s ro r ss cer B ya P lg P g e , tain fortuitous coincidences have struck som writ rs t us Lon ow in his not s e e ; h gfell , e to his tr ns tion of the ivin om d a la D e C e y,

uot s s v r r s and as on q e e e al pa allel , l g ago as the eighteenth century Samuel Johnson declares it remarkable that the ’ Pilgrim s Progress begins very much like

1 m of nt the o . s r r nc s p e Da e The e efe e e ,

1 I I I 2 Pur . . g , XX , 3 1 H e adds owever: Yet t ere was no tran , h h s n o f ante w en Bun an wr T r latio D h y ote . he e is ’ re ason to t in he read S enser Bo swell Hill s h k p ( ,

vol. I I . Bun an wever e d. o would , , p y , h

8 2 DANTE AND THE ENGLISH POETS . conc tion and in v r ortion and as ep , e e y p p s it is u of akes— we can r ss it age , f ll ﬂ exp e no otherwise— full ofﬂakes from all that is r t st in r c din it r tur nci nt g ea e p e e g l e a e , a e ” or mod rn e . ’ There is no question as to Milton s ao

u int nc wit the ivin om d q a a e h D e C e y . He began the study ofItalian in 1 6 32 and is said by his biographers to have been sat urated wit nt tr rc sso and h Da e , Pe a h , Ta ,

rio sto I n 1 6 8 w nt to t and A . 3 he e I aly , spent the months ofA ugust and Septem b er I n F or nc the irt c of the l e e , b hpla e

ivin D e Po et .

r is c rt in int r st if no ar The e a e a e e , p ticular v u in notin the n r oints al e , g ge e al p ofresemblance between the two great re li ious o ts of t and n nd in i g p e I aly E gla , l fe ,

1 c r ct r and it r r ctivit ot ha a e , l e a y a y . B h w r sc o rs v rs d d in the e e h la , e e eeply all learning of their day ; both were pro

1 Macaulay (E ssays on Dante and Milton) and Lowell (E ssay o n Dant e ) hav e compare d and the c aracters o fMilt n n nt contrasted h o a d D a e . 8 MI LTON. 3 foundl r i ious st rn and s v r in y el g , e e e e t ir cond mn tion of sin and indi n nt he e a , g a

t the corru tion of the urc ot a p Ch h . B h were intensely patriotic and gave them selves up without reserve to serv e what they considered the best interests oftheir

ountr ot ss d the tt r o f c y . B h pa e la e half i in rds i and su f rin the one an l fe ha h p f e g ,

an r the ot r ind i d . ex le a begga , he bl The d c inin rs of i ton ow v r w r e l g yea M l , h e e , e e cheered by a knowledge o fhis glory as a po et ; Dante died before his fame had b e com u st is d and his r t st e f lly e abl he , g ea e work was not known in its entirety till

hi d t v n in the or r after s ea h . E e de of their compo sitions we may ﬁnd some re s m nc tw n nt and i to n e bla e be ee Da e M l .

r i st wor of c was ric and The ea l e k ea h ly al , the Canz oniere m ay be compared to I I ’ ns ro so and L Alle ro the it Nuov Pe e g , V a a to Comus ; and the De Monarchia (in which are discussed the relations between Church and State) to The Reason of 8 AND THE I P ETS 4 DANTE ENGL SH O .

Church Government and other pOlitical and r i ious tr ct t s o f i ton el g a a e M l . The resemblance between the Divine Comedy and Paradise Lost will be discussed at

n t t r le g h la e .

We may assume on a priori grounds that

Milton would be attracted to the study of

nt t did now his Da e . Tha he k works thoroughly is proved by a variety ofevi d nc suc as d nit m ntion transla e e , h eﬁ e e , tions ofc rt in ss s and mor or ss e a pa age , e le

s I n the orm direct reference . Ref ation in England he translates the lines in the I n ferno on the gift of Constantine to Syl vester

onstantine ofhow muc ill was cause Ah , C , h

t th conversion but t ose ric domains No y , h h 1 That the ﬁrst wealthy pope received ofthee ;

1 Ahi Constantin di uanto m al fu m atre , q , Non la tua conversion ma uella do te , q h da te rese il rimo ricco atre C e p p p .

X I X 1 1 — 1 1 , 5 7 . I n his v oyage t o the moon A stolfo ﬁnds among ” other vain things il dono

l n ilve stro e c Che Costantino a buo S f e .

rlando urioso I 80 . O F , XXX V. M L 8 I TON. 5 and in the sonn t to Mr L w o . s n e . H a e , ” the u is in his irs the st t r p bl h g a , la h ee lines contain a reference to that beautiful

1 ’ scene in Purgatory where the poet s ’ friend Casella sings one of Dante s own songs :

Dante shall give Fame leave to set thee higher ’ T an his asel a w om he woo d to sin h C l , h g , M et in the milder shades ofPurgatory .

S o too in L cid s the indi n tion ofSt , , y a g a .

t r Pe e ,

The i ot o fthe a i ean a e p l G l l l k , in general tone seem s to have been sug

st d r diso 2 2— 2 and ge e by Pa a , XXVII , 7

0 ff I n ot the n is and the t i n 4 . b h E gl h I al a we ﬁnd r r nc to the s ofSt t r efe e e key . Pe e “ ” and to the grim wolf with privy paw who

1 Daily devours apace and nothing sed;

1 P r I I 1 0 ff u . 6 g , , . 1 ’ I n v e sta di pastor lupi rapaci ion hi Si vegg di quassu per tutti i pasc . I I Par. V . , XX , 55 86 AND THE E I DANTE NGL SH POETS . while both end with a prophecy of com ingpunishment

But that two—handed engine at the door 1 Stands ready to smite once and smite no more ;

in s The l e ,

The un r s ee oo u and are not fed h g y h p l k p ,

But swo n wit wind and the ran mist t e draw , l h k h y ,

R ot inward ly , are a free translation o fthe lines in Para diso 1 0 6 , XXIX ,

Si che le ecore e che non sanno p ll , ,

Tornan dal asco asciute di v nto p p e .

’ The chief evidence ofDante s inﬂuence on Milton naturally shows itself in the Para

Lo t t i ton d i r t dise s . Tha M l el be a ely sought a mo del upon which to build the poem he had in mind is proved by the passage in The Reason of Church Gov ernment in w ic d scri s his dou ts , h h he e be b as to whether he should imitate the epic

orm m i d om r r i sso f exe pl ﬁe by H e , Ve g l , Ta , and ob or the dr m of o o c s and J , a a S ph le

1 r VI I 1 — Pa . 6 6 , XX , 3. 87

uri id s or the stor dr m as in the E p e , pa al a a

on of o omon or the o c s of S g S l , Ap alyp e

in o n A s Mr sson t i t . . s s s Sa J h Ma ay , h

’ passage is the record of Milton s medita tions and hesitations with himself over

r ct I n vi w of t is r n his great p oje . e h f a k con ssion conc rnin m o d t o imit t fe e g a el a e , we may take it for granted that the Divina

Commedia had not occurred to Milton as

Ot rwis t r wou d v imitable . he e he e l ha e

n om m ntion o fit in the ov is bee s e e ab e l t .

’ Indeed Dante s po em is no t such a one as could w imit t d in n r n be ell a e ge e al pla ,

r un i as it is the r u r con utte ly l ke , , eg la ventional ic of om r r i and Tas ep H e , Ve g l ,

o nc the omission ofit in the ov s . He e ab e list do es not prove that Milton was unac

ain ed wit it at the tim On the qu t h e . contrary there seem s to be reason to be lieve that his determination to do some thing m ore worthy ofhis genius than he had hitherto done m ay have been still further strengthened by his knowledge of 88 AND THE I DANTE ENGL SH POETS. a similar determination on the part of

nt t r the d t of tric I Da e af e ea h Bea e . n the Intro duction to B ook III ofThe Rea son of Church Government he promises to undertake a poem far in advance of

n t in had et writt n and r a y h g he y e , p o c ims his ur os wit the of h la p p e , h help t e “ rn irit who can nric wi Ete al Sp , e h th all

’I t r nc and now d to r ut e a e k le ge , p epare “ himself for his great task by industrious and s ct r din st d o s rv tion ele ea g , ea y b e a , insight into all seemly and generous arts and affairs ; till which in some measure be com ss d at min own ri and cost pa e , e pe l , I refuse not to sustain this expectation from such as are not loth to haz ard so much credulity upon the best pledges that

’7 v t m I n n r I can gi e he . ge e al temper there seems to be a remarkable similarity

’ here with the closing lines ofDante s Vita “ Nuova : appresso a questo sonetto apparve

una mirabil vision n u vidi a me e , ella q ale o che mi c ro ro orr di non dir iti c se , fe e p p e p

0 9 DA NTE A ND THE ENGLISH POETS.

’ stud of i ton s r tions to nt y M l ela Da e . Here again much must be attributed to the general sto ck of ideas and to what I have ventured to call the materia poetica

1 of the time To such I attribute the general similarity between the universe of nt and i ton ot s d on the Da e M l , b h ba e

2 to m ic s st m To suc so ma P le a y e . h al y perhaps b e attributed the resemblance between the Earthly Paradise of Dante

n n o f n of i on a d the rd d t . r Ga e E e M l He e ,

ow v r am inc in d to i v t t h e e , I l e bel e e ha

’ the mem ory of Dante s divinely lovely landscape had no little inﬂuence on Mil

’ ton s longer and m ore m odern descrip

ion ot are on the to of i t . B h p a h gh pla

t and in cc ssib i of t u s . ea , eep a e le Wh le ,

1 The m aliciou s accu satio ns o f Lau de r and the e x agge rate d impo rt ance attribut e d t o slight coin cidence s be twe en Milt o n and o the r p o e t s by To dd and Edmundson and o t ers s ould warn u s t o b e h , h u m tt r S e e Mas on I ntr cautiou s in s c a e s. s o h , n to Paradise Lo st se ctio n iv ductio , . 1 To b e m ore re cise ante o llows th e older p , D f m Milton t th l in Ptole maic s ste ado s e A ons e . y , p ph 1 MI LTON. 9 cours the use of rov s and m dows e , g e ea , c r str ms n m d ow rs and sin lea ea , e a elle ﬂ e g in irds orm the n tur m t ri for g b , f a al a e al suc d scri tions et c o s r min h e p , y a l e exa a tion of the details of both passages re v n r ofin r stin r s m nc s eals a umbe te e g e e bla e .

’ ” Th eternal spring ofMilton is the pri ” “ ma era s m r of nt r c s v e p e Da e . The G a e ” and the Hours in dance ﬁnd a parallel in the

Ninfe che si givan sole ;

’ so i ton s in s M l l e ,

Not that fair field ’ OfEnna w ere Proser in at erin flow rs , h p , g h g H erse a airer ower oom Dis lf f fl , by gl y ’ Was ather d w ic cost eres all t a ai g , h h C h t p n To seek her through the world

P. I 2 L . V 6 ff 8 . , , , make use ofthe same fable to illustrate a

’ similar description as Dante s

Tu mi fai rimembrar dove e ua era , q l Proserpina nel tempo che perdette La madre lei d im e e a r av ra. , ll p e P ur . XXVI I I g , , 49. 2 AND THE I 9 DANTE ENGL SH POETS.

Compare further

The birds their quire apply

Tanto che gli augelletti per le cime ’ ’ Lasciasser d o erare o m lor arte p g , and— to come down to single words or ex pressions - compare the gentle gales and the attune the trembling leaves of

’ i ton wit nt s so v v nto ur M l h Da e a e e , a a dolce le fronde tremolando and

le foglie

h t n an ordone a e su rim C e e ev b ll e e .

The important point to remember here is that all these parallels o ccur in the space ofa few lines and in the description ofthe

No n m or v r who ha c . o e o s same pla e , e e , ’ felt the beauty of Dante s landscape will think it unreasonable to suppose that Milton had his mind charged with the

i s t r o or t t r minisc nc s deta l he e f , ha e e e thereof should be in his mind while writ

n o m inghis ow p e . One o f the mo st striking points of re

D E I 94 DANTE A N TH ENGL SH POETS. ciall r c rs who n ct the in and yp ea he , egle pla simple lessons of the Gospel in order to gain applause by discussing topics far above their power to comprehend

Voi non andate q per nu sentiero Filosofando ; tanto vi trasp orta ’ ’ L amor dell apparenz a e il suo pensiero

’ Per a arer ciascun s in e na e ace pp g g , f

Sue invenz ioni e uelle son trascors , q e Dai r dican i il an i i e t e v e o s tace etc. p , g l ,

Par. ff I 8 . , XX X , 5

The general form ofthese discussions in the Paradise Lost is like that of the Di

mm di u stions s d vina Co e a . The q e a ke by

d m the s tis ction t at the infor A a , a fa fel m tion iv n the new dou ts t t ris a g e , b ha a e , and the thirst for knowledge never satis

ﬁed v r d sirin mor and mor r mind , e e e g e e , e us involuntarily of Dante in his conver

n w t r i and tric I t s n satio i h Ve g l Bea e . i ot necessary to give m ore than a few exam

us com r the o owin ples here . Th pa e f ll g passages M L I TON. 95

L d o n et sin ess wit desire to now e , y l , h k ,

as one whose drought ’ alla d stil e es the current stream Yet scarce y l y , i Whose liquid murmur h eard new th rst excites.

I I 1 ff. P. L . , V , 6

a an s suﬂicient or w at recom ense Wh t th k , h p

E ua ave I to render t ee divine q l h h , ’ Historian ? Who thus largely hast allayd w The thirst I had ofkno ledge . ff P L . I I I . . V , , 5

Somet in et ofdou t remains h g y b ,

ich on th so ution n r Wh ly y l ca esolve . I b. 1 1 . , 3, 4

i c i n Ed o u ova sete ancor frugava.

Pur . X I I I V . g , , 4

’ M r il mi r viv aest o, o vede s av a ’ Si nel tuo ume ch io discerno c iaro l , h

uanto la tua ra ion orti o descriva Q g p .

1 —1 I b. , 0 2.

’ I o son d esser contento piudigiuno ’ iss io che se mi ossi ria taciuto D , f p ,

E iu di du io n m n no p bb ella e te adu . P — ur . 8 60 . g , XV, 5

’ Milton s idea (referring to the freedom ofthe wi ll), 6 A ND THE I 9 DANTE ENGL SH POE TS .

ifI foreknew ' Foreknowledge had no inﬂuence on their fault

P I I 1 1 . L . I , , 7 , is expressed more picturesquely by Dante as follows

T a di in l o rno utt e p ta de cospett ete .

essita erO uindi non rende Nec p q p ,

Se non come dal viso in che Si s ecchia , p ,

r or i di Nave che pe c rente gn scende . — Par. I I 2 . , XV , 39 4

The discussion ofthe b eneﬁcent inﬂuence ofthe obliquity ofthe ecliptic in produc ingthe periodicity ofthe seasons is found in both Dante and Milton

Some say he bid the angels turn askance The p oles ofearth Else had the S pring ’ ’ Perp etual smil d on earth with vernant ﬂow rs

E ua in da s and ni ts ex ce t to t ose q l y gh , p h

B eyond the p olar circles. P L . 6 if . 6 8 . , X,

Vedi come da indi Si dirama ’ L obbliquo cerchio

8 9 DANTE AND THE ENGLISH POETS .

su st d the r r nc s to the r gge e , efe e e ha py ” oot d uri s f e f e ,

M edusa with Gorgonian terror guards

The ord f ,

and the in l e ,

R oc s caves a es ens o s dens and S ades k , , l k , f , b g , , h

o fdeat h ,

sums up many of the fearful aspects of

the n rno Of cours m n of t s I fe . e , a y he e details were due to Vergil and the classi

cal ut ors b ut i v t t the Divinia a h , I bel e e ha

’ Commedia was to some extent in Milton s

mind as wrot his d scri tion of he e e p Hell . Other points of resemblance are the unconquerable deﬁance of Satan and

n us Capa e . Cf .

That glory never shall his wrath or might

Ex or rom m Par t t e . Lost I 1 1 0 . f , , , and

Se iove stanc i il suo a ro G h f bb ,

E me saetti di tutta sua orz a f ,

Non ne otre e av r v nd tta a ra p bb e e e lleg . — I nf. XI V 2 60 . , , 5 MI LTON. 99

Lo oking down from sky upon the earth far below :

From ence no c oud or to o struct his Si t h l , , b gh , ’ Star inter os d owever small he sees p , h ,

Not uncon orm to ot er s inin o es f h h g gl b , a n f Eart nd the arde o G od etc. h , g , r L Pa . o st 2 , V , 57 .

’ Si ch io vedea di lada Gade il varco ’ Fo e d isse e di ua resso il ito ll Ul , q p l i E r r Nel qual S fece u opa dolce ca co . E pinmi fOra discoverto il S ito Di questa aiuola; ma il sol procedea i mi i i Sotto e p edi.

Par. VI I 2 8 . , XX ,

’ L aiuola

’ ’ T tta m a arv da co i a u pp e ll lle foci. r I I Pa . 1 1 , XX , 5 .

ou monst r Sin in r dis Lo st The f l e Pa a e ,

6 1 — s ci her b ut to t os to II , 7 e pe ally ea y h e “ whom familiar grown She

pleased and with attractive graces won The most averse reminds us of the S iren (symbol of ava 1 0 0 A ND THE LI DANTE ENG SH POETS. ric utton and ic ntiousn ss in ur e , gl y , l e e ) P g . , XIX :

o la mirava I , E 10 smarrito volto

om m r o co i le co ora a i e a o vu s v nes 1 0 ff. C l, l , (l )

E qual meco Si ausa ’ R r — ado sen a te Si tutto a a o 11. 2 2 1 p , l pp g ( 3 4, 3

I n the change of the fallen angels to sn s in oo ofcours i ton ound ake B k X , e , M l f the rst su stion in Ovid b ut the lan ﬁ gge , guage used seems to point to some inﬂu

n o n the rt of nt so e ce pa Da e al . Cf .

H e would have spoke ’ But hiss for hiss return d with forked tongue

To forked tongue .

P. L . 1 . , X, 5 7

E la in ua che avea unita e resta l g , p

Prima a ar ar Si ende p l , f

i fol n r Si fugg su a do pe la valle .

I nf. 1 , XXV, 33.

or ion and As and Am hisbaana dire Sc p p, p ,

rastes orned H dros and E o s drear Ce h , y ll p ,

And Dipsas.

1 0 2 DANTE A ND THE ENGLI SH POETS .

’ E quando fur ne cardini distorti

No n ru o S i ne si m o stro si acra gghi ,

P . I X ar e ia. ur 1 . T p g , , 33

’ ’ ell tre mbl d at the ideo u s nam e and si h d H h , g m P ro all h e r cave s. . L . I I 88. F , , 7

L rr m s e . I I I a te a la r o a di de vento . I nf 1 g i , , 33.

in s unattem te d e n ro e r m Th g p y t i p s o ri e .

I 1 6 . P. L . , ,

’

P I I . ac ua che io rendo iamm ai non S i corse . ar. L q p g , , 7

Also Vita Nu ova

’

r m lc x liii. S pe ro di di e di lei que llo ch e ai no n fu de tto d a una. and twilight gray

r l P. I V . H ad in h e r so e r live a l t in s clad. b y h g L , 5 99 ' P osse ori o nte atto d un as etto . ur . I I 1 . F zz f p g , XXV , 7 Now glo we d th e ﬁrmament

P 0 it livin sa ires. . I V 6 . W h g pph L , 4 ’ battleme nts adorn d

livin sa ire . I I 1 0 . Of g pph , 4 9

’ i fﬁ P r . I D lce color d or ental z a ro . u . o g , , 1 3

’ ile t u s h e s a e th an e lic s uadron ri t Wh h p k , g q b gh '

P. L . I uru d ﬁer re d. V T y , , 97 7 .

e l color ch e er lo o le avv erso Di qu , p s Nu e di in e da sera e da m ane b p g , ’ r w r Pe l Vid io allo a t at is at o ds ofS t . ter tutto i ciel cos erso . ( h , ) p P ar. I I 28 . , XXV ,

l ern wi d es of wee t . P . A s s s . L 2 . , V , 94

Ma di so avita di m ille o dori ,

Vi ace v u n inco it in i t n P . 0 . f a gn o d s i to . urg , VI I , 8

And what surmo unts the re ach um an se nse I s all deline ate so Of h , h , ’ m n P . B lik ni s iritu al to co r oral or s. . L 1 . y g p p f , V , 5 7

Co si parlar conviensi al vostro inge gno

e pie di e mano

ce Dio e d altro ntende . P . 0 Attribuis a , i ar , I V, 4 . 1 0 MI LTON. 3

T ere ore e te rnal sile nce b e t eir doo m . P. VI 8 . h f h L . 3 5

Non ra io niam di lor ma u arda e assa. I nf. I I I 1 . g g p , , 5 S o stee rs the prudent crane

H e r annu al vo a e o rne on winds. P. VI I 0 . y g , b L , 4 3

E com e i gru van cantando lor lai

acendo in ae r di se lun a ri a. I nf. 6 . F g g , V , 4

' ' Wh at see m d fair in all the world see m d no w m ’ P. . I I I e an o r in h e r sum d u . L V 2 . M , p , , 4 7

Ella e quanto di b en p u o far natura;

le elta. i Per e se mpio di i b s pro va.

La ita Nuo va x ix . V , 5

it radiant li t as lo win imn wit ﬁre W h gh , g g h , ’

I fme tal art se e m d old art silve r cle ar. , p g , p Non altrime nti fe rro disfavilla P Che olle . ar I I I 8 . b XXV , 9

he lie nt e ce e l o c . I bi ual erro c o e s d u o d. I 6 0 . Q f b g f , ,

acce si '

erro iu non c ie de verun arte . I X 1 20 . Che nf. I f p h , ,

’ 1 P P ar e nte ll d 0 0 distinto . ar. X I I . are va g , V I 96 ,

’ S atan s S p e ar

to e qual which the t alle st pine

wn n N rwe ian ills e tc. P e o o . I 2 2 . H g h , L , 9 La faccia sua mi pare a lunga e gro ssa

m n n R m . Pie tro a o a I nf. o e la i a di S a I 8. C p , XXX , 5 Thick as autumnal le ave s that strow the broo ks m r I n allo o s . a P . . L I 0 2 . V b , , 3 m ’ o e d autunno i le v n le o lie . I nf I S a I I 1 1 2 . C f g , Blosso m s and fruits ’ wit a e nam ell d co lo m P. g u rs ix t . I V 1 . h y L , 49

Oro e d argen to ﬁno e co cco e biacca

r mer esco s aldo e tc. P ur . VI I F , g , , 7 3.

’ Le ve ll d hi e n P s ve in ra s. . L . I V g y , , 5 4 3.

ontra i re i serotini. Pur . 1 1 C gg g , XV, 4 .

The ersoni cation ofthe sun turnin sudden p ﬁ , g ly 1 0 A D THE I 4 DANTE N ENGL SH POETS. his course at th e tasted ruit o f Adam and , f “ e r m e e n n ue P L E v as o T st a a t . . , f hy b q ( , X , is li e t at o f th e river A rno w ic arrived at k h , h h , Arez z o and dis u ste d at t eir curris c aracter , g h h h , P lor di e no sa orce il m . ur a , sd g , t uso g . , XI V, 48 . “ I n P L 8 1 E ve is called t is air de ect . . , X , 9 , h f f ” ' o fNature so to o an u l o d in the Conmto ; , , g y b y , I I I is said t o b e du e to a eccato della natura , 4 , p . “ ’ ” enu in P L X I 8 is Lov e ar n er V s . s i . , , 5 9, h b g , w ile in Pur I 1 we ﬁnd it o en f . s o as h g , , 9, p k

Lo b e l piane ta ch e ad amar co nfort a.

The de scri tion o fstorm and ﬂo o d in P L XI p . . , , 6 seem s t o S ow reminiscential o r coinci 7 37 , , h ’ dental re semblance s to Dante s famou s description r 1 in Pu . V 0 ff g , , 9 . l o 6 A A ND THE E I T D NTE NGL SH POE S. the low level ofDantean inﬂuence in Eng nd la .

ddison t ou visit d F or nc A , al h gh he e l e e , does not mention Dante in his notes on

t r d n and o had ot m I aly . D y e P pe b h od erniz ed uc r and ma v rn d Cha e , y ha e lea e from their predecessor some few things

out nt b ut ot are utt r wit ab Da e , b h e ly h out evidence in their works of anything which could even rem otely be called inﬂu

1 ’ n r d n s w - n n r nctor e ce . D y e ell k ow pe fu y

u o of om r r i and e l gy H e , Ve gl , Shake s r pea e ,

T ree oets in t r distant a es orn h p h ee g b ,

reece I ta and En and did adorn G , ly , gl ,

’ wit its n ct of nt s n m rov s h egle Da e a e , p e that for him the great Florentine was as if n i he did ot ex st .

A S the i t nt c ntur wor w e gh ee h e y e a ay ,

ow v r we o s rv c n I n t is st t h e e , b e e a ha ge h a e

1 ’ I n Po pe s plan fo r a history o f English Po etry (which h e nev er carrie d ou t) the ﬁfth division o f r I i calle d S c o ol o f ante ee Courtho e e a s . S A h D p , Po etr Pre ace i . En . H st . g y , f 1 6 THE EI GHTEENTH CENTUR Y. 7 ofthings— a change clo sely connected with new im ort nt m ov m nts in t , p a e e I aly . After a long period ofdepression in poli tics and it r tur t t countr tow rd l e a e , ha y , a the midd of the i t nt c ntur b e le e gh ee h e y,

an to r viv triotism wo and en g e e . Pa a ke , tered it r tur t rou Alﬁeri rini and l e a e h gh , Pa , ot rs From now on nt ssum s he . Da e a e a new rOle in his native land; he is no longer the r t o t and r i ious t c r b ut g ea p e el g ea he , th r f r nd e p ophet o a united fathe la . The

din triots ofm o d rn t wit out lea g pa e I aly , h

c tion m d the ivin om d the ex ep , a e D e C e y o ct oft ir n t nt tud n of bje he co s a s y . Ma y these had certain relations with England and as we S see t r w r ow r u , hall la e , e e p e f l agents in the stirring up of a profoun d int r st in nt in t t tr e e Da e ha coun y .

The forerunner ofthis Dante revival in

England is Thomas Gray (1 7 1 6

visit d t and o t n m ntions in his He e I aly , f e e

tt rs her sc n r her istor and her le e e e y , h y , art n . I by o means wish to have been 1 0 8 AND THE I DANTE ENGL SH POETS.

orn n t in b ut an n is m n b a y h g E gl h a , he “ s s et s ou d r oic to c n ay , y I h l ej e ex ha ge

” 1 n s wit t I n his ov to gue h I aly . l e for

1 t i n it r tur did not n ct nt I al a l e a e he egle Da e , w om uot s s v r tim s not on h he q e e e al e , ly rom the ivin om d but rom the f D e C e y , f

3 ss r nown or s in u nc of le e k w k . The ﬂ e e

’ Dante on Gray s poetry is distinctly seen in two c s rst in the ritt n pla e , ﬁ Elegy W e in ountr urc rd and s cond a C y Ch hya , e ly in the translation ofthe Ugolino episode rom the n rno f I fe . The student of the Divine Comedy is immediately struck in reading the Elegy

1 l 1 Letters v o . I I 8 . , , p . 5 1 I n a note t o th e Pro gre ss o f Po etry he give s a brie f summary o fthe inﬂuence of I talian litera “ ture in En land ro m C aucer who was no t g , f h ( ” unacquainte d with th e writings o f Dante ) down “ to his own tim e w e n th e I talian sc ool avin , h , h h g ex ired S oon a ter the R e storatio n a new o ne p f , arose on the Frenc m odel w ic has su sisted h , h h b

ever since . 1 I n his O servations on En lis Metre s ea in b g h , p k g o f the Canz one h e sa s t at ante e steem ed it , y h D he n le st S e cie s o f o e tr S o in O servatio ns t ob p p y . b

eudo - R t m he a ain uotes ante on Ps hy h g q D .

1 1 0 H I DANTE A ND T E ENGL SH POETS.

I n his translation ofthe story ofUgo

ino n rno XXX r o ows the l (I fe , III) G ay f ll

m of uc r and o ns the wa exa ple Cha e , pe y for the on in of nt tr ns tors l g l e Da e a la , w ic inn in wit the end of the h h , beg g h

i t nt c ntur has continu d uninter e gh ee h e y, e

l n o the r s nt tim AS rupted y dow t p e e e . this translation has o nly recently been m d u ic tr cts are iv n r a e p bl , ex a g e he e

The M orn had scarce commenced when I awoke My children (they were with me) sleep as yet

ave not to now t eir sum o fmiser G k h y , But yet in low and uncompleated sounds

I eard t em wai for read. Oh! t ou art crue h h l B h l,

Or T ou dost mourn to t in w at m oor H art h h k , h yp e

Foresaw ore new : oh ! ift ou wee not now , f k h p Where are thyTears ? too soon they hadaroused em

Sad wit the Fears ofS ee and now the H our h l p , Oftimely Food approached; when at the Gate

e ow I eard the dread u as of ars B l h f l Cl h B , ’ ’ And fast ning B olts ? Then on my Children s Eyes ’ S eec ess m Si t I ﬁx d nor we t for all p hl y gh , p ,

Wit in was Stone : t e we t un a o s h h y p , h ppy B y !

T e we t and rst m itt e dear ns m h y p , ﬁ y l l A el o

ried Fat er wh wh do ou az so C , h , y, y y g e sternly ? ’ W at wou d ou ave ? et we t I not or answer d h l y h y p , 1 1 1 THE EI GHTEENTH CENTUR Y.

at w o e Da or the succeedin Ni t All th h l y, g gh

Ti a new Sun arose wit wea eam ll h kly Gl ,

And an suc as mou t entrance ﬁnd wit in w , h gh h

B t oh ! w n I e e d That H ouse ofWoe . u he b h l

M ons and in our Faces saw m own y S , f y ’ ct d eit er H and I naw d Despair reﬂe e , h g ’ i w ic t e constru d H un er For Angu sh , h h h y g ; straight

risin all t e cried far ess S a be A g h y , l h ll

Our Sufferin Sir if ou resume our i t g , , y y G f ; ’ These miserable Limbs with Flesh you cloath d; ’ n w r I sw ll Take back what o ce as you s. a ow d

down

M stru in Sorrow nor to ei ten t eirs y ggl g , h gh h ;

T at Da and et anot er mute we sate h y y h , , ’ And motionless oh Eart ! could st t ou no t a e ; , h h g p Quick to devour me ? yet a fourth Day came

W en addo at m Feet out- stretc ed im lorein h G , y h , p g ’ ’ I n vain m H e ex ir d: e er the Sixt M orn y lp , p h ’ Had dawu d my o ther three be fore my Eyes Died one by one ; I saw em fall ; I heard ’ Their doleful Cries; for three Days mo re I grop d About among their cold R emains (for then

H unger had reft me ofmy Eye - sight) o ften calling On their dear Names that heard me now no more

Th ourt w a orrow o e t S c uld no Hun er did. f h , h t, g H e ﬁnished: Then with unrelenting Eye ’ Askaunce he turu d him ast to r n w , , h y e e

Th e is Feast and r n hi m lin Pr e e t s tre e . h ll h , b g y 1 1 2 A ND THE I DANTE ENGL SH POETS .

From now on we meet m ore and m ore not

’ m r the m ntion o f nt s n m but e ely e Da e a e , evidence of an actual knowledge of his wor s v now for the rst tim k . We ha e ﬁ e

r ssion ofcritic o inions at rst for exp e al p , ﬁ the m o st rt rs r c io pa adve e o aut us.

Thomas Warton (1 7 2 2 in his

istor . of n is o tr o t n m en H y E gl h P e y , f e tions Dante and traces his inﬂuence on certain English poets ; in connection with

’ his discussion ofS ackville s nduction I , he

iv s an out in of the ivin om d g e l e D e C e y . We have already seen that Samuel John

’ son compared Pilgrim s Progress to Dante — evidence that he knew at least the out

1 n of he o m li e t p e .

r ns tions now in to m d T a la beg be a e . I n 1 7 82 Hayley translated the ﬁrst three

6 1 Bo swell se em s to ave e en i no rant o f ante h b g D , for giving the line s

’ S em re a. ue l ve r 0 h a accia di me n o na e tc p q f z g , h e says : quote d by Rh e di de generatione insectar ” ’ m wit the e it et o f divini oem Hill s Bo s u h p h p . (

I 2 2 n te ll l I I . o . we vo . , , p 9, )

I I 4 A ND THE I DANTE ENGL SH POETS.

The atient reader to th m rit ust p , y e j With transport glows and shudders in disgust;

Th Fai in s s ran rom th disastrous time y l g p g f y , 1 Th stron er ea ti s r m a so im y g B u e f o ul subl e .

I n 1 7 7 0 Boyd published the ﬁrSt com plete translation ofthe Inferno into Eng is o owin t is in 1 8 wit the Pur l h . f ll g h 7 5 h

ator and r dis t s cts g y Pa a e . All he e fa presuppose a widening circle of tho se in terested in nt and w r at onc Da e , e e e a symptom ofand an inﬂuence in the revival

n As et w v r t r wa of t . o s Da e y , h e e , he e itt r dmir tion for the r t t i n l le eal a a g ea I al a , the uppermo st feeling being one of dis

a m o st urio it o u st or t c s . g , y Walp le compared him to a Methodist parson in

2 “ d m and s s : cou d dmir Be la , ay If I l a e

1 I n a note to this passage H ayle y give s an ’ count o f ante s li e and wor s and translate s ac D f k , h rst t re e canto s o f the I n erno a o ve m en t e ﬁ h f , b ’ tione d as w ell as ante s S onne t t o uido Cav al , D G

canti. ’ 1 li R m n i m Be e rs s En s o a tic s . 2 . o n g h , p 35 J h We sle who re ad Tasso and Ario sto seems not y , , an e to have known D t . 1 1 THE EI GHTEENTH CENTUR Y. 5

’ nt w ic in s rdon Da e , h h , begg g Hayley pa , ” nn t o dsmit in r s nt I ca o . G l h The P e e

State of Learning says that Dante spoke to barbarian people with metho ds adapted

int i nc and v n rton to their ell ge e ; e e Wa , who did so much toward the English

nt r viv r m ins on the st of Da e e al , e a age

1 - m eighteenth century criticis .

Yet in spite of such adverse criticism the power of Dante continued to make

incr asin t not on in it r it self e gly fel , ly l e a

Sir os u no ds tur but in art . e , J h a Rey l , who di d in 1 2 int d his o ino e 7 9 , pa e Ug l , the ﬁrst time in English art that a sub

a t n rom nt I n the r j ect w s ake f Da e . yea

1 This adv erse criticism is likewise characte ristic o f the ei te e nt centur in F rance and is we ll gh h y , ll tr t e in ltaire wh wr te t B ttine i u s a d Vo , o o o e lli “ J e fais grand cas du co urage av e c le qu e l v o u s ave z ” o sé dire qu e le Dante était u n fou ; and who ex “ pre sse d his o wn o pinion as fo llow s ' Le s I taliens ’ ‘ ’ ’ l appellent divin ; m ais c e st une divinité cachée : peu de gens entendent se s o racle s ; il a des com ’ m entateu rs c e st eut - etre e nco re une raison de , p ’ ” lus our metre as co m ris f lsner ante C . Oe p p p p . , D n reic in Fra k h . 1 1 6 DANTE AND THE ENGLISH POETS.

1 80 0 Blake made his famous series of

il ustr tions o ow d itt t r l a , f ll e a l le la e by

F m n us at the t r s o d of the lax a . Th h e h l new century literature and art united in a dawning appreciation of the genius of the r t F or ntin g ea l e e .

1 1 8 ND HE DANTE A T ENGLISH POETS.

rc i u s in n nd the Ni Pe y Rel q e E gla , be

lun enlied in rm n the nson de g Ge a y, Cha

o nd in Fr nc m r the innin of R la a e , a k beg g a new epoch in the literatures of those

countri s t cou d not urnis an e . I aly l f h y thing like these old ballads and epics ; her literature had sprung fully formed into

ist nc wit the ivin om d whic ex e e h D e C e y, h , although essentially m odern in its supreme

art summ d u s s oft os midd , e p all pha e h e le

s the stud of w ic now n to age , y h h bega

monopoliz e to a large extent m odern art

and it r tur No wond r t n t t l e a e . e , he , ha a strong impulse was given to the study of

nt not on in n nd but in Fr nc Da e , ly E gla , a e

1 and rm n Ge a y .

1 ee c rt z n ni niel S S a az i i ante in erma a. a , D G D Stern in Goethe and Dant e says that the form e r was b ut little ins ire d the latter H e did no t p by . ave an anti at fo r him b ut the sense o f the h p hy , ivine om e d wa d r and o scure to him D C y s a k b . H e re ad it o nl in the translation o f S trec fuss y k . f E c rm nn r che t D G eS a rni o t e ez . 1 C . e a G e 8 2 k , p h , 3, 4 Be sonders w ard der Dunkelheit j en er Dichtungen edac t wie seine ei e nen Landsleute ihn nie g h , g verstanden und das e einem u l nder um o , s s A s a s 1 1 THE NI NETEENTH CENTUR Y. 9

in the nt usi sm for nt w ic Aga , e h a Da e , h h was so intense in the early nineteenth

ntur in t was c os conn ct dwit ce y I aly, l ely e e h the new patriotic movement which culini nated many years later in the uniﬁcation of that long divided country He was con

tantl r d studi d and r c d suc s y ea , e , p ea he by h

ini Fo co o and nz oni men as z z s . Ma , l , Ma He became a symbol for all that was patri

1 otic the ro t s r o f new n tion , p phe ee a a . “ ” “ His familiar lines became indeed the foot - paths to the thought ofItaly I t was no mere chance that England became strongly inﬂuenced by this vener

mehr u a glich sei solche Finsternisse z u durch ” rin en I n Fr nce Riv arol t ro d . a u his trans g , ( h gh lation ofthe I n erno 1 8 ave stron stimulu s to f , 7 3) g g the stud o f ante w ic was cultivated y D , h h by Gin uené Sism ondi Fauriel Oz anam and Am ere g , , , , p . Victor H u o who called ante his divine m aster g , D , “ read him b ut little and un dersto o d him still ” le iorn Stor della Lett I t ss G . vol I ( . . . , . XX X , p . 1 “ Tell th e I talian state sm en to study the Divine Comedy ; at every crisis to regard it as the R o mans d the Si lline leaves llin r i . o e d by (D g . ) 1 20 HE I H E S DANTE AND T ENGL S PO T .

ation for Dante As the traditional land

of r dom she cou d not s m f ee , l help y pa thiz ing with the struggle against tyranny

in t Not on was t is s m t I aly . ly h y pa hy

wid - s r d mon the o but the e p ea a g pe ple ,

ov rnm nt ctu nt com ort if not g e e a ally le f ,

aid to the m ov m nt for uni c tion I n , e e ﬁ a . 1 866 the famous expedition of the Thou

s nd wou d v undou t d i d had a l ha e b e ly fa le , it not been for the English ﬂeet in Sicilian

w t rs w ic cov r d the disembarka a e , h h e e

tion of ri di and his troo s Fur Ga bal p .

thermore n nd c m r u for , E gla be a e a ef ge

num rs of t i n i s w o s triot be I al a ex le , h e pa ism had caused them to be banished from

t ir n tiv nd I n the i t nt he a e la . e gh ee h

c ntur the orsic n triot n r o i e y C a pa , Ge e al Pa l , had found in London welcome and warm

ri nds mon the tt r in mu f e , a g la e be g Sa el

o nson I n the r rt ofthe nin t nt J h . ea ly pa e ee h

c ntur the num r of i s was r e y be ex le la ge .

ri oss tti c m in 1 82 z z ini Gab el R e a e 5. Ma passed many years ofhis life in England;

1 2 2 A D T I DANTE N HE ENGL SH POETS. soon ow v r as mod rn s n d , h e e , e help e able him to be known in the entirety of his

nius c m the o ct ofv n r tion ge , he be a e bje e e a ; ofno poet was it ever truer

For ou must now him ere to ou y k , y

H e wi l s m wort of o r o l ee hy y u l ve .

We have from now on an increasing num r of ids to the stud of nt be a y Da e .

’ ’ Cary s translation (far betterthan B oyd s)

u is d in 1 8 1 2 was oc - m in p bl he , ep h ak g ; “ nc ort it was s id no cu tiv t d he ef h , a , l a e man had an excuse for not knowing ” nt ctur s of o rid the Da e . The le e C le ge ;

ss s of r c u urc and e ay Ca lyle , Ma a lay , Ch h , Lowell ; the scholarly labors ofmen like

r ow Lord rnon oor and Nor Ba l , Ve , M e , ton in c wit the simi r ors , keep g pa e h la lab

’ 1 Coleridge declares that th e language o f Cary s translation is Dante squ e even in that in which the Florentine must b e preferre d to our own English giant R u skin said that if he knew only English and had to cho o se b etwee n and Milton he S ould c o ose th e ormer Cary , h h f ; ile ante accordin to Macaula o wes m ore to wh D , g y , n ev r o et owe d to translator Cary tha e p . U Y 1 2 THE NI NETEENTH CENT R . 3 of itt in rm n S cartaz z ini in W e Ge a y ,

witz r nd and n in t v S e la , Raj a I aly , ha e shed a ﬂo od oflight not only on the works of nt but on his i and i it rto Da e , l fe ex le , h he largely Shrouded in legend. From the very beginning we notice a new attitude

o r nt I t is tru t t the osti t wa d Da e . e ha h le criticism of the eighteenth century still in r d n us t r v L ndor l ge e o . Th Wal e Sa age a “ considered the Divine Comedy the most

” 1 immor and im ious oo v r writt n al p b k e e e .

L i unt who wrot the tor of e gh H , e S y

imini and tori s rom the t i n o ts R S e f I al a P e , says some severe things about the Divine

om d w ic s surdit on ah C e y , h h heap ab y surdit too muc ofit s ! in inf r y , h , ala be g e ” nal tragedy ; while Scott confesses he “ had little pleasure in the Divine Com ed the n s id r d to him y pla , he a , appea e unhappy ; the personal malignity and

1 Plum tre 1 V . I n hi l . s ater wor s how p , , p 34 k , ever Landor S ows the inﬂu ence o f ante an , h D d S eaks more avora l of him p f b y . 1 2 A ND THE I 4 DANTE ENGL SH POETS. strange m ode of revenge presumptuous

1 and unint r tin v n o rid ho s . w e e g E e C le ge , was the ﬁrst English critic to give a pro

’ ound n sis of nt s r tn ss and f a aly Da e g ea e , whose lectures did so much to spread an int r st in the ivin om d S s ofthe e e D e C e y , peak “ ” comparative failure of Dante in effect ing a combination of poetry with doc “ trin s w ic is one ofthe c r ct ristics e , h h ha a e ofthe risti n us and m ntions his Ch a M e , e “ occasional fault of becoming grotesque from being too graphic without imagina tion nd d is som tim s horri . I ee he e e ble rather than terrible in other words m n of his im s cit odi , a y age ex e b ly

” 1 i t and n mor r d s us ot . g , al fea Y et these discordant voices were soon drowned in the chorus of praise uttered by practically all the great English m en of tt rs is v r- incr sin in u nc le e . Th e e ea g ﬂ e e

’ 1 l I 1 0 t Li e o I . . Loc ar s v . kh f , , p 1 I n later day s Kingsle y thought the Divine Com “ ” o r f th Mi dle e e dy was the pp obrium o e d Ag s.

1 2 6 DANTE AND THE ENGLI SH POETS.

As r as 1 8 om s i i m rsons ea ly 43, Th a W ll a Pa published his translation of the ﬁrst ten cantos of the Inferno ; in 1 846 another

m ric n os rrow tr ns t d the A e a , J eph Ga , a la e Vita Nuova ; while in 1 8 1 9 Professor Ticknor gave the ﬁrst special lectures on

ni r i From t t Dante at Harvard U ve s ty . ha time on America has devoted a special cu t to nt cu min tin in the orm l Da e , l a g f a tion ofthe well - known Dante Society in

m rid and in the two c nt Ca b ge , ex elle collections of Dante books at Harvard

1 and orn C ell . One of the most striking features of this devotion to Dante is the intense per sonal affection which the Florentine poet

1 I t is not within the s00pe o fthis b ook to discuss inﬂ en e o f n n th e m c n the u c Da t e o A eri a poets . I t is well nown owever how re at t at in k , h , g h ence was in the case o fLowell and Lon ell ﬂu gf ow . ’ The latt er s translation o f the Divine Come dy will b e loo ke d upon p erhap s as his m ost note wort ac ievement w ile in creative oetr o f hy h , h p y his own nothing e quals the beauty o f his sonnets on ante D . THE 1 2 N INETEENTH CENTUR Y. 7

n he rt ofhis dmir rs has awakened i t hea a e .

r is not in i it t in in the The e h g l ke , I h k ,

istor of it r tur . v n r i to h y l e a e E e Ve g l , whom Dante addresses the well - known

words,

’ Tu se lo mio maestro e il mio autore ’ T se co ui da cui io to si u l , l ’ Lo bello stile che m ha fatto onore I I nf. 8 ( , , 5 and to whom he constantly refers as

“ ( G ” m st r m mor t n t r was a e , y e ha fa he ,

m mor of s m o nd r to hi e a y b l , a lege a y

r t n rson fri nd om r ﬁgu e , ha a pe al e ; H e is too far back among the misty mountain

1 o s of nti uit to win our ov t ou t p a q y l e , h gh he has ourunbounded admiration ; Shake

r v st s r n is too im rsonal spea e , a , e e e , pe ; “ and the r din of i ton w os soul ea g M l , h e ” is i st r and dw s rt w i l ke a a ell apa , h le it is c sti stim as r s L m a ele al pa e , Cha le a b s s is som t in w ic he du rd ay , e h g h h t lla mind is on u to at r r int rv s ly eq al a e e al .

1 Yet H umboldt declared that on his dying b ed a line rom H omer would ive him c m ort f g o f . 1 28 A D DANTE N THE ENGLISH POETS.

I n the c s of nt the man as w a e Da e , ell as the oo wins not on dmir tion b k ly a a ,

1 “ ut ov I t is c ﬁn n b l e . be ause they d i , ” him s ur to no ims s s Low a p ble a , ay ell , a secure refuge in that defeat which the

r s nt w s s ms t t t riz p e e al ay ee , ha hey p e

n v him Dante who know a d lo e best . He

is not m r r t o t but an inﬂu e ely a g ea p e , ’ nc rt ofthe sou s r sourc s in tim e e , pa l e e e

” 1 of trou c u writin rom ble . Ma a lay , g f

n 8 8 s Few rson F or c Nov . 1 s: s l e e , 3, 3 , ay pe are more saturated than I am with the ” spirit of the Divine Comedy ; while Mil man in a letter to Longfellow declares “ I have been from my youth up a wor ” ’ s i r of n m s ov for h ppe Da te . Halla l e

1 “ f Carducci Poic ant e anz i tutto é C . hé D un grandissim o poeta; e grandissimo po eta é ’ ’ erc e rand uom o e rand u om o erc e e p h g ; g , p hé bb ” ’ na rande co cienz r i ant L e a d e . u g s a. ( Op D ) 1 E ssa on ante Similar lan ua e is u sed y D . g g by Dean Church at the clo se o fhis admirable e ssay “ on Dante : Th e y know how o ften th e y have ound in time s o f trou le if not li t at least f , b , gh , t at dee sense o f realit ermanent t ou h p y , p h gh

unseen w ic is m ore t an li t can alwa s ive . , h h h gh y g

1 0 3 DANTE A ND THE ENGLISH POETS.

in all generations of the world who look on this Dante will ﬁnd a brotherhood in

him the d sinc rit of his t ou ts ; eep e y h gh ,

his wo s and o s wi s i wis e h pe , ll peak l ke e to their sincerity ; they will feel that this

” 1 nt too was onc rot r whi Da e , , e a b he ; le

dston w os i - on stud of nt Gla e , h e l fe l g y Da e

is w nown wrot to i nor iu i ni: ell k , e S g G l a “ The reading of Dante is not merely a

sur tour de orce or sson it plea e , a f , a le ;

is vi orous disci in for the rt the a g pl e hea ,

int ct the w o e man I n the sc oo elle , h l . h l of Dante I have learned a great part of that mental provision (however insigniﬁ cant it may be) which has served me to make the j ourney of human life up to ” 1 the term ofnearly seventy- three years ;

1 n H ero - w r i ant h a ain H ero e s a d o s . e e h p D , g “ sa s S e a s t o th e no le the ure and reat in y , p k b , p , g ” n lac all tim e s a d p e s . 1 ’ Morle s Li e o f Gladstone vo l I 2 0 2 n . I y f , , p . . the volum e o f translations m ade by Gladstone in collaboration with Lord Lyttelton are found f the tor o f U olin I nf I I I versio ns o s o . y g ( , XXX , ’ ’ 1 o f Dante s paraphrase o fthe Lord s Prayer TH 1 1 THE NI NETEEN CENTURY. 3

dston ﬁve and in tt r to Mrs. a le e Gla e ,

rs t r t w r m rri d writ s : yea af e hey e e a e , he e There is a beautiful little sentence in the works of Charles Lamb concerning one

‘ who had been afﬂicted: He gave his

rt unto the uri r and his wi unto hea P ﬁe , ll ’ h v r i n i of he niv r t e So e e g W ll t U e se . But there is a speech in the third canto of the r diso of nt s o n Pa a Da e , p ke by a

t in icc r w ic is r r em c r d . e a P a a , h h a a e g I will only quote this one line :

I n la su o onta os r a v l de é n t a pace .

words are few and sim and et The ple , y they appear to me to have an inexpressible m st oftrut out t m to lmost aje y h ab he , be a as if they were spoken from the very mout ofGod I t so n un h . happe ed that ( less my memory much deceives me) I ﬁrst read that speech on a morning early in the r 1 8 6 a n f ri w ic w s o e o t . yea 3 , h h al I was profoundly impressed and power

X I 1 n Pur . a d of the S eec o f Piccar ( g , , p h da I I I 0 Par. Pl m tre 1 6 u V . . ( , , 7 p , , p 5 1 2 E E 3 DANTE AND TH ENGLISH PO TS . u sust in d mo st sor d t s f lly a e , al ab be by he e words c nnot r v n too . They a be g a e ” 1 d on the rt eeply hea .

1 ’ M rl i f l ton 2 1 o e s L e o G ads e vol I . On y f , . , p 5 . hi en a m nt t o Mrs lad ton we are told s e e . s e g g G , that he gave the following passages from Dante ” for canons of their living ' Le frondi o nde s in ronda tutto 1 ort o , f ' ' Dell rtolano e terno am io co tanto O , , uan da lui a 1 e n OT Q to 01 di b e e p to .

Par. I 6 ( , XXV , 4

I n la sua vo lontade e nostra pace :

Ella e quel mare , al qual tutto S i m uo v e . I I I ( bid. , I ,

1 AND THE E I H 34 DANTE NGL S POETS .

t at anci nt seat h e ,

The seat ofstone t at runs a on the wa h l g ll,

Sout ofthe urch east ofthe r tower h Ch , belf y , w r he e , I n the sultry time

ould ante Sit conversin and wit t ose W D g , h h Who little thought that in his hand he held

The a ance and assi ned at his ood easur b l , g g pl e To ac hi r e h s place in the invisible wo ld.

Among the great poets of the century

o rid who r ctic l introduc d C le ge , p a a ly e German literature into England— was likewise one ofthe ﬁrst to appreciate the

r tn ss of nt and was r g ea e Da e , he la gely instrumental in spreading a knowledge of the t i n o t in n nd v I al a p e E gla . He ga e

ctur s on him and i wa t rou u o le e , t s h gh a e l gistic mention ofhis in one ofthese that the ﬁrst impulse was given to the popular

’ ity of Cary s well - known version of the

ivin om d o rid r rs s v r D e C e y . C le ge efe e e al

n in hi r I n times to Da te s p ose works. the Anima Poetm he calls the eighteenth “ Canz one of Dante a poem ofwild and 1 THE EARL Y NI NETEENTH CENTUR Y. 35

interesting images intended as an enigma

- and to m e an enigma it remains spite of ” all my efforts ; and twelve years later he “ says : I begin to understand the above

m t r an int rv rom 1 80 durin poe af e e al f 5, g which no year passed in which I did not

rus mi t sa constru rs and pe e , I gh y e , pa e ,

s it tw v tim s at ast suc sci pell , el e e le , h a fa n tion it had for me in s it ofits ob a , p e ” rit scu y. I t is undoubtedly true that no Eng lish poet before Coleridge had given to Dante so much careful and persistent study ; and in this respect he is the fore runner of many other poets of the suc ceedin rs not rownin g yea , ably Shelley, B g , and nn son Te y .

’ The body ofColeridge s poetry is small and we do not ﬁnd much if any evidence of dir ct in u nc on the rt of nt a e ﬂ e e pa Da e .

I t wou d str n if out who in l be a ge S hey, Seeking subjects for his poetry laid under r uisition the w o wor d nci n eq h le l , a e t, 1 6 AND THE I S 3 DANTE ENGL SH POET . medimval and mod rn the st the , e , We ,

Ori nt and the far- w is s ofthe se e , a ay le a did not Show at least some knowledge of

n t wa n ro o n Da te . Tha he s ot a p f u d and enthusiastic student of the Divine Com edy may perhaps be I nferred from the fact that in the many volumes of his

ommon c oo w ic is u of a C pla e B k , h h f ll p s s s rom L tin t i n nis o age f a , I al a , Spa h , P rtu

uese Fr nc and ot r it r tur s we do g , e h , he l e a e , ’ not ﬁnd nt s n m — at st it is n Da e a e , lea ot n the ind Yet in the ision f i ex . V o Judg m nt w ic is u l of r minisc nc s of e , h h f l e e e

1 uc r i ton and s ci ns r Cha e , M l , e pe ally Spe e , and in which we have the old conventional

r rn i of dr ms of st t f pa aphe al a ea , a ely e m s as uid s oi visit tion ofthe heav ale g e , a enl in doms and the m tin t y k g , ee g wi h the s irits of r t men of s we p g ea all age ,

ﬁnd s v r usions to D nt u e e al all a e . Th s

1 H e calls S penser his

aster dear M , He on w ose son w ile e t I was a bo h g , h y y, f d r n My spirit e , att acted by its ki d.

1 8 DA TE A D 3 N N THE ENGLISH POETS . which is like many passages in the Para i 1 d se of Dante . Wordsworth in one ofhis letters says The poetry ofDante and Michael Angelo proves that ifthere is little majesty and str n t in the t i n ton u the ul e g h I al a g e , fa t ” is in the ut ors and not in the n u a h la g age .

m ntions him twic in his tt rs He e e le e , and praises him highly in his sonnet writt n at F or nc the t m of w ic e l e e , he e h h

’ is su st d the S ame dz Dante t t gge e by , ha stone on which Dante was supposed to have sat while watching the building

’ ofGiotto s tower:

nder the S adow ofa state Pi e U h ly l ,

The dome ofF orence ensive and a one l , p l ,

Not ivin eed to au t t at assed the w i e g g h gh h p h l ,

I stood and az ed u on a mar e stone g p bl , ’ ’ ll nt o t rone The laure d Da e s fav rite seat. A h

I n ust esteem it riva s: t ou no st e j , l h gh yl Be there ofdecoration to beguile

The mind de ressed t ou t of reatness own. , p by h gh g ﬂ

a true man who on had served the re As , l g ly ,

“ 1 lm civ 2 : Who coverest t sel wit f Psa . C . hy f h ” t arm ent light as wi h a g . 1 THE EARL Y NI NETEENTH CENTUR Y. 39

mor I az d wit earnestness and dared no e . g e h , But in his breast the mighty Poet bore ’ m wit und in ﬁre Patriot s eart war . A h , h y g

o d wit the t ou t in reverence I sate down B l h h gh , ,

And for a moment ed t at em t T rone . , , ﬁll h p y h

in in the w - nown sonn t on the Aga , ell k e

onn t t r s in o fthe use of t is S e , af e peak g h

orm of o tr s r tr rc f p e y by Shake pea e , Pe a h ,

sso moens dds Ta , Ca , he a

The sonnet glittered a gay myrtle leaf Amid the cypress with which Dante crowned

His isi nar w v o y bro .

There is a certain perfunctoriness about t s r r nc s ow v r and in n r he e efe e e , h e e , ge e al Wordsworth Shows but little tra ce of

’ nt s in u nc in his o tr Nor Da e ﬂ e e p e y . , ind d cou d it w o t rwis ee , l ell be he e . The

i - ri st of N tur - wors i n rrow as h gh p e a e h p , a

was in m n r s cts cou d sc rc he a y e pe , l a ely take much from the poet who lived in an age when the modern view of Nature

1 was so ut un nown ab l ely k .

1 ’ H ow far from a genuine appreciation o fD ante s stu endou s eniu s Wordswort was ma b e S een p g h , y “ in his remark that Ario st o and Tasso are very 1 0 A ND THE I 4 DANTE ENGL SH POETS.

’ Keats s acquaintance with Dante was

’ rst m d t rou r s tr ns tion ﬁ a e h gh Ca y a la ,

w ic dmir d v r i and co h h he a e e y h ghly, a py

ofw ic wit the st ss s m r d h h , h be pa age a ke ,

1 v to iss r wn Two s he ga e M B a . pas ages

s ci dmir d t t w ic d scri d he e pe ally a e , ha h h e be the last voyage ofUlysses and that which

to d the stor ofFr nc sc da imini I n l y a e a R .

r rd to the orm r L i unt s s ega f e , e gh H ay

ndic tor : in the ot r da (I a , XVII) Talk g he y

a surdl de re ssed in order to e lev at e ante b y p D . Few critics o f the present day wo u ld put the se t ree oe ts in th e sam e class as was once the h p , tom cu s . 1 I n a letter t T as e ats une 1 1 8 1 8 i t K , J 7 , ] eats write s : Y ou sa I must stu d ante K y y D . Well the onl o o s I ave wit m e are t o se , y b k h h h I read the three little volum e s (Cary). fine pas ” sage you m ention a few day s ago ; and t o Benj a in Baile h e write s une 1 0 1 8 1 8 : I f I t a e m y , J , k any book s with m e it shall b e tho se miniature volumes o f Car fo r t e will o into the a te st y , h y g p ” ne Lei H unt t ells us t at later w en cor r. gh h h he went to I tal he read ante in the I talian y D , ” e earne d wit r ri in ic ne which h l h su p s g qu k ss . I n the rst da s he e an to re ad Alfieri b ut fi y b g , ro e d the oo at the words d pp b k ,

ise ro m e so llie vo a m e no n re sta M , ' tro che l anto e d il anto e de l o Al pi pi itt .

1 2 D HE I 4 DANTE AN T ENGL SH POETS.

m v ni t Oh t t cou d dr r . , ha I l ea e e y gh The sonnet written in the back of the co of r m ntion d ov t s py Ca y, e e ab e , ell how in s his S irit ﬂed w , leep , p a ay,

Not to ure I da wit its snow- co d S ies p h l k ,

Nor unto Tem e w r ov rieved a da p he e J e g y,

But to t at second circ e ofsad H e l h l l ,

Where in the ust the w ir wind and the ﬂaw g , h l ,

Ofrain and ai —stones overs need not te h l , l ll

T eir sorrows — a1e were the sweet i s I saw h p l p ,

Pale were the i s I issed and air the orm l p k , f f

storm I oated wit a out t at m anc o . ﬂ h , b h el h ly There is not much evidence ofa direct

n n h r of ts Of borrowi g o t e pa t Kea . the in s l e ,

His ra er he sait t is atient o man p y h , h p , h ly ,

T en ta es his am and riset rom his nees h k l p , h f k ,

’ The sculptur d dead on each Side seem to freez e

Em risoned in ac ur atoria rai s p bl k, p g l l ,

unt s s : rm of the t ou t H ay The ge h gh , or som t in i it is in nt w n e h g l ke Da e , he he speaks of the ﬁgures that perform

” 1 rt of co umns in rc s S o that pa l a he .

1 ’ S ee B to - r a e d o f e t Pur . . ux n Fo m n s . a s g , X K , I 2 l . vo . I , p 7 . 1 THE EARL Y NI NETEENTH CENTUR Y. 43

Mr u ton- Form n s in ofthe also . B x a , peak g lin s in nd mion e E y ,

ravishment more keen ’ T an H rmes i e w en anxious he did ean h e p p , h l

Over ec i sin e es l p g y , “ says : The story of A rgus seems to have

s vivid his onn im r ss d t . s t p e e Kea ly See e ,

o n t hi li As H ermes ce ook to s feathers ght. Probably this vivid impression was de

’ ' riv d rom r s nt ur tor 2 e f Ca y Da e , P ga y 3 , which he certainly read attentively and on the ﬂy- leaf ofwhich he wrote that very

” 1 r rom vid w v sto O . s o r are y f The e , h e e , m r con ctur s as is i wis the ro e e je e , l ke e p b

in u nc o f nt in the in s able ﬂ e e Da e l e ,

When swarms ofminions ever nestle

T eir si ver e ies on the e l sand h l b ll p bb y ,

I f ou but scanti o d out the hand y ly h l , 1 T at ver instant not one wi r h y ll emain.

1 M B t - m a likewr e r. ux on For n s t in s t at eat h k h K s, i the ine n l ,

B the melanc ol corners o f th mout y h y y h . ’ re ers to ante s ortrait f D p . 1 f — . ar V 1 0 0 1 0 C P . : , , 3 m n ’ o e i esc iera, ch e tran uilla e ura C p h , q p , Trag onsi i e sci a cio ch e vien di uo ri g p f , Pe r modo che lo stimin lor astur p a.. 1 A ND THE I 44 DANTE ENGL SH POETS.

man o f tt rs ow v r wh The le e , h e e , o

’ shows the mo st o f Dante s inﬂuence in these early years of the nineteenth cen tur is L i unt t ou no y e gh H , al h gh he by m ns was an nt usi stic ov r of nt ea e h a l e Da e .

His article on Dante in his Stories from the Italian Po ets comes very near to damning the great Florentine by faint

r is worst t in did ow v r p a e . The h g he , h e e , to Dante was to expand the exquisite

d of Fr nc sc da imini I nf iso . ep e a e a R ( , V) into w rom ntic stor in v rs a eak , a y e e , “ tor of imini or Fruits of The S y R , a

’ ” r nt s F s ood as i unto the Pa e al eh , l ke ori in as m o on i t is to sun i t or g al l gh l gh , ” as water is to wine . This is the way in which this paraphrase of the noblest love - episode ofall poetry begins :

’ Tis mom and never did a lovelier day Salute R avenna from its leafy bay For a warm eve and gentle rains at night

t a s ar in we come for the i t H ave lef p kl g l l gh ,

f r n r undr d in s and so on o ea ly a h e l e .

1 6 4 DANTE A ND THE ENGLISH POETS.

n of o un love and destructio b th . H t introduces the betrayer of their love

n he rson of fo w imit tion of i t pe a p, a eak a

o who Iag ,

Watc in his time one da when the rim ord h g y, g l

Had t her resence wit an an r word lef p h gy , And giving her a kind adoring glance The coxcomb feigned to press her hand by chance ; ’ The rincess az d a moment wit ca m e es p g h l y , Then bade him call the page that fanned away the i ﬂ es.

nr d at t is r u s d t rmin d on E age h ep l e , he e e e r v n w tc d and c u t o o and e e ge , a he a gh Pa l

Fr nc c had n Francesca together. a es a bee r din the stor of L unc ot w n ea g y a el , he Paolo came along :

“ M a I come in ? said he it made her start y , , ’ That smi in voice She color d ressed her eart l g ; , p h , moment as for reat and t en with orce A b h , h f “ And usua tone O es— certainl l , y y a scene which seems to have been taken bodily from a novel ofJane Austen or Miss Burney ; it would be a libel on the good I THE EARL Y NI NETEENTH CENTUR Y. 47 t st oft s writ rs ow v r to continu a e he e e , h e e , e the comparison in what follows :

it t is the overs met wit this t e s o e W h h l , h h y p k ,

it t is sat down to read the se - same oo W h h lf b k,

And Pau o b de rees ent em raced l , y g , g ly b

Wit one ermitted arm her ove waist h p l ly ,

And oth their c ee s i e eac es on a tree b h k , l k p h ,

ame with a touch to ether t ri in C g h ll gly , ’ And o er th oo th un and not in said e b k ey h g, h g , And r i r r a eve y l ngering page g ew longer as th ey e d.

As t us t e sat and e t with ea s ofheart h h y , f l l p

T eir co or c an e t e came u on the art h l h g , h y p p here ond enevra wit her ame on nurst W f G , h ﬂ l g , ’ ’ Smil d u on Launce ot w en he kiss d her rst p l , h ﬁ

T at touc at ast t rou h ever re s id h h , l , h g y ﬁb l ; ’ And Pau o tum d scarce nowin w at he did l , k g h ,

On he e t he cou d no more dissem e ly f l l bl , ’ And kiss d h r mouth to mo t all i e u n a trem e . , h , bl

’ in it Fr n s u The ev able happens. a ce ca s h s band

’ came to the summer ouse s door h , ’ ’ hich he ound Shut aus d til a dou t was o er W f , p l b ; ’ Paus d and gave ear. There was a low sweet

voice ’ The door was one that open d without noise ; 1 8 A ND THE I 4 DANTE ENGL SH POETS.

And o enin it he oo ed wit in and saw p g , l k h

Nou t earin nou t sus ectin not in a gh h g , gh p g , we

Ofone created t in in eart or S ies h g h k ,

Tue overs interc an in words and si s l h g g gh , ’ Lost in the eaven ofone anot r h he s eyes. “ ” To t ee it was m at er wedded m h y f h e , —“ ’ Francesca said I never lov d but t ee h ,

The r st was ever ut an e b ugly dream. “ ’ ” Damn dbe the sou t at sa s it! crieda scr m l h y ea .

Horror is in the room — S rie s — roarin cri s , h k , g e , — Parr in s of ee e a ms ind s ut e s y g f bl p l , bl ly h ye

’ Hot is the da er rom the rot er s eart gg f b h h , ’ — ’ ee in the wife s z dead ot and dash d a ar D p b h p t.

But enough has been given to S how the inﬁnite distance there is between the ex traordinar concis n ss the rt - ierc y e e , hea p in t os and the r ﬁn d r tic nc of g pa h , e e e e e

Dante and all this long - drawn- out maw

ntim nt it I n the kish se e al y . whole four cantos there are but few reminiscences of the language and ﬁgures of Dante ; there

n ofhis tmos r unt t s s is no e a phe e . H ell u but little more than he found in the I n

rno and S ins out his on r r s fe , p l g pa aph a e

C V HAPTER III .

BY R ON .

THE name of Byron is indissolubly conn ct dwit t t of His num r e e h ha Italy . e ous visits and long soj ourn in her various citi s his s m t for her in her stru e , y pa hy g

for r dom and unit t s are so gle f ee y, all he e well known as to need no more than mere 1 m ntion r His wor s are u of e he e . k f ll reminiscences of this land he loved so

i d ro d c r t s in immor well . Ch l e Ha l eleb a e tal v rs her monum nts her s rin s her e e e , h e ,

r t men and her wr tc d o itic g ea , e he p l al

iti n the wor d nows the cond o . All l k fa mous lin s in nto w ic tr ns e Ca IV, h h he a lates from Filicaja

1 ’ Luder B ron s Urtheile ﬁb er I talien Pro , y ;

ud XXI 2 . r en 1 cf En S t . ramm esd 8 . . g , D , 93, g , 39 1 50 1 BYRON. 5

I ta ia! oh I talial t ou who hast l , h Th fata i t of eaut w ic ecame e l g f b y, h h b funera dower of resent woes and ast A l p p , ’ n th sw et row is sorrow lou h d sham O y e b p g by e,

And annals graved in characters ofﬂame . Oh God! t at thou wert in th na edness , h y k ’ Less ov or more ower u and cou d st c aim l ely p f l , l l

Th ri ht and awe the ro ers ac who ress y g , bb b k , p To Shed th ood and drin the tears of th y bl , k y

distress.

For the great poets of Italy Byron enter tained ro ound dmir tion and t ir a p f a a , he inﬂuence is seen scattered throughout the n t and r dt ofhis own wor le g h b ea h k . Besides the innumerable examples of minor in u nc dr w rom t m the ﬂ e e , he e f he su ct ofhis wor s suc as the L m nt bje k , h a e of sso and or nt ior the Ta , M ga e Magg e ,

n t d r ci latter tra sla e f om Pul . References to and imitations of Dante ’ in Byron s poetry are by no means infre

nt we t on t os ss s que . If ake ly h e pa age

ic are vid nt to we v od wh h e e all , ha e a b y of facts large enough to prove the pro

in u nc of the r t F or ntin found ﬂ e e g ea l e e . 1 2 A THE I 5 DANTE ND ENGL SH POETS .

I n r c nt rs ow v r tt m ts v e e yea , h e e , a e p ha e been made to prove that practically everything Byron wrote in his later years

n rom the ivin om d i was take f D e C e y . Th s is especially true ofthe article by Signor

1 i in w ic the r s cit d are Dobell , h h pa allel e

so far- fetched as to cast discredit on this

d of it r r inv sti tion us metho l e a y e ga . Th

e writ r com rin the son s of ron th e , pa g g By addressed to Miss Chaworth with the

it Nuov nds f nit of i and c r V a a , ﬁ a ﬁ y l fe ha acter from the fact that both poets fall in

w n oun ot are com t d love he y g , b h ba e by

ritics ot m rr no di s and are c , b h a y ble la e

ron i nt is an i unhappy . By l ke Da e ex le , and as Dante calls himself an legno senz a

onvito so ron s s of vela (C , I , By peak himself AS a weed Flung from the rock ;

in i d ro d 2 r r s nts and Ch l e Ha l (IV, 3) ep e e

’ in s in i Fin ot t s . Dan e feel g ex le ally, b h

1 iornale te co vol I 1 ff an s . V . . G D , , p 4 5

I S4 DANTE A ND THE ENGLI SH POETS.

’ he sees a reference to Be atrice s descent

I t is in risin ow v r that o li Pa a , h e e , D bel

h a in ot sees t e gre test ﬂuence ofDante . B h ” in su ct and d v o m nt s s bje e el p e , ay he , “ it is taken in large part from the epi

” 1 sod of Fr nc sc da imini r e a e a R . The e is more probability in the parallel drawn by Monti between Ugolino in the Tower 1 f F min and the rison r of i on o a e P e Ch ll . ’ Yet ron s o m writt n in two d s at By p e , e ay

Ouc t r vin ust visit d the Cas hy , af e ha g j e tle of i on do s not r s m t t of Ch ll , e e e ble ha Dante any more than would be natural

1 ’ B ron owev er ot th e stor rom Gi on s y , h , g y f bb wi Like e Antiquities o fthe H ou se o f Bruns ck. th ’ fR e n I e ll in P ili I I edre o acin a d sa a Alﬁeri s . Ph b h p , Pari in loves her ste son her secret is discov ered s a p , , h e l T ere n need of seekin a and s is s ain . h is o g source in ant e alt ou th e line D , h gh ,

’ ’ Thou av st and ma st resume m reat g y y b h,

’ may have been suggested by Dant e s

este misere c e Qu arni; tn lo spo glia.

I nf. I I I ( , XXX , 1 ti tu di riti Mon S C ci. See , N 1 BYRO . 55

ver from two such similar subjects. The b al res m n are few the most strik e bla ces , in in gbe g ,

I had no thou t no ee in none gh , f l g , , Amon the stones I stood a stone g ,

’ w ic s ms to oint to nt s in h h ee p Da e l e ,

I o non piangeva; S i dentro impietrai.

I nf. I I I . , XXX , 49

vin t us at t r at n t er Ha g h oo g e le g h , p

’ ments made concerning Dante s inﬂuence on ron we now turn to vid nc of By , e e e a

vin more con cing nature .

As we v s n ron was d im ha e ee , By eeply

i His bued with love for Italian l terature . knowledge of it began while at school at

rrow and was continued t r at Cam Ha , la e

rid t ou it was not unti 1 80 b ge , al h gh l 9 t t ed to s e the n ha he learn p ak la guage . “ I n 1 8 1 3 he writes in his diary : I hope to settle in Italy or the East and drink deep of the literature and language of

cam c u in wi both . He be e a q a ted th 1 6 5 DANTE AND THE ENGLISH POETS .

’ Dante s Inferno early ; in a letter dated

' 1 80 6 he writes or rather let me invoke the s d of nt to ins ir me for non ha e Da e p e , e but the author ofthe Inferno could prop

r sid ov r suc an tt m t I n erly p e e e h a e p . the three books ofthe Corsair (1 8 1 4) he takes as mottoes passages from the story of Fr nc sc da imini in the n rno a e a R I fe . I t would seem that up to this date he knew neither the Purgatory nor the Para diso w ic in far mor di ficu t and ; h h , be g e f l

ss o u r t n the n rno wou d nat le p p la ha I fe , l

all rn d t r ur y be lea e la e . Byron speaks very highly of Dante

ot in his tt rs conv rs tions and b h le e , e a ,

o t o t n com r d his own i p e ry . He f e pa e l fe

of nt r is v st diff r to that Da e . The e a a e

nc ow v r tw n the rom ntic e e , h e e , be ee a ’ melancholy ofChilde Harold s exile from his n tiv s or s and the itt r sorrows a e h e , b e

f he i d F or n in On one occ sion o t t . ex le l e e a , we are to d oor ron indi n nt l by M e , By g a ly repudiated the criticism of Schlegel that

I 8 DA TE A S 5 N ND THE ENGLISH POET .

hi d ro d S in of sso s s C l e Ha l , peak g Ta , he ay

Great as th ou art yet paralleled by those

Th countr men e ore t ee orn to S ine y y , b f h b h , The bards ofH ell and Chivalry : ﬁrst rose ’ The Tuscan father s comedy divine ;

T en not une ua to the F orentine h q l l ,

Th rn tt tc H . I 0 . e southe Sco e . . V , C , , 4

in d scri in the c urc of nt Aga , e b g h h Sa a

roc the stminst r be of F or C e , We e Ab y l

nc r s out : e e , he b eak

But where repose the all Etruscan three

ante and Petrarc and scarce ess t an t e D h l h h y,

The ard of rose creative s irit ! he b p , p f fth ndr d ta es o ove . H 6 O e u e . . I V . h l l C , , 5

Li so m n ot r n is o ts ke a y he E gl h p e ,

uc r i ton r — ron Cha e , M l , G ay, Shelley , By i n n in n f tried h s ha d at tra slat g Da te . O the two mous isod s of the n rno fa ep e I fe , the Ugolino had been translated no less t n t r tim s— b uc r r ha h ee e y Cha e , by G ay, and or r t r Medwin who se by Shelley ( a he by ,

sion was corr ct d B ver e e by Shelley). y ron was the ﬁrst to translate the passage containing the story of Francesca da 1 BYRON. 59

1 imini t o s in s w ic t r v R , h e l e h h Wal e Sa age Landor called the mo st perfect in the whole

f r is tr ns tion was don range o po et y . Th a la e in rc 1 8 2 0 in the ori in m tr terz a Ma h , , g al e e , “ ” rima t ird r m as ron ca s it , h hy e By ll , adding : I have done it into cramp Eng ” fo in and r m for r m is in r . l h , l e l e hy e hy e

The most famous part of this episode ’ is here given as a sample o fByron s art as a translator:

The and w ere I was orn Sits the seas l h b by ,

on that S ore to w ich the Po descends Up h h ,

ll his o low r in r With a f l e s sea ch ofpeace .

Love w ic the ent e eart soon a re ends , h h g l h pp h , ’ Seiz ed him for the fair person which was ta en

From me and me even et the mode off n , y e ds. Love who to none beloved to love again

R emits Seiz ed me wit wish to ease so , h pl , stron g,

That as thou seest et et it dot r i , , y , y h ema n.

Love to one deat conducted us a on h l g, But Caina waits for him our life who ended ’ T ese were the accents utt r d h e by hertongue . ’ Since I ﬁrst isten d to t ese sou s offnd d l h l e e ,

1 A S we ave alre ad S e en B ron had lanned h y , y p to write a ﬁve - act dram a on t is t eme h h . 1 60 D DANTE AN THE ENGLISH POETS.

’ I bow d m visa e and so e t it til y g , k p l ’ ” What think st thou ? said the bard; when

I un ended b , “ And re commenced: Alas! unto such ill

How man sw et t ou ts w at str n s y e h gh , h o g ec tasi s e , ” Led these their evil fortune to fulﬁl!

And t en I turned unto their side m e es h y y , “ And said Francesca th sad d stini s , , y e e

Hav m d m sorro i l th e a e e w t l e tears arise .

But te me in the season o fSweet si s ll , gh ,

w at and how th ove to assion rose By h y l p , S o as his dim desires to recogniz e ? “ Then She to me : The greatest ofall woes I s to remind us ofour happy days

I n miser and t at th teac er ows y , h y h kn . ’ But ifto know our passion s ﬁrst root preys

on th s irit wit suc s m at Up y p h h y p hy,

I wi l do even as h who wee s and a l e p s ys.

W read one da for astime seated ni e y p , gh , Lan il t h w n in m Of c o o ove e c a ed hi too . , l h i We were alone quite unsusp ciously .

B t o ft our e es met and our c ee s in hue u y , h k ’ All o er discolored by that reading were ; ’ But one point only wholly us o erthrew; ’ W n we read the on - Si h d- for smile ofher he l g g , ’ To be t us kiss d such devoted over h by l , ’ He who from me can be divided ne er ’ Kiss d m mout trem in in the act all over y h , bl g

1 6 2 DANTE AND THE ENGLISH POETS. dous precipice which separates the seventh from the eighth circle ofthe Inferno

The el ofwaters! her t e how and iss h l W e h y l h , And boil in endless torture ; while the sweat

Oft eir reat a on wrun out rom this h g g y , g f i T r P t n . e e e o etc. . H I V 6 . h hl g h , C , , 9

S o too the m t or dr wn rom the , , e aph a f broken pieces ofa mirror

Even as a ro en mirror w ich the ass b k , h gl I n every fragment multiplies; andmakes

t ousand ima es ofone that was A h g ,

The same and stil the more the more it rea s , l , b k is like the illustration used by Vergil to prove that in respect to the love of God giving doth not impoverish nor with ” holding enrich :

’ E uanta ente iu lassii S intende q g p , ’ ’ Piu v da ene amare e i vi S ama e b , p u , ’ ’ E com s cc io no all a tro r nd e pe h l u l e e .

ff. Pur . g , XV, 73

v n in Don u n t t tr ordin r E e J a , ha ex a a y wor of nius at o dds wit the wor d in k ge h l , w ic i and d t ov and sorrow h h l fe ea h , l e , n tur and man are us d wit consum a e , f e h 1 6 BYRON. 3 m t S i wit s tir c nicism ro n a e k ll h a e , y , p fa it and immor it we ﬁnd num r of y, al y, a be references to Dante I n Canto II the boat of starving Shipwrecked people ap

roaches the s or p h e ,

’ aron s ar ofs ctr s d n Like Ch b k pe e ull a d pale .

I n Canto III there is a paraphrase ofthe 1 beautiful twilight scene in Purgatory

Soft H our! which wakes the wish and melts the heart Ofthose who sail the seas on the ﬁrst day When they from their sweet friends are torn apart; Or ﬁlls with love the pilgrim on his way As the far bell ofvesper makes him start ’ Seeming to weep the dying day s decay ; I s this a reason which our reaso n scorns? Ah ! surely nothing dies but something mourns!

I n Canto IV he tells us

’ I pass each day where Dante s bones are laid

i t cu o a more neat t an so t e emn. A l l p l , h l

1 I If VI I I , ’ Era gial ora che v olge il disio Ai naviganti e inte ne risce ii core ’ ' Lo di 0 han de tto a dolci amici addio ; ’ E che 10 novo pe re grin d am ore Pun e se o de s uilla i n g . q d lonta o

Che aia il iorno ia e 8 p g p ng r che 1 more . 1 6 D HE I POETS 4 DANTE AN T ENGL SH .

S o too in the sc n in the r m , , e e Ha e (VI , 7

udu w os s ri has rous d the D , h e h ek a e all d niz ns o f the dormitor t s how she e e y, ell had dreamed ofwalking in a wood

“ ” wood o scure ike t at w ere ante ound A b , l h h D f

Himse in at the a e w en all row ood lf g h g g .

l usion in the st in is ofcours The a l la l e , e , to the

M z z o del cammin di nostra vita e ,

i i the n rno ins s m w th wh ch I fe beg . The a e reference is repeated in the tenth canto :

’ “ ” ttin ni rim ante s O scure ood But ge g gh g D b W ,

at ate u e uinox etc. Th h f l q ,

I n nto d nds ims inst Ca VII , 3, he efe h elf aga the charge of scofﬁngby saying :

Goo d God! I wonder what they would be at! ’ I say no more than hath been said in Dante s

Verse and by Solomon and by Cervantes.

The famous inscription over the gate to

is uot d in rt in nto hell q e pa Ca XVI , where the door

ned wit a most in erna crea Ope h f l k , “ i t at of e — Lasciate o ni s eranz a L ke h h ll, g p

1 66 D H DANTE AN T E ENGLISH POETS.

His ta e if oes be ood in el at sea l ; f f h l, ’ Tis sure air to dine u on a riend ly f p f , ’ When S hipwreck s short allowance grows too

scant y ,

Without b eing much more horrible than Dante .

I n S imi r m nn r tric w o s a othe la a e Bea e , h e p o sis nt is ccordin to by Da e , a g Shelley, “ the mo st glorious imagination of mod ern o tr is sn rin cou d wit p e y , ee gly ple h

’ ’ Petrarch s Laura and Milton s Eve to prove the truth of the cynical proposition

a o and m rri rar can com i Th t l ve a age ely b ne .

The only two that in my recollection

Have sun ofheaven or e or marria e are g h ll , g ,

ante and M i ton and o f ot the afection D l , b h f

Was a ess in t eir nu tia s for some bar h pl h p l , ’ Offault or temper ruin d the connexion ’ Suc t in s in act it don t ask muc to mar ( h h g , f , h ); ’ ’ But Dante s B eatrice and M ilton s Eve

r not drawn r m t ir o i We e o e s uses ou conce ve . f h p , y

Some persons say that Dante meant Theology eatrice and not a mistress— I By B , ,

t ou m o inion ma re uire a o o Al h gh y p y q p l gy , ’ eem t is a commentator s antas D h ph y ,

n ess indeed it was rom his own now ed e he U l , , f k l g ’ Decided thus and show d good reason why; I 6 BYRON. 7

’ I think that Dante s more ab struse ecstatics i m ti M eant to p erson fy the math e a cs.

Byron was wont to declare that he was more attached to Ravenna than to any

t r c i other place excep G ee e . He l ved

n two r ndou t there more tha yea s. U b edly his connection with the Countess Guiccioli had a great deal to do with this

’ tt c m nt I n this the cit of nt s a a h e . , y Da e

st d s and d t t is la ay ea h , h

H appier R avenna on who se hoary S hore Fortress offalling Empire ! honored Sleeps

The immorta exi e l l , the inﬂuence ofthe Italian on the English poet made itself especially felt— an inﬂu ence which Rogers alludes to in his lines on Ravenna that Place

Ofold renown once in the drian sea , A , ’ R avenna! where from Dante s sacred tomb

H e had so o ft as man a verse dec ares , y l , n ins iration Draw p .

I t was here that the Prophecy ofDante w om o s d in 1 8 1 o as c p e 9. The C untess 1 68 DANTE AND THE ENGLISH POETS.

Guiccioli describes the origin o fits com “ osition as o ows : c m in nu r p f ll He a e Ja a y ,

1 8 1 rrivin at v nn on the da o f 9, a g Ra e a y

f or domini in the festival o c pus . Be g de

rived at t is tim ofhis oo s his ors s p h e b k , h e , and t t o ccu i d him at nic all ha p e Ve e , I begged him to gratify m e by writing some t in on the sub ct of nt and wit h g je Da e , h his usual go od nature and rapidity he ” his ro c I n the d i composed P phe y . ed ca tion Byron states that she was the cause ofthe poem Lady ! iffor the cold and cloudy clime

here I was orn but w ere I wou d not die W b , h l ,

Ofthe great poet- sire ofI taly

I dare to ui d the imitative r me b l hy , ’ Hars R unic co ofthe Sout s su ime h py h bl , Thou art the cause ; and howsoever I

Fal s ort ofhis immorta armon l h l h y ,

Th ent e eart wil ardon me the crim y g l h l p e .

T ou in the ride o f eaut and ofYout h , p B y h , ’ Spakest; and for thee to sp eak and be ob ey d Are one ; but only in the sunny S outh

Suc sounds are uttered andsuc c arms dis a d h , h h pl ye , So sweet a language from so fair a mouth Ah ! to what effort would it not persuade ?

1 ° AND THE I 7 DANTE ENGL SH POETS. ingand sculpture— allusions to the sack of

om the vo of o um us and ot R e , yage C l b Cab ,

to tr rc sso riosto and ic Pe a h , Ta , A , M hael

n o A gel .

i stron and im r ssiv o m Wh le a g p e e p e , the Prophecy of Dante is not much like the great poet in whose name it is written

it r in n r t m r o n e he ge e al e pe r la guage .

on s nt nc s the num r ofad ec The l g e e e , be j

tives and the on - dr wn - out m t ors , l g a e aph

are un i the no sim icit the nu l ke ble pl y ,

r d concis n ss of nt his uni u pa allele e e Da e , q e use ofverb and noun as almost the only

m ns wit w i to roduc his ff ct ea h h ch p e e e .

S o too the w o tmos r ofthe o m , , h le a phe e p e

is om ntic ron m s nt dw r a . By ake Da e ell

on his wron s and his itt rn ss and m el g , b e e

anchol his o s ofr v n s m mor y, h pe e e ge , ee e like the character of Childe Harold than

the st rn roud- rt d i wit his e , p hea e ex le , h

rv in s in ofhis own suf rin s rese e peak g fe g , which when they do appear seem to burst

’ forth irresistibly for a moment s space of N 1 1 BYRO . 7

ti w d t m t n are cro d c . e , he e ba k The Wel

schmerz of nineteenth - century roman ticism has no place in the heart ofDante

i i ri Al gh e . Byron sometimes makes Dante utter

t in s w ic n v r cou d v s id h g h h he e e l ha e a .

us the in Th l e , a T r w r th art est suns and stars have irth he e he e e f h b ,

could scarcely have been written by one who se knowledge ofthe universe was con ﬁned within the narrow limits ofthe Ptole

m ic s st m S o too nt in his i no a y e . , , Da e g rance of Greek could hardly have made

the r r nc s ttri ut d to him B efe e e , a b e by y

ron to the s of most n s an , pebble De he e d

the torm nts of rom t us e P e he . I n looking over the above discussion of the relations ofByron to Dante the reader will perceive that it is chieﬂy as the poet

of i rt the or runn r of unit d t l be y, f e e a e I aly, “ the triot w os rinci s n it pa , h e p ple e her per

secution i nor the dr f i , ex le , ead o a fore gn ” r v could s t t ron loo s u o g a e hake , ha By k p n 1 2 DA E AND THE I P E S 7 NT ENGL SH O T .

nt us in the ro c t r r is Da e . Th P phe y , af e p a in o um us tr rc ic n o g C l b , Pe a h , M hael A gel , he adds :

M ore t an t ese i ustrious far s al be h h ll h l ,

The mortal aviour who s shall set thee free .

’ The other phases of Dante s character and his o tr the d r i ious in p e y , eep , el g feel g and m stic s iritu it ron was not y al p al y , By

tt d n tur to r ci t and cous ﬁ e by a e app e a e , e

1 u nt t are s nt rom his o tr q e ly hey ab e f p e y .

1 Following are som e re se mblance s which m ay or may no t have b een due t o Dante

She kne w she was b y him be love d she kne w , , mes suc le e e re am r w Th . Fo quickly co h kno dg . D f C .

’

r en il ratto s a ren nf. 1 0 0 . Amor, che al co g t ppp de . I , V ,

And so great name s are no thing m ore than no minal ’ n I 1 0 1 . And love ofglory s b ut an airy lust . Don J ua , V, f C .

l h P X I 1 0 0 . Non e il m ondan rornore a tro c e un ﬁato . urg . , , This sentim ent is repeated by Tasso

La ama che inva isce a un dolce suona f , gh

’ E un eco un so no an i del so no un o m ra. Ger. Lib X I V 6 . , g , z g b , She was his life The ocean to the river ofhis thoughts

hic r n The D re am. W h te mi ated all.

l mare al ual tu o Si mo ve . Par. I I I 86 . Ella e que , q t t , ,

1 74 DANTE AND THE ENGLISH POETS.

mon t os is s ind the t r a g h e a le beh al a , where the light ofday is dim and yellow und r the stori d window w ic v e e , h h I ha e ” c os n to visit and r d nt t r h e ea Da e he e . Surely an ideal place to be ﬁrst inducted into the deep mystic beauty ofthat poem ” of the rt and air w ic its has ea h , h h , elf, been beautifully compared to a cathe

dr nd r the doub c rm of rc i al . U e le ha a h tecture and poetry in their loftiest ex

r ssion we ma w ll i v t t at t is p e , y e bel e e ha h “ i Mr owd n has s id wa t m as . s e , D e a , he

rnin r s unconscious som of lea g , pe hap ly , e ” the ﬁner humanities o fCatholicism ; and “ in t t to r conci him to ris aga , ha e le Ch

tianit at st in its c r ct ristic sen y, lea ha a e

timent the r diso ff ct d mor t n , Pa a e e e e ha

could hav e been effected by any number

of Short and Easy with Deists or

ts A theis . I n the same year we learn that while

in omo was sti r din the n rno C he ll ea g I fe ,

and t t t r on his r turn to i n ha la e , e M la , he I SHELLEY. 7 5

ﬁnished the Purgatory and began the

r diso Pa a . During the period of sorrow in the

utumn of 1 8 1 c us d the oss ofhi a 9, a e by l s b o and the m nc o ofhis wi y ela h ly fe , Shel ley read two cantos of the Purgatory “ v r da to r strivin to win her e e y y Ma y , g back to an interest in matters remote

’I nt o ss Two rs t from their rece l . yea la er

it s rom v nn to Mrs he wr e f Ra e a . Shelley : ’ I have visited Dante s tomb and wor ” th cr s ot Shipped at e sa ed p . I n his critical works Shelley gives con stant expression to his profound admira tion for the o t of i t and ov us p e l gh l e . Th in the iscours on the nn rs of the D e . Ma e

nci nts s s : nt ma the A e , he ay Da e y be creator of imaginations of greater loveli ness and energy than any that are to be ” oundin the nci nt it r tur ofGr c f a e l e a e ee e . I n the Defense of Poetry he says that ’ Dante s poetry is a bridge thrown

tre m oftim w ic unit s th mod the s a e , h h e e 1 6 AND THE I 7 DANTE ENGL SH POETS.

and nci nt wor d and urt r em a e l f he , calls Homer the ﬁrst and Dante the sec ond epic poet who se works have relation

e ntim nt and r i ion oft ir to th se e el g he age .

in nt is the rst r i ious r orm r Aga , Da e fi el g ef e , the rst w n r of ntr nc d uro fi a ake e e a e E pe , “ who created a language in itself music and rsu sion out of c os ofinhar pe a , a ha ” ni r risms mo ous ba ba . ’ But the internal evidence of Dante s influence on Shelley is even more strik in t n the ov st t m nts m d g ha ab e a e e , a e by

r his io r r I n him m himself o b g aphe . ore than any other English poet do we ﬁnd dir ct r r nc usion tr ns tion or e efe e e , all , a la , imit tion and d t tion oft ou t ﬁ a a ap a h gh , g ure d scri tion v n m s of the , e p ; e e exa ple peculiar metrical form ofthe Divine Com

d the terz a rima are not w ntin e . y, , a g The number of direct references and

sions is com r tiv r u allu pa a ely la ge . Th s in the Triumph ofLife the poet describes :

A wonder worthy ofthe rhyme

1 8 A ND THE I 7 DANTE ENGL SH POETS. tions of one characteristic feature ofthe

r diso t t is s irits sw t d in i t : Pa a , ha , p a he l gh

’ So I knew in that light s severe excess

The resence oft at S a e p h h p , while the following metaphor is evidently due to something more than mere coinci dence :

And as a S ut i stric en the wand h l ly , k by ’ 1 fd w mornin i a O e y g s v t l alchemy .

Other allusions to Dante are to be found

1 in the don is the Ode to Li rt and A a , be y, in the ow r ofF min the tt r writ T e a e , la e ( ten in terz a rima) suggested by the story

f o ino o Ug l .

’ The number of Shelley s translations rom nt are not inconsid r and f Da e e able , are such perfect specimens of the diffi

1 f I n erno I I 1 2 — 1 2 C . f , , 7 9

uale i ﬁore tti dal no tturno elo Q , g

z e l Si dri z an tutti aperti in lo ro st o . 1 The Pil rim o fEt e rnit w o se am e g y , h f Ove r his living he ad like H eav e n is bent

An earl but endurin monum ent . y , g 1 SHELLEY. 79 cult art o f translation that it must ever remain a source ofregret that he did not conceive the idea of making a complete

fthe ivin om d translation o D e C e y . These fragments oftranslation include the beau tiful description of Matilda gathering

ow rs in the rt r dis ur ﬂ e Ea hly Pa a e (P g . ,

1 of w ic the o owin XXVIII , h h f ll g lines may be taken as a fair example :

’ My slow steps had already borne me o er uc s ace wit in the anti ue wood t at I S h p h q , h

Perceived not w ere I entered an more h y ,

W en 10 ! a stream w ose litt e waves went h h l by , Bending toward the left through grass that grew

on its an im eded sudden Up b k , p ly

at r of ur s h M y going on. W e p e t ue On earth would appear turbid and impure

om ared wit this w ose unconcea in dew C p h , h l g ,

ar dar et c ear moved under the o scure D k , k, y l , b

nal S ades whose interwoven oom Eter h , l s ’ ra s ofmoon or sunli t ne er endur The y gh e .

’ moved not wit m eet but mid the ooms I h y f , gl Pierced with my charmed eye contemplating The mighty multitude offresh M ay blooms 1 80 AND THE I DANTE ENGL SH POETS.

W ic starred t at ni t w en even as a t in h h h gh , h , h g, That suddenly for blank astonishment

harms ever sense and ma es all t ou t ta C y , k h gh ke in W g,

A solitary woman ! and She went

Sin in and at erin o wer a ter ower g g g h g ﬂ f ﬂ ,

Wit w ic her wa was ainted and s r nt h h h y p be p e .

ri t ad who if oo s had ever ower B gh l y , , l k p To bear the witness ofthe heart within

ost as under the eams o f ove come ower D b k b l , l

i I rit Toward th s bank . p hee let me win

This muc oft ee to come t at I ma ear h h , , h y h ’ Th son i e Pro ser ine in Enna s en y g ; l k p , gl ,

T ou seemest to m anc sin in ere h y f y, g g h

And at erin owers as t at air maiden w n g h g ﬂ , h f he

th s rin and eres h r m r d r he ost e e o e ea . S l p g , C

He also translated the ﬁrst canz one of the onvito C ,

Ye who inte li ent the t ird eaven more l g h h , and the very beautiful sonnet ofDante to Guido Cavalcanti

uido I wou d t at La o t ou and I G , l h p , h ,

Led some stron enc antment mi t ascend by g h , gh

ma ic S i w ose charméd sai s s ou d A g h p , h l h l ﬂy, ’ With winds at will where er our thoughts might

wend,

1 8 2 E S DANTE AND THE ENGLISH PO T .

As is w nown the i s c idion is ell k , Ep p y h a

o m d dic t d to mi i ivi ni u p e e a e E l a V a , a bea tiful and unhappy Italian girl whom

l met at nic in 1 82 1 His r Shel ey Ve e . ela tions with her were similar to those of Dante with Beatrice : he knew her but

itt saw her r r and his ov for her l le , a ely, l e

was ur tonic id v u s m p ely Pla , eal , ag e , y

b olical nc the ct t t she m rri d . He e fa ha a e soon after made but little impression

ot r t n it u on him For him ( he ha p y) p .

she was cr tur of im in tion in a ea e ag a , whom he idealiz ed love with all its inten

it o f ssion H hims c s E i s s y pa . e elf all p p y chidion a mystery ; as to real ﬂesh and

ood ou now t t do not d in bl , y k ha I eal ’ t rtic s I hese a le . t seems altogether prob able that the ﬁgure ofBeatrice was before

him as wrot the o m To him ov he e p e . l e

is the c i end of o tr as it is in h ef all p e y ( ,

its i r s ns of i and in his h ghe e e , all l fe), De fense of Poetry he says of Dante that his Apotheo sis ofBeatrice and the grada 1 8 SHELLE Y. 3 tions of his own love and her loveliness

is the most glorious imagination of ” r 1 modern poet y . As to internal evidence ofthe inﬂuence

ew Li on it is sufﬁ of the N fe Shelley, ciently strong ; yet it is o fsuch a nature

t n t d cri that it is easier to feel ha o es be .

The spirit ofthe two b ooks is the same ; both are vague and rhapsodical confes

i ns of ov and ot are oric s o l e , b h alleg al ,

in is of ctu v nt yet conta some bas a al e e s.

A for r ss s the num r of s pa allel pa age , be them throughout the poetry ofShelley is so extensive that to quote them all would extend the limit ofthis discussion beyond

rtion An one who com r s all propo . y pa e carefully the New Life with the Epipsy chidion cannot fail to be struck constantly wit r s m nc s in n u t ou t h e e bla e la g age , h gh , and m t or tw n the two e aph be ee .

1 A fact o f some importance in this que stion is an entr made Mar S elle in h er diar y by y h y y , anuar 1 1 8 2 1 : S elle reads the i J y 3 , h y V ta Nuo va ” in the e nin The E c to m e ve g . pip sy hidion was com o sed s ortl a ter the a ove date p h y f b . 1 8 L H P 4 DANTE A ND THE ENG IS OETS .

’ There seem to be two other o f Dante s works which Shelley had in mind while

tin th i s c idion c rm nn wri g e Ep p y h . A ke a in his mono r on the u n Vor g aph Q elle ,

’ i d r toff z u s o tisc n b l e , S e Shelley P e he Werken draws attention to the striking coincid nc in n r t ou t and s irit e e ge e al h gh p ,

’ tw n s o m and the onvito be ee Shelley p e C ,

s ci the s cond nz on t r o e pe ally e Ca e he e f . “ He says : Man darf nur den Gedanken gang der z uletz t z itierten Stellen verfol

en um z u s n wie i ur n d ss g , ehe , V ele Sp e e el b en sich im Epipsychidion wiederﬁnden ; Liebe ist nichts anderes als die geistige Vereinigung mit der Seele der Geliebten ; sie ist das nmuti st von m was die A g e alle , Sonn e bescheint ; sie hat etwas Db erir disches ; ihre Sprache entz undet ﬁb erall

Lieb es edanken v r i t so den himm g , e le h al lischen Geist ; sie ist die Grundlage des

u ns Die S ch nheit ihr s Gla be . o e

ic s und Lachelns ub erwalti t s Bl ke g alle , etc Es ss n sic dem emass uc . la e h g a h

1 86 A NTE AND THE EN LISH POETS D G .

n ot r r s m nc s can ound Ma y he e e bla e be f , such as the wintry forest ofour life ;

And stru lin t rou its error wit vain s ri e gg g h gh h t f , t 1 e c. ;

and the Being clothed in light so resplen dent that its form is hidden

She met me ro ed in suc exceedin or , b h g gl y , T hat I beheld her not.

The beautiful lines in the last part of

the i s c idion w r the o t invit s Ep p y h , he e p e e Emily to ﬂy with him to some blessed island beyond the sea

s i is oatin in the ar or now A h p ﬂ g h b , ’ ’ A wind is hovering o er the mountain s brow; ’ T ere is a at on the sea s az ure oor h p h ﬂ , 2 l r lou d t a at e or No ee has eve e t e etc. k p gh h p h b f ,

—are enveloped in the same atmosphere of soft and voluptuous beauty as the ex qui

sit sonn t of nt to uido v c nti e e Da e G Ca al a , w ic as we v s n tr ns h h , ha e ee , Shelley a

it s c cons mm t i lated w h u h u a e sk ll .

1 f I nf I 1 ff C . . , , . 7 he mai non vide navicar su e ac ue . Cf. C q

Pur . I 1 1 g , , 3 1 8 SHELLEY. 7

Great and wide - reaching as we have shown hitherto the inﬂuence of Dante to

n the o tr of we v not be o p e y Shelley, ha e as yet mentioned the poem which reveals

n nc sti mor ro ound the that i ﬂue e ll e p f ly,

n ound r as in the Prometheus U b . He e case of the Epipsychidion we have b oth internal and external evidence as to the

in u nc I n the r c fact of such ﬂ e e . P efa e Shelley says that his imagery is often drawn from the operations ofthe human mind or rom t os t rn ctions , f h e ex e al a by which they are expressed Thisis unusual in mod rn o tr t ou nt and e p e y , al h gh Da e

s r are u o fit and nt in Shake pea e f ll , Da e deed more than any other poet and with

cc r s greater su ess. The G eek are full of it ; it is to the study ofthem that I am willing my readers should impute this singularity What he thus confesses of . the Greeks is undoubtedly likewise true of nt w om cou s o Da e , h he ple ab ve with

rm r the fo e . 1 88 A E AND THE SH P E D NT ENGLI O TS .

o m was un in 1 8 1 8 at st The p e beg E e , w r in the words of ro ssor Dow he e , P fe “ den in the n rrow court of the r or , a a b , thoughts and Visions came and went of Michelangelesque sublimity and of ten derness as exquisite as that of the great

F r ntin lo e e . A careful comparison of the Prome theus Unbound with the Paradiso cannot fail to show many striking points of re s m nc tw n the two t ou e bla e be ee . Al h gh so utt r un i in m n r s cts the e ly l ke a y e pe , one so m dia v the ot r so m od rn e e al , he e , yet there is in both the same atm o sphere of i t and univ rs ov the s m con l gh e al l e , a e st nt use of music sw t sounds an a , ee , d

’ d nc v r s ct of nt s r a e . The e y a pe Da e Pa a dise is summed up in such language as

an oc n of s ndor and rmon ea ple ha y, ” r dis of o d n i t and in suc Pa a e g l e l gh , h lines as

But now oh weave the m stic measure , y f i Ofmusic and dance and s a es o t. , , h p l gh

1 0 E 9 DANTE AND THE ENGLI SH PO T5 .

The one vital difference between Dante and Shelley in this theory oflove is that the former is profoundly religious ; God the almighty creator and sustainer ofthe universe is the source ofthis love

I n la sua volontate e nostra pace 1 El a ue mare al ual tutto si move l e q l , q , while to Shelley man is the measure of all things

M an one armonious sou ofman a sou , h l y l,

W ose nature is its own divine contro h l,

here all t in s ﬂow to all as rivers to the sea. W h g ,

The Paradise of Dante consists of the nin v ns m r c d the m r n e hea e e b a e by E py ea , the v n of i t and ov s nin hea e l gh l e . The e e heavens are inhabited by the spirits of the ss d who are sw t d in i t Ble e , a he l gh , and r to nt as s ndors m s appea Da e ple , ﬂa e ,

f i t is conc tion and o s o . gl be l gh Th ep , which pervades the whole length and

r dt of the r diso has n us d b ea h Pa a , bee e

P r I I I 8 6 a . 8 , , 5 , . H 1 : S ELLE Y. 9

in and in us mon aga aga by Shelley . Th , a g the m n m s w ic mi t iv n a y exa ple h h gh be g e , take the following lines

Child oflight! thy limbs are burning

T rou the vest w ic seems to ide t em h gh h h h h , As the radiant lines ofmorning ’ Thro the clouds ere they divide them ; And this atmosphere divinest ’ Shrouds thee whereso er thou shinest.

I n the Paradiso this splendor which en wraps the souls of the saints is constantly c n in and m ni sts the r t r or ha g g , a fe g ea e

ss o ofthe sou as smi r v s the le j y l , a le e eal j oy ofthe human heart :

Ed io sent! dentro a ue a umiera q ll l , ’ Che ria m avea ar ato sorridendo p p l , . 1 n i r a n o i i m I ncomi c a ce d s u era. , f p

’ S o s Shelley , the animation ofdelight

ic wra s me i e an atmos r o Wh h p , l k phe e flight;

or, ’ tis H e arra ed , y I n the soft light ofhis own smiles;

r X I 1 — Pa . , , 6 1 8 . 1 2 A TE A D THE E LISH P E 9 D N N NG O TS . or again

T ou art o ded t ou art in h gh f l , h ly g I n the light which is undying ’ ft ine own o and eaven s smi divin O h j y h le e .

S o too the ut of tric w ic , , bea y Bea e , h h changes from heaven to heaven and b e comes too splendid for Dante to gaz e u on is non ot r t n t t of si p , e he ha ha A a when she changes and Panthea cries out :

How thou art changed! I dare not look on thee ;

I ee but see t ee not. I scarce endure f l , h nc f h a t The radia e o t y be u y .

While the greatest inﬂuence ofthe Divine Comedy on Prometheus Unbound is ex erted the r diso et we ﬁnd num by Pa a , y a ’ ber of passages in Shelley s poem which are undoubtedly more or less due to the

n rno and the ur tor v I fe P ga y . We ha e an actual reference to the famous inscrip ’ tion over the gate to Dante s Inferno in the lines

’ No more inscri ed as o er the ate ofHel b g l,

All ho e a andon e who enter ere p b , y h

1 94 ANTE AND THE NG ISH POE r D E L S .

ac to our towers ofiron B k y ,

And nas eside the streams ofﬁre and wai g h , b l, Your ood ess teeth. er on arise ! and or on f l G y , G g , imara t e c. Ch ,

The famous episode of Francesca da Rimini which contains the exquisite pas sage describing two doves sailing with outstr tc d win s to t ir n st s ms e he g he e , ee ’ to have been in Shelley s mind when he wrote the following lines

’ Behold st thou not two shapes from the east and

west

ome as two doves to one e ov d nest C , b l e ,

Twin nurslin s oft e all- sustainin air g h g , On swift still Wings glide down the atmosphere ?

The lovely scene in the second canto of the ur tor w r the o t cont inin P ga y, he e b a a g the souls ofthe saved comes sailing over the s or ss sea w t d the w it h ele , af e by h e

s ofthe n - o tm n was vor wing a gel b a a , a fa

one wit and its in u nc is ite h Shelley, ﬂ e e seen in several beautiful passages ; as for

nst nc the son of si : i a e , g A a H L I S E LE Y. 95

M sou is an enchanted oat y l b ,

W ic i e a s ee in swan dot oat h h , l k l p g , h ﬂ Upon the silver waves ofthy sweet singing ; And thine doth like an angel sit

eside a e m conductin it B h l g ,

m od ar n i Whilst all the winds With el y e ri g ng .

’ S o too the ri i nt w it n ss of nt s , , b ll a h e e Da e

’ n the an non sa ed che bzcmco s m s a gel , p , ee to have been expanded and etherealiz ed in the ss w r the c riot i pa age he e ha , l ke a ” t inn st o t is d scri d wit in w ic h e b a , e be h h h

Sits a win d in ant w ite ge f , h

I ts countenance i e the w iteness of ri ht snow , l k h b g ,

I ts umes are as eat ers ofsunn rost pl f h y f ,

I ts im s leam ite t rou the wind- ﬂowin l b g Wh , h gh g folds

Ofits white rob e .

I t is impo ssible to do full j ustice to this inﬂuence of Dante on Shelley I t re veals itself on almost every page ; it hovers like an atmosphere over his entire

t r wor s it ris s in his t ori s of o v la e k ; e he e l e , and visions ofab stract beauty ; it reveals itself by sudden ﬂashes in metaphor and 1 6 ANTE AND THE EN LISH POETS 9 D G .

ur or v n sin words and r ﬁg e , e e gle exp es

i n t has n s id in the s o s. Wha bee a preced ing pages touches only the most promi

nt tr c s oft is in u nc ne a e h ﬂ e e . The extent to which the spirit ofDante pervades the

’ whole ofShelley s poetry can only be fully appreciated by tho se who carefully com

o o ts pare the tw p e .

ost n is o ts as w as mo st M E gl h p e , ell

d rs o f nt are tt r c u int d rea e Da e , be e a q a e with the Inferno than with the rest ofthe

fthe divin o t h wor s o . on t e k e p e Shelley,

contr r s ows minut c u int nc not a y , h e a q a a e

only with the whole ofthe Divine Com

ed but so wit the it Nuov the y, al h V a a , ' ito and the Canzqoriere o - onv . a C , ! A : u 4

’ Shelley s imitation of Dante was not a

conscious one but was the r su t of the , e l complete saturation ofhis mind with the

ofthe r t F or ntin stud poetry g ea l e e . He

ied him constantly throughout his whole

i rom the v r rst da w n l fe , f e y ﬁ y he he

opened the Divine Comedy and fell under

H E X C A PT R .

MATTH EW A R NOL AND ROSSETTI D .

As we approach the middle ofthe nine teenth century we ﬁnd Dante more and more understoo d and loved by the Eng is o ts I t is tru sti t t som s ow l h p e . e ll ha e h but little evidence of his inﬂuence ; thus Swinburne has a mere perfunctory refer ence to him in A Song ofItaly :

Ha s that saw ante s ea in cha e s air ll D p k g , p l f As the outer hi s and air ll , ‘ Praise him who feeds the ﬁre that Dante fed; and w i in the in s of il i m orris h le l e W l a M ,

The genius o f Swinburne was m ore akin to t at o fVicto r H u o w o m he admire s and raise s h g , h p l t an to t at o f ant e x trav ant e . ag y , h h D 1 98 I MA TTHEW A RNOLD A ND ROSSETTI . 99

Came Launcelot walking ; this is true the kiss

herewit w issed in meetin t at s rin da W h e k g h p g y, l I scarce dar ta ofthe remem ered liss e lk b b , “ the expression the remembered bliss s ms to cont in r r nc to Fr nc sc ee a a efe e e a e a , the ori in ofcours is L unc ot du Lak g al e a el , rom i n ot his id f wh ch Da te g ea . I t was chieﬂy as a critic that Matthew

rno d discuss s nt His dmir tion A l e Da e . a a for him was ro ound and iv s con p f , he g e stant expression to it throughout his

ss s I n his ss on Fr nc ritic e ay . e ay A e h C on Milton he couples the Italian p o et wit the r t r s and wit r i h g ea G eek , h Ve g l “ ” and i ton as r t rtist in st M l , a g ea a yle . I n the Essay on Translating Homer he

’ admires Dante s allusive and com ” “ ss d m nn r and contr st s his in pre e a e , a ” version and pregnant conciseness with “ ” the directness and ﬂowingness of

f Tenn son C . y

A m an had iven all o t er liss g h b , And all his wo rldl wo rt fo r t is y h h , To waste his whole he art in o ne kiss r Upon her pe fe ct lips. Sir auncelot and uee n G uinev L Q ere. 20 0 A TE AND THE EN LISH P E D N G O TS .

Homer; while in accordance with his usual custom he keeps reiterating the “ ” r s r nd st of whic nt ph a e g a yle , h Da e

s cit d as r t m st r is alway e a g ea a e . He ” takes what he calls eminent specimens “ of t is r nd st rom om r h g a yle f H e ,

r i and i ton and oins t r to Ve g l , M l , j he e the following lines from the Inferno

6 1 (XVI , )

Lascio lo e e e vo ei do ci omi f l , p l p Promessi a me per lo verace duca; ’ M a ﬁno al centro ria conviemch io t mi p o .

I n simi r m nn r in the tud of o tr la a e , S y P e y (published originally as the general intro ’ duction to Ward s English Po ets) he quotes from the supreme poets of the

‘ or d m s of the an ovda zé s w l exa ple m ,

e hi and c nt s riousn ss w ic th gh ex elle e e , h h A ristotle assigns as one ofthe grand Vir ” u s of o tr in s w ic ma s rv as t e p e y , l e h h y e e a touchstone by means ofwhich we can “ ” Mr Ar o tr s s . t . tes all p e y Take , ay “ o d t t incom r in and n l , ha pa able l e a half

20 2 E S DANTE A ND THE ENGLISH PO T . and such casual references as are found in h nn n h ust rit of o tr t e so et o t e A e y P e y,

That son ofI ta who tried to ow ly bl ,

Er ant cam the trum ofsacred son e D e e, p g ,

’ and in the o m on in s r v p e He e G a e ,

No tomb

On R a enna sands in the s ade v , h

OfR av nna in s for a hi e p e , gh Austere Dante ! are o fno rticu r v u in t is r s ct pa la al e h e pe ,

’ and the full extent of Dante s inﬂuence on the bard ofreligious questionings can only be estimated by a consideration of his critical j udgments and the general

ttitud of his mind a e . I t is not the place here to discuss the in u nc of nt on us in sinc the ﬂ e e Da e R k , e work ofthe latter is in pro se ; yet he must at least be referred to on account ofhis

in u nc o n the re - lit s s ci l ﬂ e e p Raphae e , e pe al y

o ss tti I n his o d rn int rs R e . M e Pa e he

uote s nt ro us and in the t ird q Da e p f ely, h D S T 20 MA TTHEW ARNOLD AN ROS ET I . 3

appendix thereto states his obligation to

1 him I t is n tur t n t t s ould . a al , he , ha he h

advise Ro ssetti to turn his attention to

certain passages in Dante as subjects for

2 pictures The whole movement of Pre Raphaelitism gave a great impulse to

nt stud in n nd and dded an Da e y E gla , a extra stimulus to the interest of Rossetti

n ot as t and an rtist in Da te b h a poe a . From early youth Dante Gabriel R o s

setti was surrounded by an atmosphere of

nt and in him to an unusu d r Da e , al eg ee

r dit nvironm nt and s ci tr inin he e y, e e , pe al a g were j oined to make him a lover and

ound r ofthe r t st of t i n o ts exp e g ea e I al a p e .

His t r ri oss tti 1 8 — 1 8 fa he , Gab el R e 7 3

1 “ I should b e very sorry ifI had not b een con tinu ally tau ght and inﬂuence d by the writers whom I lo ve ; and am quite unable to say to what e x tent my thoughts hav e be en guide d by Wo rds wort Carl le and H el s to w om wit ante h , y , p ; h ( h D and George H e rb ert in olde n tim e) I o we more n er r than to a y oth write s. W M R o ssetti R us in R o t i S ee . . : sse t Pre k , , m R a aelitis . 2 ph , p 7 . 20 ANTE A ND THE EN LI SH POE 4 D G TS . was an t i n triot who i I al a pa , ex led from

’ his n tiv nd c m to London in 1 82 a e la , a e 5, where he became professor of Italian lit ’ t in s o erature a . was o t K g C llege He a p e , but above all a Dante scholar of high

1 n His wi was sist r to t t ra k . fe e ha D octor

Polidori who was companion to Byron and Shelley in their soj ourn on Lake Geneva in

1 8 1 6 Ofthe our c i dr n oft is mi . f h l e h fa ly William Michael was deeply imbued with

ov for the F or ntin o t ri a l e l e e p e . Ma a Francesca wrote the Shadow of Dante (highly praised by Lo well in his Essay on

nt occ sion d the u ic tion of Da e , a e by p bl a t is oo w i ristin o t ss ofno h b k), h le Ch a , a p e e

n t nt s ows the in u nc of the mea ale , h ﬂ e e

2 i me om d in her o tr D v C e y p e y .

1 Am ong his writings on Dante are his Com mento Analitico sulla Divina Comm e dia (1 8 2 6) and La Beatrice di Dante 3 Each o f the fourteen sonnet s which make up the Monna I nnam o rata o f Christina R o ssetti wit a motto rom ante o r Petrarc I n begins h f D h . e oem entitled I n Lat er Li e the line s th p f , ’ A s dove s ﬂ t o t eir windo ws love s own ird y h , b

Conte nte d and desire d to the ne st ,

20 6 DANTE AND THE ENGLISH POETS .

I t is not ow v r ct tru to sa , h e e , exa ly e y

he had from early childhood a love for the

’ o ct o fhis t r s wors i His rot r bje fa he h p . b he says that as a child he breathed Dante but

’ did not think Dante ; his father s specula tions had rather alienated him ; and he probably had not read twenty consecutive

’ tinues to live at Ca rera w ere he is ari aldi s p , h G b uardian and he seldom comes to se e u s t ou g , , h gh he is ver ind t o m little irl and t o u s all I y k y g . t old you o f the death o f a little rabbit which he rou t her as a re sent rom t at island H e b gh p f h . promised her something else and we had forgotten t The ot er da a we were at dinner she i . h y s said: ‘ ’ T re i om e o d in in t is ro om he s s b y cry g h . I am ‘ ’ n e r not in The nun said: deaf a d h a d h g . C E ’ i r ice ere T e e is a vo . I su una voce qu . ( h h ) ppo se d ‘ ’ it w ome noise in th treet No it i as s e s . s ere , h . I gave Bibi a pen and she was m ade to write ‘ ’ O en the doo r o f the came rino w ic she did p , h h , ‘ ! and cam e runnin and scre amin to u s : Oh g g , ’ c e una e stia! Oh t ere is an anim al! ollowed b ( , h ) f a bi lam alm o st a s ee um in and le at by g b , h p , j p g b ante a i ted ano t er had rou t i in . ss s t g D , by h , b gh rom S anta R o sora ne ar Pisa w ere it h ad een f , , h b lo t in a wood: the e asants would av e e aten it s p h . And ere it has e en ever since and ollow s Bi i h b , f b o I had e en in the came rino ﬁve minute like a d g. b s re and was never o ut o f si t o f the door befo gh . ” The window was astene d b u t t e had o ened it f , h y p . e P — S ee R oss tti a ers 1 86 2 0 . p , 7 L A D E 20 MA TTHEW ARNO D N ROSS TTI . 7 in s of nt u to the of1 or 1 6 l e Da e p age 5 .

t r t t ow v r m d u for o st Af e ha , h e e , he a e p l

1 im Yet oss tti was or ord in d to t e . R e f e a e

com ssion t ov r of nt not be e a pa a e l e Da e , on t rou r dit and nvironm nt ly h gh he e y e e ,

n dis osition was dr m but by atural p . He ea y and m stic du entista I talicmo orn y al , a g , b

2 in n nd as Nencioni c l s him and E gla , a l , his studies in early Italian literature

dd d not on to his now d of but a e ly k le ge , to his ov for the r t st ofits o ts his l e , g ea e p e , translations from whom have become ’ sic us we see t t no n is clas . Th ha E gl h poet was more completely steeped in

nt and his tim s t n was oss tti Da e e ha R e . This inﬂuence shows itself in both his

t and his intin s poe ry pa g .

1 ter 6 6 F amil Let s . . y , pp 3, 4 1 ’ Gabriel S arraz in says o f R o ssetti s genius ’ ‘ oici donc u elle re arai t mais lus e ndolorie V q p , p ’ et comme ra eunie d alan uissem ent to ut m o derne j g , ' ” e e nte l antiqu e ex tas d Da . 3 ' Swin urne sa s in 1 8 o All Mr R o ssetti s b y ( 7 ) . translations be ar the sam e evidence o fa powe r not el e ond re ac b ut e ond attem t o fo t m er y b y h , b y p her ” n l n ua e artists i a g g . 20 8 ANTE AND THE EN LISH POETS D G .

About the year 1 850 he began that long series o f pictures in oil and water co ors of s tc s in nci and ink de l , ke he pe l ,

’ voted to subjects drawn from Dante s i and wor s w ic r c d t ir c im l fe k , h h ea he he l ax in the wonderful painting known as ’ nt s r m is ictur the mas Da e D ea . Th p e , terpiece of its author and of which Sir “ Noel Paton says : Fifty years from now it will be counted among the half- doz en ” r m ictur s of the wor d is the sup e e p e l ,

t in on d v o m nt I n ﬁnal s ep a l g e el p e .

1 854 5 he made a ﬁrst water- color ver sion of it but on nis d it in oi s in , ly ﬁ he l

1 8 1 en rs t r it was ou t 7 . T yea la e b gh by the corporation of Liverpool for £ 1 50 0, 1 un in the r Art r and h g Walke Galle y .

’ I n oss tti s o tr wit w ic we are R e p e y, h h h

r chi conc rn d the in u nc of he e eﬂy e e , ﬂ e e

’ 1 For discussion o f Dante s inﬂuence on R o ssetti ainter se e E st er Wo o d R o ssetti and the as a p , h ,

- l te Movem n M R o e i R kin re R a ae i e t W. . ss tt u s P ph ; , ,

etti Pre - R a aelitism and Volkmann I cono R oss , ph ; , tesca graﬁa Dan .

2 1 0 ANTE A ND THE EN LISH P D G OETS .

That also on thy son must B eatrice

ec ine her e es accordin to her wont D l y g , Accepting me to be ofthose that haunt

The va e ofma ica dar m steries l g l , k y ’ Where to the hills her poet s foot- track lies ’ And wisdom s living fountain to his chaunt Trembles in music ? This is that steep land Where he that holds his j ourney stands at gaz e ’ Tow rd sunset w en the c ouds i e a new , h l l k h eight

em i dto i T t in I n nd Se p le cl mb . hese h gs u dersta

For ere w ere da sti l soot es m i ted ace h h y l h y l f f ,

n h o ad m a r l i O t wed e t e e the n t. y b h , y f h , f l gh

I n the sonnet sequence on the House of “ Life we have the record of individual emotions suggested by the presence and

s nc of m odi d ov o m of ab e e e b e l e , a p e which Stedman says : If he ﬁnishes i t he will leave a monument ofbeauty more ” t n th t ition ofhis r s nc lasting ha e rad p e e e .

While the general spirit suggests the tem

er of ov in r t i n o tr t r p l e ea ly I al a p e y, he e are not many passages which can be i m nt looked on as directly im tated fro Da e .

m r li tr rc I n The structure is o e ke Pe a h . 2 1 1 MA TTHEW ARNOLD AND ROSS ETTI .

Sonnet 1 8 on Genius in Beauty he men tions Dante :

eaut li e hers is enius not the cal B y k g , l ’ ’ OfHomer s or ofDante s heat sublime ; while in Without H er we are reminded of

f tric and L ur I n the loss both o Bea e a a . the sonnet entitled The One Hope the in l e ,

a eace be sti a sun en stream Sh ll p ll k , is evidently a reminiscence of Lethe in

‘ r dis tmo the Earthly Pa a e . The a sphere of the Blessed Damoz el suggests a vague ’ r s m nc to nt s o tr et t t e e bla e Da e p e y , y ha Rossetti had not a direct imitation in mind when writing it may be seen from “ the following words by him : When Hunt in his kind letter speaks of my 2 nt s u v ns r rs to one Da e q e hea e , he efe or two of the poems the scene of which is l id in the c sti r ions and whic a ele al eg , h I suppose he is pleased to think belongs to 1 x r x x . Pur . g , ’ M W. . R ossetti sa s in a note to this assa e y p g , ” T is must av e a lied to the Blessed amoz el h h pp D . 2 1 2 A NTE AND THE EN LISH POE TS D G .

the sc oo of nt o o in h l Da e . The f ll w g pas sages are entirely in the spirit ofDante

S o i t at oo in downward t ence h gh h l k g , h 1 She scarce cou d see the sun l ,

The souls mounting up to G od 2 Went by her like thin ﬂames;

’ I ll take his hand and go with him To the deep well oflight As unto a stream we will step down ’ 3 And bathe there in God s light; while Only to live as once on earth With love only to be

As t en aw i e orever now h h l , f , Together I and she

Francesca and Paolo in

1 ar I I 1 1 VI I 8 2 . P XX , 5 ; XX , ff “ 1 f the nebuletta ianc issima th e soul o f C . b h ( ce in Vita Nuova I I I and the re ue nt Beatri ) , XX , f q use ofﬂames for the spirits o fthe Blesse d in Para

diso . 3 n P X the stre am o f Let e i ur . I if Cf. h g , XX , 94 ,

r er o fli t in Par 6 1 ff. and the iv gh XXX , 1 1 Canto V , 35

ue sti che mai da me non ﬁa diviso . Q ,

2 1 ANTE AND THE EN LISH P 4 D G OETS . anecdotes so familiar to the student of

nt how Da e ,

When for some great charge far away Her rulers his acceptance sought : “ ” And ifI o who sta s ? so ros g , y e “ His scorn and ifI sta who oe s ? y , g how

’ As through Verona s streets he went This saying certain women sent:

Lo he t at stro s to He and ac , h ll ll b k ’ At wil ! e o d him how H el s ree l B h l , l k Has crisp ed his beard and singed his cheek how when he came upon

The women at t eir a m- a in h p l pl y g, one oft m he ,

nowin we t at he k g ll h ,

some ound stern was mi d wit t em By f , l h h , ’ Wou d run and uc his arment s hem l pl k g , “ ” Sa in M esser ante ardon me . y g , D , p Praying that they might hear the song

Which ﬁrst ofall he made when young .

S o too we v the o ft - to d stor ofthe , , ha e l y

st r who w i nt sat st m and Je e , h le Da e e si nt set the com n in ro r w r t le , pa y a a , he ea 2 1 MA TTHEW ARNOLD AND ROSS ETTI . 5

Can Grande shook his hair ’ i And smote his thighs and laugh ed i the a r.

Th n acin on his uest he cried e f g g , “ Sa M esser ante how it is y, D , I get out ofa clown like this M ore than your wisdom can provide ? “ ’ And Dante : Tis man s ancient whim i ” That still h s like seems good to him .

Far more impressive than his use ofthese

t rn cts or nds ow v r is R os ex e al fa lege , h e e ,

’ setti s sympathetic analysis ofthe deeper

’ feelings of Dante s soul amid the sur ’ roundings of Can Grande s court ; o fhis sense ofhumiliation in those days

Ofthe stee stairs and itter read p b b , ’ Ofthe soul s quest whose stern avow For years had made him haggard now; his yearning to return to his native town

And at that font in Florence still His forehead take the laurel crown ; how ever and anon he would hear the voic ofhis ar ov w ic s id in his e e ly l e , h h a 2 1 6 ANTE AND THE ENGLIS H POET D S .

Even I even I am eatric , B e And his whole life would yearn to cease Till having reached his room apart

e ond vast en t s of a ace oor B y l g h p l ﬂ ,

He drew the arras round his door .

At suc time ante t ou has s t h , D , h e Thy foreh ead to the painted pane Full oft I know; and ifthe rain

Smote it outside her n ers m t , ﬁ g e

Th row and ifthe sun el t r y b , f l he e

H er reat was on th ace and a r b h y f h i .

Yet in his sorrow and s dn ss w n , all a e , he Florence published the decree offree par

don to all , So a ﬁne were paid

And act of u ic enance made p bl p ,

nt s urn d the unwort of r Da e p e hy fe , out

’ T at since no ate led od s wil h g , by G l ,

To F orence but the one w ereat l , h

The riest and mone - c an ers sat p y h g ,

He stil wou d wander for t at stil l l ; h l , ’ Even t rou the od s rison- ar h gh b y p b s,

His sou ossessed the sun and stars l p .

nd so in r d in ron unti A he l ge e Ve a, l day came when he

CHA PTER XI .

BR OWNI NG AND TE NNYS ON .

No n is o t had b ro d r d r E gl h p e a a e , eepe , more personal affection for Italy Robert Browning

Open my heart and you will see

r d insid o fit ave e I ta . G , ly

Suc overs old are I and she h l ,

So it was a wa s so s al ever be ! l y , h l

Her istor her n tur ut her art h y, a al bea y, , her it r tur the stori d m onum nts of l e a e , e e her st ﬁnd r ssion in his o tr pa , all exp e p e y .

n d not sur ris d t n to ﬁnd We ee be p e , he , that Browning was deeply impressed by the genius of the greatest of the Italian

o t i do s not s ow the inﬂu p e s. Wh le he e h ence ofDante in his poem s to so great an

nt as or v n ron et exte Shelley, e e By , y 2 1 8 B OW I N A D TE N S 2 1 R N G N N Y ON. 9 there can be little doubt that he had as full an understanding ofhim and as deep and

1 int i nt ov for him as it r oft s ell ge a l e e he he e . There is casual mention ofDante in some ofhis s ort r o ms — as h e p e ,

No mere display at the stone ofDante (Old Pictures in Florence) and

Who is ante occaccio Saint erom n D , B , J e a d Cicero ? (Up at a Villa; Down in the City); while in Fiﬁne at the Fair the frequently expressed surprise of the spirits in the Divine Comedy at the breathing ofDante is alluded to in the following lines

I n all escents to H el w ereo I ever read D l h f ,

As w en a antom t ere ma e enem or riend h ph h , l y f ,

r m re stran er- s ade is struc is orced su O e ly g h , k , f s pend “ assa e : You t at reat e a on wit us His p g h b h , l g h

the ghosts.

H re wh must it be stil a woman t at accosts ? e , y l h

“ 1 Anyho w Dante is out o fit all; as who knows ” ll o fhim in m e ad and e t I sic wit a art . b u ! ], h y h h (Letters o fR obert Browning and Eliz abeth Barrett

Barrett vol. I . , , p 2 20 A NTE AND THE EN LIS H POETS D G .

We might expect to ﬁnd in the Ring

’ and the oo if n w r in ro in B k , a y he e B wn g s

or s som tr c s of the in u nc of w k , e a e ﬂ e e

nt Yet in ctu ct t r i Da e . a al fa he e s but

itt few ri m ntions l le ; a b ef e ,

I doubt much ifM arino really be A better bard than Dante after all;

n few in s vid nt r minisc nti a d a l e , e e ly e e al ofthe ivin om d suc as D e C e y, h ,

1 rri e worms made out ofsweat and r Ho bl tea s. ’ S o too the ori in ofCa onsacchi s mi , , g p fa ly in Fi so and t ir s tt in t in F or e le , he e l g la e l ” nc n r the Old rc to is r rr d e e , ea Me a , efe e to much in the same language as in the

diso Para (XVI ,

1 nf I I I 6 - 6 f I . C . , , 7 9

Elle rigav an lo rdi sangue il Vo l to ’ Ch e misc iato di la rim e a lot iedi h g , p . idio i vermi era ric Da fast s olto . ’ 1 f also C .

Pluck fro m o ut th e ﬂame the brand T emselve s h ad t o u tle ssl t rust in so dee h h gh y h p , ’ To send a - color d s ar les u g y p k p , Rin andthe oo I I I ( g B k , ,

me nel ercoter de i ciocchi arsi Poi, co p

S urgone innume rabili faville . (Par. , XVI I I , z oo

2 2 2 DANTE AND THE ENGLISH POETS . this i s ss to not r tt r l fe I hall pa a he , be e , t r w r t t d liv s ofw om m he e , he e ha la y e h y soul wa n m ur d s e a o e . The strong character of Dante was es pecially adapted to attract Browning ; and it was not merely the poet but the man m mir d t rou who he ad e . All h gh ’ Browning s poetry we see that the themes which he loved to discuss were those in which strength and force ofwill and char

ct r s ow t m v a e h he sel es.

I count life just a stuff ’ To r th o h n duc th m t s ul s stren t o e e e an. y e g , Who keeps one end in View makes all things serve

Even in evil - doing it is better to be strong than weak : this is the lesson ofthe

t and the t st rn F r Bus Sta ue . The e lo en tin un ndin in w t conc iv d to e , be g ha he e e

ri t r rrin i and r to be gh , p efe g ex le begga y a s m u r turn to his n tiv cit the ha ef l e a e y,

r t o t the d r ofmen the rd nt g ea p e , lea e , a e

triot v n the int ns t r pa , e e e e ha e ,

ante who oved we ecause he ated D , l ll b h , Hated wic edness t at hinders ovin k h l g , 2 2 BROWNING AND TENNYS ON. 3 was the very incarnation ofthat strength and power of manhood which Browning

m r t in s ad i ed above all h g . That this is no mere fancy is fully shown in the o m on ord o one ofthe most p e S ell , dif cu t and o scur et one ofthe most ﬁ l b e , y ’ c r ct ristic of rownin s wor s ha a e B g k . I think there can be little doubt that Browning received the ﬁrst suggestion of

i m r m nt rd an t s o o . o o t h p e f Da e S ell , I al ian troubadour who ﬂourished in the early

rt ofthe t irt nt c ntur wou d to pa h ee h e y, l day be practically unknown but for the passages in the Purgatory and the De

uio I n the tt r Vulgari Eloq . la e Dante praises his predecessor in the art ofpoetry for being one ofthe ﬁrst ofItalian poets to give up writing in the local dialect ; in the former he describes the meeting of

r i and ord o in nt - ur tor Ve g l S ell A e P ga y .

The troubadour had looked at ﬁrst upon the approaching poets with an air of

r m et di ni d u tin ss sup e e y g ﬁe ha gh e , 2 2 N 4 DANTE A D THE ENGLISH POETS .

I n guisa di leon quando si posa at the m ntion of ntu ow v r e Ma a , h e e , he bestowed a warm- hearted and open- armed welcome to the

n ’ pregio eterno del loco o d io fui.

This welcome furnishes Dante with the occasion for a magniﬁcent outburst of

i n tion at the o itica st t of t ind g a p l l a e I aly .

s are the ints t n rownin The e h , ake by B g , out of which he reconstructed the story

o t ou studi d c of Sordell . Al h gh he e are fully the times and read over thirty books

n the su ct et the c r ct r of his o bje , y ha a e hero is the creation ofhis own imagina ti n o .

I n the early part ofthe poem there is a direct reference to Dante ; Sordello is

the or runn r ofthe tt r her called f e e la e , a

- st r of son t rw rds ov rw m ald a g, af e a e hel ed by the blaz e ofthe greater genius ofhis

cc ssor su e ,

For he is thine !

orde o th orerunner F orentine! S ll , y f l

2 2 6 DANTE AND THE ENGLI SH POETS .

Eccelino da om no z z o of st ord o R a , A E e , S ell

ims and his ov for m h elf , l e Pal a ,

Pa ma ante s o e wit in the c ear l , D p k h l

morous si ence ofthe swoonin s here A l g p , ’ Cumz z a as he ca ed her! , ll

Browning treats Sordello as being what the Germans call eine problematische ” Natur ; a sort of Italian Hamlet of the

i s As ims s s in hi M ddle Age . he h elf ay s “ dic tion o Mr Milsan hi t d t . d s s r ss e a , e lay on the incidents in the development ofa ” ou itt s is wort stud s l ; l le el e h y . Just as he took the name and person of

ord o rom nt so undou t d S ell f Da e , he b e ly took the hint of his character from the lines in the Purgatory and I nfernq uoted

M Low in his ss s r by r. ell e ay Shake pea e

Onc or as ivin r ct d scri tion e M e , g g a pe fe e p

’ of m t s w n ss Ha le eak e .

t r c r u stud o f t is o m Af e a a ef l y h p e , I

itt dou t in s it ofits con ss d feel l le b , p e fe e o scurit t t in it rownin int nd b y, ha B g e ed to make a contrast between Sordello and E N S 2 2 BROWNI NG AND T N Y ON. 7

nt orm r i the tt r was Da e . The f e , l ke la e ,

foremost in the regal class

r road severed rom her mass Natu e has b ly f .

was an rd nt stud nt u of n r He a e e , f ll ge e

m an o t m itions ous i u s s d . p l e l f y a b He ,

v n or nt r vo t d inst the e e bef e Da e , e l e aga artiﬁciality and conventionality of the

o tr of the trou dours and sou t p e y ba , gh inspiration from his own heart

T at man said we te s his own o s and w h , , ll j y oes ’ ou We ll trust him. W ld you have your songs

entire, 1 Build on the human heart;

’ lines which in sentiment are like Dante s ’ r to Buona iunta s u stion eply g q e ,

1 We ﬁnd the same idea in other po ets; thus Boileau say s

Que dans to u s vos discours la passion émue ’ Aille c erc er le coeur l é chauﬁ e e t le re mue h h , Art Poé ti ue I I I 1 ( q , , 5 1 6 , ) Goethe Do ch werde t ihr nie Herz z u Herze n schaffe n Wenn e s euch nicht von H erzen geht

aust I . T eil 1 1 (F , h , 9 , Alfre d de Mu sset ' C est cette voix du coz ur qui seule au goeur arrive

(A La Malibran). 2 2 8 A NTE A ND THE E L H E D NG IS PO TS .

I o mi son un che uando , q

mor mi s ira noto ed a ue modo A p , , q l

he detta dentro vo si niﬁcan C do . , g — Pur . I 2 g , XX V , 5 54 .

Sordello even seemed to have had a dream ofwriting some day a po em ofthe general

n ofthe ivin om d an out in of pla D e C e y, l e the theme ofwhich he gives in his speech to Salinguerra :

I take the task ’ And mars a ou Li e s e ementa mas ue h l y f l l q ,

ow M en on evi or on ood la stress Sh , l g y ,

is li t this s ade ma e rominent su ress Th gh , h k p , pp All ordinary hues that softening blend r Such natures with the level . App ehend

c sinner is w ic saint ifI a ot Whi h , h h , ll

H Pur ator H eaven a az e or ot ell, g y , , bl bl To those you doubt concerning ! I enwomb

Some wretched Friedrich with his red- hot tomb ; du ious s irit Lom ard A ilul h Some b p , b g p With the black chastening river I engulph ! Some unapproached M atilda I enshrine r f h an t ofd c in an uo s o t e e e e etc. With l g pl l ,

ord o i nt had tru conce S ell , l ke Da e , a e p tion of the importance ofdeveloping the

2 ° 3 DANTE AND THE ENGLISH POETS .

’ r t st o ms in the wor d s it r tur g ea e p e l l e a e , suffered poverty and exile for the sake of his o itic doctrin s ord o did not p l al e , S ell h in His i was s nt in dr ms : g. l fe pe ea he dreamed of forming a new language ; he dreamed of becoming a great poet ; he dr m d of o itic ow r of comin ea e p l al p e , be g “ ” the on rc ofthe or d But w n M a h W l . he the tim for ction c m the s ss e a a e , all ba ele

ric of t s visions d d w v fab he e fa e a ay, lea “ ing not a wrack

The od the M ac ine for actin wil B y , h g l

H d n at th comm nc m n ro n a bee e e e e t p ved u ﬁt.

And so it came to pass that instead ofac com is in his dr ms inst d o b ecom pl h g ea , ea f in the ound r of n u d r of g f e a la g age , a lea e men and r t wor d- o t : , a g ea l p e

As Kni t ard al ant men were never dum gh , B , G l , b

I n raise o fhim : w ile w at he s ou d ave een p h h h l h b , Could be and was not the one step too mean

For him to ta e we sufer at t is da k , f h y B ecause of: Eccelin had pushed away I ts chance ere Dante could arrive and take TE S 2 1 BROWNING AND NNY ON. 3

’ t ste Sorde o s urned for the wor d s sa e Tha p ll p , l k ’ w 1 did muc but Sordello s c ance as one . He h , h g

’ The most beautiful of Browning s allu sions to Dante occurs in the One Word

r I n the New Li we are t o d how Mo e . fe l ,

’ he nniv rs r of tric s d t on t a e a y Bea e ea h , he

at dr win an n so ra eerie tavolette s a g a gel p , but was interrupted by the presence of

’ ' in men a uali S i convenia dz are certa , q f onore Browning cites this as an exam

’ ple ofthat deep desire of a lover s heart to do something out of the ordinary for

ov d one the the bel e . Raphael painter had written a book ofsonnets for La For narina ; so Dante the po et drew an angel

tric for Bea e .

Dante once prepared to paint an angel “ m to ease ? You w is er eatric Wh o pl h p B e . While he mused and traced it and retraced it

1 “ ‘ ’ Ye sterday I was re ading the Purgatorio , and th e ﬁrst S pee ch ofthe grou p o fwhich S ordello make s one stru ck m e with a new signiﬁcance as well de scribing the man and his purp ose and fate ” wn em Letters o f R in my o po . ( obert Browning liz a et Barrett Barrett vol I E . n . a d b h , , p 2 2 A NTE A ND THE EN LISH POETS 3 D G .

(Peradventure with a pen corroded

Sti dro s oft at hot ink he di ed for ll by p h pp , ’ ’ W en his e t and i the air 0 the wic ed h , l f h h k ,

ac he e d the row and ric ed its sti ma B k h l b p k g , ’ Bit into the ive man s es for arc ment l ﬂ h p h ,

Loosed him au ed to see the writin ran e , l gh g kl , Let the wretch go festering through Florence)

ante who oved we l ecause he hated D , l l b ,

H ated wic edness t at inders ovin k h h l g,

ante standin stud in his an e D g , y g g l,

r ro the o o fhis I n rn I n the e b ke f lk fe o . Says he Certain people ofimportance

uc he ave his dai dread u ine to (S h g ly , f l l ) “ Entered and wou d seiz e orsoot the oet l , f h , p “ h oet T en I sto ed m ain in a s t e t . S y p , h pp y p g I V .

Y u and I wou d rat er see t at an e o l h h g l,

inted the tenderness o f ante Pa by D ,

u d we not ? t an read a res I n erno Wo l h f h f . I I I V . ’ ’ hat ofR a ae s sonnets ante s ictur W f l , D p e ? T is: no artist ives and oves t at on s no h l l , h l g t

1 ’ T ere is a similar assa e in Carducci s sonnet h p g , iu stiz ia di Poeta w ic tells how ante alt ou G , h h D , h gh ’ dolce d amor cantando if he met a traitor or t ie , h f ' or an ot er o ft at ente di vo lza ni uitosa e rava y h h g g q p , with the very same hand Che ne la vita no va angeli pinse S i gli abbrancava e gli bo llava in viso

E li e ttava ne 1a morta o r R me o e a. i N v I I . g g g ( , XV )

2 34 DANTE AND THE ENGLIS H POE75 .

The admirable sympathy between Brown ing and his wife that shows itself in the above beautiful poem is likewise ex em

liﬁed in t ir ov for t and nt p he l e I aly Da e .

Mrs rownin ot wit i n . B g loved b h h pass o ate d votion t ou she s s she ov d e , h gh ay l e

1 trut and ustic mor t n it r h j e e ha e he . ’ While Robert Browning s interest in Italy , manifested itself largely in the ﬁeld ofart

’ and it r Mrs r wnin s rt an tur . o d l e a e , B g hea mind were turned more toward the strug

for i rt in her own da as ma gle l be y y, y be 2 s n rom her s uidi indows ee f Ca a G W , which is a poetical essay on Italian poli i in 8 8 in u nc of nt is t cs 1 4 . The ﬂ e e Da e

I con le tus an allusion to Beatrice . e ss t at p f h , a ter avin care ull read t is oem I ave no f h g f y h p , h n n on the u ec opi io s bj t . 1 “ I love truth and j ustice more than Plato and ’ ’ Plato s countr more t an ante and ante s y , h D D countr and m ore even t an S a e s eare and y , h h k p ’ ” r to N Shake speare s country . (P e face apoleon l in I ta y . ) 1 Casa Guidi was the hou se she lived in at Flor ence for ourteen ears and w ic she onl le t f y , h h y f e rave for th g . BROWNI N A ND TENN S 2 G Y ON. 35

’ si r co niz b in Mrs rownin ea ly e g a le . B g s wor s wic do s she r r to th S k . T e e efe e S aS O di Dante r d ud d to o rs , al ea y all e by R ge and ordswort — onc in nc W h , e The Da e

And they danced there till the blue that overskied

Swoonedwit assion t ou the oo tin s em d h p , h gh f g e e sedate ;

And the mountains eavin mi t earts d , h g gh y h besi e

us ,

Si ed a ra ture in a s adow to di ate gh p h , l , And touch the holy stone where Dante sate ; and again in Casa Guidi Windows— this time in deeper and tenderer language

O passionate

Poor ante who a anis ed F orentine D , , b h l , Didst sit austere at banquets ofthe great

And muse u on t is far- offstone oft ine p h h , And think how oft some passer used to wait ’ moment in the o den da s dec ine A g l y l , “ — ”— it ood ni t dearest ante . e ood W h G gh , D W ll, g night!

I muse now ante and t in veri , D , h k , ly,

ou c a el ed in the b ewa out ofsi t Th gh h p l y y, gh , ’ nna s ones wou d t ri wit ecstas R ave b l h ll h y , ’ ’ Could st know thy favorite stone s elected right 2 6 DA E D 3 NT AN THE ENGLISH POETS .

As tryst- place for thy Tuscans to foresee T eir ear iest c artas r m h l h f o .

’ minut n ss of Mrs The e e . Browning s

acquaintance with the Divine Comedy is

’ shown by a stanz a ofA Child s Grave at Florence

Tuscan i — o white A l ly , nly

As ante in a orrence D , bh

Ofred corru tion wis ed ari ht p , h g

The li ies ofhis F orence l l ,

where the reference in the last two lines is to the passage in the sixteenth canto of

the r diso Pa a , tanto che il giglio

Non era ad asta mai osto a ritroso p , 1 Ne per division fatto vermiglio .

n ision of o ts writt n in sim I A V P e , e a

liﬁed orm ofthe term rima aaa p f ( , bbb , we have a repetition of the con ventional subjects so often treated by

1 The ancient arm s o f Florence were a white el ter th e war wit Pi t lily on a re d ﬁ d. Af h s oj a in 1 2 5 1 the Guelfs m ade their arm s a red lily o n a w ite eld w ile the G i ellines retained the old h ﬁ , h h b

device .

2 8 H P ETS 3 DANTE AND THE ENGLIS O . r c the selva oscura and w n the n e all , he a gel

s the or n ofw ic play ga , h h

the tones were min ed gl , we are reminded of the lines in Purga tor 1 2 80 so the c y, IX , 4 , al , fa e of the angel growing brighter as he spoke

’ The angel s smile grew more divine — T an morta s ea in a its s rine h l p k g , y, h

Swel ed u er i e a c oir- note ﬁne l f ll , l k h , Till the broad glory round his brow Did vibrate with the light b elow is certainly inspired by the similar pas 2 n t tric sages referri g o Bea e .

1 Tale imagine appunto mi rende a ’ Cio ch io udiva u al rende r si su ole , q p uando a cantar con or ani S i ste a Q g , ’ n l r Che or S i or no s intendo e pa ole . 1 Cf.

Ma S i se ne rise Che lo splendor de gli occhi suoi ride nti Mia mente unita in piu cose divise P ar. 6 1 ( , X ,

’ Vincendo me col lume d 11 11 so rriso

ibid. I I I 1 ( , XV , 9) EN S N 2 BROWNING AND T NY O . 39

A story is told by Edward Fitz gerald to

h ff ct t t oo in one da wit Ten t e e e ha , l k g y h nyson at two busts ofDante and Goethe n s o - window in nt tr t i a h p Rege S ee , he “ s i t is t r w ntin in o t a d, Wha he e a g G e he ” which Dante had? To which the Poet

n w r d ivin L ur t s . a ea e a e e , The D e

’ Tennyson s own modest estimate of himself in comparison with the Floren tine poet is expressed in the Lines to

nt writt n on the o cc sion of the Da e , e a

’ o t s nt n r 1 86 at the r u st of p e Ce e a y, 5, eq e the Florentines :

’ Kin t at hast rei n d six hundred ears and g , h g y , grown

I n ower and ever rowest since t ine ow p , g , h n

and e s eciall p y ,

Pareami che il suo v iso ar e d sse tutto ,

E li o cc i avea di le ti ia S i ie ni g h z p , Che passar mi co nvien se nza co strutto ibid I I I 2 2 ( XX , There is a re ference to the portrait o f Dante in the line s,

One fore b ore Like Dante or any m an as poo r I n mirt to let a smile undo h .

His ar - m h d shut outh . 2 0 ANTE A D TH N L 4 D N E E G ISH POETS .

Fair F orence honorin th nativit l g y y ,

Th F orence now the crown o fI ta y l ly,

Hat sou t the tri ute ofa verse rom me h gh b f ,

I wearin but the ar and ofa da , g g l y,

ast at th eet one ower t at ad s awa C y f ﬂ h f e y .

This same sentiment was expressed ﬁfteen

rs t r to non r urton to w om yea la e Ca Wa b , h the poet was talking ofthe probably short lived duration of all mo dern po etical “ ” “ m Who s id wi r d r d fa e . , a he , ll ea Alf e Tennyson one hundred years hence ? And ” look at Dante after six hundred years ! Tenn yson is said to have loved to troll and t und r out t i n o tr muc h e I al a p e y, h ofwhich he knew by heart ; and the inﬂu ence ofso acute a critic and so profound an admirer of the Divine Comedy as his friend Hallam must have strengthened

’ ’ mir tion for nt s nius the poet s ad a Da e ge .

Without doubt the great Florentine was among the poets spoken of in the stanz a ofI n Memoriam

h iss w en all in circ e drawn O bl , h l

out him eart and ear were fed Ab , h

2 2 ANTE AND THE EN LISH POETS 4 D G .

num r of d nit ss s how The be eﬁ e pa age ,

v r w ic s ow vid nc oi in u nc on e e , h h h e e e ﬂ e e the part ofDante is no t so large as in the c s of ron and I n the rin a e By Shelley . P cess we have an allusion to the oft - quoted inscription over the Gate of Hell :

H ow saw ou not the inscri tion on the ate y p g , Let no man enter in on pain ofdeath ; the in s in the Two oic s l e V e ,

M roz en eart e an to eat y f h b g b ,

R mem erin its ancient eat e b g h , seem to be a reminiscence of

’ LO l che m era intorno al cor ristretto ge ,

irito d ac ua ssi Pur . Sp e q fe , ( g , XXX, 97 and

’ mma ibi onosco i se ni de l antica ﬁa d. C g l ( ,

There is a very evident resemblance b e

’ 1 tween Dante s discussion o f Fortun e and the Song of Fo rtune in Geraint and Enid :

1 VI I if and line o fCanto XV I nf. , , 7 3 , 95

Perb giri fortuna la sua ruo ta. B E 2 ROWNI NG AND T NN YS ON. 43

Turn Fortune turn th w ee andlowefthe roud , , y h l p ; ’ Turn th wi d w ee t ro suns ine storm an y l h l h h , , d cloud;

w and t w n it er ove nor Thy heel hee e e h l hate .

Turn Fortune turn th w ee wit smi e or rown , , y h l h l f ; With that wild wheel we go not up or down ;

i itt ut our rt ar oard s e b ea s e reat. Our h l l , h g

i and we smi e the ords o fman ands Sm le l , l y l ;

wn and we smi e the ords ofour own and Fro l , l h s; man and 1 For man is master ofhis fate .

Turn turn th w eel a ove the starin crowd , y h b g ; Thy wheel and th ou are shadows in the cloud;

w ee and t ee we neit er ove nor at Thy h l h h l h e .

I n Locksley Hall occur the well - known

in s l e ,

’ Comfort? Comfort scorn d o fdevils! this is true

the oet sin s p g , ’ That a sorrow s crown ofsorrows is remembering

a ier t in s h pp h g , an in the c of Art mon th d Pala e , a g e “ ” paintings ofwise men which the poet hung The ro a dais round y l ,

1 This line evidently inspire d the o ft - quote d verse E H enle : o fW. . y

he m ter o fm I am t as y fate. 2 ANTE AND THE EN LISH POETS 44 D G . was o ne in which

’ the wor d- worn ante ras d his son l D g p g , And somew at rim smi h g ly led.

The four brief lines of Dante which

’ give concisely the tragic story of Pia de Tolomei (lines which have been ex panded to a novel) are said to have sug

1 ri n in the out r gested Ma a a S h . The e are several parallels in language and metaphor between Tennyson and Dante which are

n us in the c ofArt t interesti g . Th Pala e here

r vid nt imit tion in the in s is a ve y e e a l e ,

ato the wise and ar e - rowed eru am Pl , l g b V l ,

st oft ose who now The ﬁr h k ,

’ ofDante s designation ofAristotle as

ma stro di co or che sanno il e l ,

’ and the metaphor drawn from driving one s

’ l into the smoulder d lo hee g,

nt a ast ofs ar s u the ﬂue That se bl p k p ,

1 Ye t this po e m is o nly another version o fMariana e d ran e the su estio n o fw ic was in the Mo at G g , gg h h ’ re Measure for Measure t aken from S hakespea s . n Au re de Vere who discuss Arthur H allam a d b y ,

in the S o ut m a e no m ention o f ante . Mariana h , k D

ord Tenn son I . 1 1 and 0 S ee Me moir ofL y , , pp 7 5 4.

2 6 A TE AND THE E LI H 4 D N NG S POETS . r c ma due not m r to coinci a e , y be e ely d nc nd d nn son ims l s ms e e I ee , Te y h e f ee to point to at least some kind ofconnec tion tw n the two w n s s of be ee , he he ay , his own po em : I t is rather the cry ofthe w o um n r c t n min I n the h le h a a e ha e . poem altogether private grief swells out into thought of and hope for the whole

r I t ins wit un r an nds wo ld. beg h a f e al d e in r is of ne i sort of ivin p a e a w l fe . A D e

om d c r u at the c os r C e y , hee f l l e . He e and t r we ﬁnd v r r s m nc he e a e bal e e bla e , but not m n v r rst st nz a y . The e y ﬁ a a ,

Stron Son ofG od immorta Love g , l ,

hom we t at cannot see th ace W , h y f ,

aith and faitha lone em race By f , , b ,

e ievin where we cannot rove B l g p , su sts the in s in r dis gge l e Pa a e , II , 43

Li si vedraciOche tenem per fede Non dimostrato ma ﬁa er se noto , p , ’ A guisa del ver primo che l nom crede ;

o the r m r s on the v nit of m s e a k a y fa e ,

O o ow wrait ofd in ame h ll h y g f , B OWNIN AND TENN S 2 R G Y ON. 47

’ is i nt s mondan Tomore w ic is l ke Da e , h h n u t but an ato di vento a gh ﬁ .

’ The poem of Tennyson s which shows mo st strongly the inﬂuence of Dante is

s s ssa in the n Ulys e . The pa ge I ferno is well known how Dante meets the spirit of ss s in the i t o i and rs Uly e e gh h B lg a , hea from him the strange story of his death in the w st rn sea s l . s s t s how e e Uly e el ,

vin com old s urn d the r t ha g be e , he p e es n tur to old how r d wit d sir a al age ; , ﬁ e h a e e to see new t in s r v i d on his old h g , he p e a le com nions to st rt out on st ourn pa a a la j ey .

is t do ss the tr its of Gibral Th hey , pa S a tar s i out into the un nown w st o f , a l k a e w t r and t r ﬁve mont s r c i a e , af e h ea h a h gh mount in w r struc mi t wind a , he e , k by a gh y ,

1 t ir o t sin s and ris he b a k all pe h .

1 This account of the death o f Ulysse s is at variance wit the ancie nt and m e diaev al tradition h s. iresias oretold Od sse X I 1 ff ho T . w he w f ( y y , , 34 ) as to die worn out old a e in the midst o f by g , a happy p eople ; yet the manner o fhis de ath was to come e I n later le end from the s a. g s this e x pre ssion 6 5 021 65 was ex plaine d by the fact that Ulysses was 248 ANTE AND THE EN LISH P ETS D G O .

There can be no doubt that Tennyson

ot the m in id ofhis o m rom nt g a ea p e f Da e . kille d by a S pear whose point was made o f a

oisone d ﬁsh - one tin - r Ben it e ain p b (s g ay). o d S te Maure in his R om an de Troie de scribe s how Ulysse s was slain Tele onu hi n irce ante s s so C . by g , by D ro a l inv ente d t is last vo a e ndin the p b b y h y g , ﬁ g ge rm o fhis invention in th e scattere d hint s as to the oundin o f Lis on Ul sse s and his visit f g b by y , rt e t le n Th e id h t o fa h s Ca do ia. w e waste o f t e ’ We ste rn Oce an m u st h ave fascinate d Dante s imagination as it did that o f his contemporarie s ’ nd ce r f Ta o imil r e ri n a suc sso s . (C . ss s s a d sc ptio written after the discovery o f Am erica by Colum i e he v o e f n n . Be s d s t a o t Bra d n d b us ) y g S . a a o ther purely le ge ndary j ourne ys to the my steriou s islands o fthe Atlantic ante had ro a l e ard , D p b b y h o f the folle varco o f tho se hardy G enoe se adv e n~ turers true orerunners o f Colum u s The disiu s ( f b ),

“ ‘ Aurial U olinu s de Vivaldo e t e u s rater cum , g j f ” uibusdam aliis civibu s anuae who in 1 2 8 1 q J , Ceperunt facere quoddam v iagium qu od aliquis nunc c re minim e attem tavit Nam u squ e fa e p . armav erunt O tim e du as aleas e t victu alib u s p g , ac ua et aliis ne ce ssariis in eis im o sitis miserunt q p , e as de m ense m adii de v ersu s strictum se ta ut p , per mare Oce anum irent ad p arte s I ndia m erci n e n Et o st u am m onia utilia i de d fere te s . p q lo cus qui dicitur Go z ora ! the island o f Teneriffe] transierunt ali ua certa nov a n on h ab uimu s , q min s a tem e o cu sto diat e t sano s et de eis. o u u s D , ‘ ” i e e rio n I I r r S . G ncolum e s re ducat ad o a. i p p G ,

Patriz io Pro u n tore I I I arte 1 . o z z o di S . a P , p g , , p

2 0 E 5 DANTE AND THE ENGLISH PO TS .

So too the ss , , pa age , ” O rati disse che er cento mi ia f , , p l ’ Peri i si te iunti all occidente gl e g , A questa tanto picciola vigilia ’ ’ De vostri sensi ch del rimanente , e , ’ Non vo liate ne ar es erienz a g g l p ,

Diretro al sol del mondo senz a ente , g , cont ins in concis orm m n of the a , e f , a y details in Tennyson

Little remains : but every hour is saved

From t at eterna Si ence somet in more h l l , h g , A bringer ofnew things; and vile it were

For some t ree suns to store and oard m se h h y lf, And this gray spirit yearning in desire

To o ow now ed e i e a sin in star f ll k l g l k k g ,

B eyond the utmost bound ofhuman thought.

T is is m son mine own Te emac us h y , l h , To whom I leave the sceptre and the isle

el - oved ofme discernin to u W l l , g f lﬁl

T is a our s ow rudence to ma e mi d h l b , by l p k l ’ ru ed eo e and t ro so t de rees A gg p pl , h f g

Subdue them to the useful and the good.

M ost ame ess is he centred in the s ere bl l , ph

Ofcommon duties decent not to ail , f

I n oﬂices oftenderness and a , p y

M eet adoration to m ouse o d ods y h h l g ,

hen I am one . He wor s his wor I mine . W g k k, 2 1 BROWNING AND TENNYSON. 5

There lies the port ; the vessel puffs her sail M marin r T ere oom the dar road seas. e s h gl k b y , ’ Sou s t at ave toil d and wrou t and t ou t l h h , gh , h gh

wit me h , That ever with a frolic welcome took

The t under and the suns ine and o osed h h , pp

Free earts ree oreheads— ou and I are old h , f f y ; Old age hath yet his honor and his toil ;

eat c oses all: but so met in ere the end D h l h g ,

Some wor ofno e note ma et be done k bl , y y ,

Not un ecomin men t at strove wit od b g h h G s. The lights begin to twinkle from the rocks: The long day wanes: the slow moon climbs: the deep M oans round wi m n t a voices. ome m h y C , y riends f , ’ Tis not too ate to s a n w r w r l eek e e o ld.

Pus off and sittin w ll in order smit h , g e e The sounding furrows; for my purpose holds

To sai e ond the sunset and the at s l b y , b h

Ofall the w st rn stars unti I e e die . , l I t may be that the gulfs will wash us down

I t ma be we s a touc the Ha I s es y h ll h ppy l ,

And see the reat c i es w om we n w e . g A h ll , h k ’ ’ Tho muc is ta en muc a id s and th h k , h b e ; o We are not now that strength which in old days

M oved eart and eaven t at w ich We ar h h ; h h e, We are ;

One e ua tem er of eroic earts q l p h h , 2 2 A E A ND THE EN LISH P E 5 D NT G O TS .

M ade wea time and ate but stron in wi k by f , g ll

To strive to see to ﬁnd and not to i d e . , k , , y l

Yet w i the s irit and to som t nt h le p , e ex e , the n u ofthe two o ms are i la g age p e al ke , t r is dif r nc in tr tm n he e a fe e e ea e t . The Ulysses ofTennyson is an old man full of t musin o n i and its m nin de alk , g l fe ea g , claring his intention of not yielding to

s o m is r c iv n ea e . The p e a eﬂe t e o e rather than narrative or dramatic ; the time oc cupied is b ut a few minutes ; we have a

ictur o f ss s st ndin oo in down p e Uly e a g , l k g on the ort w r the v ss uffs her p , he e e el p sail and where gloom the dark broad s s and t n ddr ss s his s i ors in ea , he he a e e a l

on s c wit w ic the o m nds a l g pee h h h h p e e .

’ nt s o m o n the ot r nd is in Da e p e , he ha ,

r m ti s s t o t ns d c. s u c os e ely a a Uly e , h gh l e

o the end o fhis i is u of n r and t l fe , f ll e e gy

nc o s s itt tim in t buoya y . He l e l le e alk ; narrates concisely yet fully all his past

n s His ddr ss to his o ow rs wanderi g . a e f ll e

in in s on do s not de is only n e l e l g . He e

2 A TE AND THE EN LISH P E S 54 D N G O T . all the m st had d rt d On th y ery epa e . ly e lesson remained to enforce ofhigh - hearted

nd vor of o d cin the un n wn e ea , b l ly fa g k o

utur f e . I t has long been a favorite device among poets to represent life as a vessel sailing

1 over the sea; and it may be that both

nt and nn son us d rt at st Da e Te y e , pa ly lea , the voyage of Ulysses as symbolical ' of that j ourney which for all m en ends in the

1 Vcry numerous are the e x ample s which could b e iven ro m the reat writers ancient and m o dem g f g , . The following may b e taken as typical

Th e ar ofli e uts o ut rom o rt b k f p f p , We oist the m ast and t rim the sail h , Under th e summer sk we s ort y p , e he wint le At times we f el t ry ga . We now not w ere o ur lot is cast k h , Our ilot Ghance ma wrec or save p , , y k ; ’ ate er e tide the vo a e ast Wh b , y g p ,

All cast their anch or in the grave . m h e e e n Lord Cromer (fro t Gr k A th ology). A S imilar thought is ex pressed by Clough in his poem be ginning Wh ere lie s the land to which the ship would go ?

Far far a ead is all her se amen no w. , h , k ante who calls I tal N ave senz a nocchiero in D , y e ta Pur I and sa s o f im sel ran tem s . V g p ( g , , y h f

a he was a le no sanz a vela e sanz a overno Conv . th t g g ( , De en de clare s o n th e aut orit o fCicero S . I , h y ( ) at eat é uasi orto a nei di lun a navi az ione th d h q p g g , B WNI N AND TENN S N 1 RO G Y O . 55 harbor of death The same ﬁgure has i wis n us d s ci risti n l ke e bee e , e pe ally by Ch a

o ts oft t ot r ourn the iter tene p e , ha he j ey , b cosmn of d t u o n w ic the sou ri ea h , p h h l

n vin the od embarks o lea g b y . Thus Dante tells how the souls ofthe saved gather on the s or s of the dit rr n n an h e Me e a ea Sea , d are thence wafted acro ss the great ocean by the angel - boatman to the island of

r t r And as nt v Pu ga o y . Da e ga e Tennyson the su stion for his ss s so the gge Uly e , beautiful passage in Purgatory bears a certain resemblance in thought to the last

o m ofthe n is o t who rown old p e E gl h p e , , g an ni unto d t oo s orw rd to the d gh ea h , l k f a time when he too shall embark on his last vo not nowin w it r his r is to yage , k g h he ba k

r him but trustin in his sti i o bea , g Cele al p l t :

i oso Ed 2 cosi come il buona marinara che e r p . ; come eS S O a ro in ua al orto Gala le sue vele e soa pp p q p , ve nte con debile conducimento entra in uella n me q (Co v . ,

I V 2 8 cf. I nf. VI I , ; , XX , Emerson has the same thought in his Terminus

I t is time to be old.

To take in sail. 2 6 AN TE AND THE EN LIS H P E 5 D G O TS .

Sunset and evenin star g , And one clear call for me !

And ma t ere be no moanin at the bar y h g ,

en I ut out to sea Wh p ,

But such a tide as movin seems as ee g l p , Too u for sound and oa f ll f m,

en t at w ic drew rom out the ound ess dee Wh h h h f b l p , n Turns agai home .

Twi i t and evenin e l gh g b ll, And after that the dark !

And ma t ere be no sadness of arewel y h f l, When I embark ;

’ For tho from out our bourne o fTime and Place

Th ood ma ear me far e ﬂ y b ,

to see m i ot ace to ace I hope y p l f f , r When I have crossed the ba .

INDEX .

’ Ac illes avelin of Annunz io a riele d h , J , 7 7 , G b , A c erm ann uellen F ranceS ca da R imini k , Q , , orbilder S to e z u 1 note V , ﬁ 4 9 ( ) ’ S helle s Poetischen A ocal se 8 y p yp , 7 ken 1 A uina S t T om Wer 8 s . as 0 , 4 q , h , 3 Addison 1 0 6 note , ( )

Adonais: see S elle Ariosto 2 no te 2 h y , , 9 ( ), 3 z Eneid: see Ve r il note 6 2 g ( ). 4 4 , 4 9 . . 7 3.

ZEsch lus Prometheus 8 note 1 1 no e y , 4 ( ), 4 ( t ),

Bound 1 note I 1 6 1 ° , 93 ( ) S7 , 5 , 7

A ricanus Aristotle 2 0 0 2 f , 33 , , 44 A e o Bronz e : see B Arnold Matt ew and g f y , h , ron ante 1 ff D , 99 . ’ Alam anni H eine s Grave 2 0 2 , 4 5 , A lberico Vision o — A usterit o Poetr , f, 4 y f y,

Alﬁeri 1 0 1 2 0 2 , 7 , 54 ’ A lle ro L : see Milton Austen ane 1 6 g , , J , 4 Al onsine s stem o f A z z o o fE ste 2 2 6 ph y , astronom 0 note y , 9 ( ) Am ere 1 1 note Bar de on ante p , 9 ( ) f , , D , 4 5 ’ Ancona d I Precursori note , , ( )

di Dante Balz o del Poesie di , 4 , ,

An elo Mic ael 6 M ille A utori I ntorno a g , h , 5 note 1 0 1 2 Dante A li hieri ( ), 7 , 7 g , 4 4 A n lia 8 note note 6 note g , 7 ( ) ( ), 3 ( ) 259 26 0 EX I ND .

Barlow 1 2 2 Boileau 2 2 note , , 7 ( ) B e r e r e an Bartsc Chrestomathie o G o W. F r h , k , g , Proven ale 6 8 note cesca da R imini 1 g , ( ) , 4 9

Be atrice 1 0 6 note , 3, 35 , 5 , 4 , ( ) B ni ac 1 note o e VI I I . 1 93. 94 , 53 ( ). f , 4 Borinsk 8 note y, 7 ( ) Bo well 0 note 1 1 2 s , 8 ( ), Beers E n lish R oman note , g ( )

ticism 1 1 no te B o d translator o f , 4 ( ) y

Bella Du note ante 1 1 1 2 2 y , , 4 5 ( ), D , 4 , 6 note Bracciolini Po io F a 3 ( ) , gg , Berni cetice 2 note , 7 3 , 5 ( )

Bettinelli on ante 1 1 Brande s G e o illiam . W , D , 5 , ,

note S hakes eare 2 ( ) p , 7 ’ Blackwood s M a az ine Brawn Fann 1 g , , y , 4 ri F 1 B d e . 1 . 2 7 g , J , 5 Bla e William i stra Brin Ten 1 k , , k , , 9 , 34 , 37 tor o f ante 1 1 2 Browne Sir T om as D , 5 , h , Blessed Damoz see 80

R osse tti Brownin R o ert 1 g , b , 35 Boccaccio 6 0 6 1 inﬂuence of ante on , 4 , 4 7 , 5 , , D , I 2 1 S7 8 ff . admirer o f ante love for I tal 2 1 8 D , 7 y , lectures on the Divine Old Pictures in F lor

Comed 1 8 ence 2 1 y, , 9

inﬂu ence o n C auce r F i ne at the F air 2 1 h , ﬁ , 9 2 0 U in a Villa Down p ,

F ilostrato 1 0 note in a Cit 2 1 , ( ), y, 9 33 (note ) The R ing and the

De Casibus Virorum ook 2 2 0 B ,

I llustrium 2 6 no te — One Word ore 2 1 ff , 4 , 5 ( ) M , 3 . Bo et ius De Consola N um hole tus 2 2 h , p p , 3 tione Philoso hice 2 note p , 3 ( ) note 0 note S ordello 2 2 if ( ), 3 ( ), 37 , 3 .

2 6 2 EX I ND .

Catullus 1 note Chiabrera 1 0 , 7 ( ) , 5 Cavalcanti uido 8 Childe H arold 1 2 1 8 , G , , 5 , 5 , S onnet to 1 1 no te 1 8 no te , 4 ( ), 5 ( ) see also Byron C urc ean Cele stine V . 1 1 2 2 1 2 8 , 4 h h , D , , er ante 2 note C v s, ( )

Chanson de R oland 1 1 8 C urc ard T o s. 6 , h hy , h , 4 , C aucer 1 6 1 0 8 h , 4 , , 7 , 9 , 4 7 1 0 6 1 6 1 2 1 8 Cicero 2 no e , 3 , 5 , 5 , , 54 ( t )

2 S omnium S ci ionis 37 p , 4 Troilus and rise de n o e C y , 33 ( t )

1 0 2 2 no te Cin o da Pistoia 1 no te . 7 . 9. 33 ( ) , 7 ( ) ’ ’ ante s inﬂu ence on Clerke S Tale : see C au D , h 6 ii cer 1 .

n e r r 0 Clou d P t a c 2 A H . 2 a . no te h , gh , , 54 ( ) ' and Bo ccaccio 2 0 Colerid e 1 2 2 1 2 1 , g , , 4 , 34 ’ Clerke s Tale Collins 1 1 , , 7

note Colum u s 1 0 1 2 2 8 ( ) b , 7 , 7 , 4 H ouse o F ame 2 1 note f , , ( ) ’ 0 ﬁ Com o La e S elle 2 2 1 . at . 3 . 3 . 33. 34 , k , h y , ’ F rio r s Tale 2 2 1 , 7 4

Gentilnesse 2 note Comus : see Milton , 3 ( ) t ’ W o Bath s Tale Con essio A mautis : see y; f , f 2 3 Gower L e end o Good Wo Constance Council o f g f ,

men 2 1 1 , 4 ( 4 4 ’ M onk s Tale S t o r o f Constantine Em eror ( y , p , U olino 2 ﬂ g ), 4 . Parlement o F oules Convito 1 0 1 2 1 8 0 f , , 4 , 5 , ,

2 1 1 8 1 6 2 no te 7 1 3 1 33 4 , 9 , 54 ( ), ’ — S econde N onnes Tale 2 note , 55 ( )

2 8 C o rn e ll Un iv e rs it y , K ni htes Tale 2 ante Co llection 1 2 6 g , 3 , 33 D , (note) Corsair: see Byron I N EX 2 6 D . 3

osmo Um erto on Dante and L d ate 2 C , b , y g , 4

ante and Tasso and ower 0 ff. D , 44 G , 4 note re u tation ofin I tal ( ) p , y ourth o e H istor o durin the R enais C p , y f g is o etr sance E n l h P if. g y, 4 9 , 4 3

note 1 0 6 note re utation in France ( ), ( ) p , Crai H istor o E n note k , y f g 4 5 ( ) lish Literature 2 0 re utation in Eliz a , p n et n En lan if ote a d 6 . ( ) b h g , 4 Craw ord F Marion as orerunner o f R ef f , . , f F rancesca da R imini ormation 8 , , 4 7 , 4 1 note and Fox e 4 9 ( ) , 4 8 Crom e r Lo rd 2 note and W att , , 54 ( ) y , 49 Crossin the Bar: see and S urre 0 g y , 4 9 , 5 Tennyson and Sir Philip Sid Cusa Nicolas von 8 ne 0 , , 4 y, 5 (note) and SirJ o hn H arring ton 1 , 5 aniel A rnaut 6 8 note and Sir avid L nde D , , ( ) D y 2 2 fl sa . 7 y, 5 ante different orm s of and S ac ville ff D , f k , 55 . his influence o n the and S en er 8 fl s . p , 5 En lis o ets ndS a e e are 0 fl a s . g h p , 3 h k p ,7 and H om er 1 1 and reene no te , G , 7 4 ( )

eat o f 1 6 Mil on ﬂ d and t . h , , 7 9 a are nt ailure 1 6 re utation in I tal pp f , p y his lo r 1 6 durin th e sevente ent g y , g h m oral and S iritu al centur 1 0 p y , 5 inﬂue nce o f 1 1 re utation in I tal , 4 , 5 p y nowled e o f in e arl durin the ei teent k g , y g gh h En land 1 centur 1 0 g , 7 y , 7 and Piers Plowman h , revival in t e nine

1 8 teenth centur 1 1 if y , 7 . in German 1 1 and C aucer 2 1 . 8 h , ff y , 2 6 I N EX 4 D .

ante in France 1 1 8 De Contem tu M undi D , , p 1 1 9 (note) see Petrarch and I talian atrio t De M onarchia 8 8 p , 4 , 3

ism 1 1 em o st ene s 1 1 , 9 D h , 7 o stile criticism o f De Vul arai E lo uio 8 h , g q , 7 , 1 2 3 2 2 3 and Paintin 1 2 Dictionar o N ational g , 5 y f and Mu sic 1 2 Bio ra h note , 5 g p y, 4 9 ( ) ersonal affection for ido p , D , 35

E n lis o e t s Dis Cit of 1 b y g h p , , y , 93 1 6 if Discourse on he an e s 2 . t M n r

in Am erica 1 2 6 o the A ncients: se e , f S o cie t Cam rid e S elle y , b g , h y Mass 1 2 6 Divine Comed le cture , y,

an d L e i H u n t s i i n Florence g h , h p

1 ff 4 4 .

and B ron 1 0 ff Latin tran slation o f y , 5 . , n 1 if io vanni i rr a d S elle . d S e a h y , 7 3 by G an d R u s in 2 0 2 2 0 v alle 1 k , , 3 , 7

and Pre - R a haelit o elli o n B ro n and p D b , y ism 2 0 ante 1 2 , 3 D , 5 ff . n R o i 2 0 o ds Marc h o a d ssett . us T e F re , 3 ff D , , n 1 ff ne s o Da te and Browni 2 8 . run r n g , f , 4 r Brownin note and M s. g , ( )

2 if DOIlin e r 1 1 no te 34 . g , 9 ( ) ff o ua and Tenn son 2 . D n n : se e B ron y , 39 j y ’ Dante s Dream icture ou las avin 6 8 , p D g , G , R o ssetti 2 0 8 note by , ( ) Dante in Verona: see owden 1 1 88 D , 7 4 , R o ssetti Dream The : se e B ron , y De Casibus Virorum I l Dreme The : se e L nde , y lustrium se e Boccaccio say

o Poetr : ee rumm ond m 0 De ense s W . f f y D , , 3 S elle (no te 6 8 no te h y ), ( )

I talienischen Littera G ra T omas Ele y , h , gy tur note written in a oun , 4 9 ( ) C try

Gentilnesse : see C aucer Church ard 1 0 8 h y , G er ardt Paul 1 note Gree Ant olo 2 h , , 3 ( ) k h gy , 54 Ghi elline s 2 2 2 6 note b , 5 , 3 ( ) note Gre ene 2 note ( ) , 7 ( ) Gi on 1 note Grion G 2 8 note bb , 54 ( ) , . , 4 ( ) Giaour: see B ron Griseldis Patient stor y , , y Gin uené 1 1 note of 20 g , 9 ( ) , Giornale Dantesco 1 2 Gro sart e ditor o fS eu , 5 , p ’ note ser s wor s 6 ( ) k , 4 Giornale S torico della uarini G , 4 5 Letteratura I taliana u el s 2 2 2 6 note , G f , 5 , 3 ( ) note 1 1 note Guileville Guillaume de 44 ( ), 9 ( ) , ,

Giotto 2 0 note no te 8 1 note , 5 ( ) 37 , 4 3 ( ), ( ) 1 il et e e one E . P rn tte e Gladst W. u l d 1 , , 7 G , , 3 note 1 2 1 0 note ( ), 5 , 3 ( ) Goet e 2 1 1 8 note Guinicelli uido 6 h , , ( ), , G , 5 (note)

Goldsmit 1 1 Guiccioli Counte ss 1 h , 5 , , 57 , d ard e ditor Go sse , E w , 1 68

ofGra 1 0 note y , 9 ( )

Gower ohn 0 note H all Sir C arles 2 2 , J , 3 ( ) , h , 5 arallels wit ante H allam Art ur 1 1 2 8 p h D , , h , 5 , , 1 2 0 2 note 2 4 4 . 44 ( ). 4 9 on essio A mautis 2 n e C f , 4 ( ot )

note 1 H amlet 2 2 6 ( ), 4 , ra T omas 1 1 1 8 see S a es eare G y , h , 7 , 5 h k p and ante 1 0 ff H arrin ton S ir o n 1 D , 7 . g , J h , 5 Pro ress o Poetr 1 0 8 H arvard Universit g f y, y , bservations on Pseu Lecture on ante O s D ,

do- Rh thm 1 0 8 note 1 2 6 y , ( ) bservations on E n H a san 1 O g s , 53

lish M etre 1 0 no te H auvette Dante nella , 8 ( ) , N EX 26 I D . 7

PoesiaF rancese delRi H u o Victor 1 1 note g , , 9 ( ) nascimento note H um oldt on H om er , 4 5 ( ) b , , H a le translation o f 1 2 note y y , 7 ( ) rst t re e cantos o f Hunt Lei 1 2 1 2 ﬁ h , gh , 3, 4 , h I n erno 1 1 2 if 1 t e . f , 44 E ssa on E ic Poetr — S tor o Rimini 1 2 y p y, y f , 3,

1 if 44 . ’ translation ofDante s S tories from the I tal S onnet t o Guido Ca n o ia P ets, 1 44

valcan 1 ti, 1 4 ’ H ell Milton s com are d I a o 1 6 , , p g , 4 ’ wit ante s I n erno I n erno 2 2 2 2 6 h D f , f , , 8 I 1 6 6 8 note 97 . 9 . 5 . 7 . ( ). H el s Sir Art ur 2 0 1 1 2 1 2 1 6 1 86 p , h , 3 , 7 , 4 , (note) (note) n E 2 H e le . I 1 no e W. I t y , , 43 . . 3 . 33 ( ). 7 4 . note 1 8 note 2 0 1 ( ) 7 ( ), H enr I V : see S ake I I I 2 note 2 y . h , 7 ( ), 3 , S eare note 1 0 2 p 33. 7 7 ( ). . H er ert Geor e 2 0 1 0 1 6 1 2 2 2 0 b , g , 3 3, 4 , 9 , (note) (note) H omer 2 8 note 1 1 V 2 note 6 , , ( ), , 9 ( ), 5 2 note 6 note note 6 8 note 3 ( ), 9 ( ), ( ), ( ), 8 6 8 1 0 6 1 2 1 1 0 1 1 1 1 2 , 7 , , 7 , 99, 3, 4 , 4 4 , 7 2 2 note 2 0 note 2 1 2 37 , 4 9 ( ), 5 ( ), H orace 2 note , 49 ( ) ’ H oudan R aoul d S on e VI I note 6 6 , , g , 57 ( ), , ‘ d E n er 2 2 note i , 4 , 37 4 ( ) H ouse o F ame I I I 2 note f V , 5 ( ), 7 7 Chaucer (note) ouse o Li e : ee R o I X 1 note 1 0 H f f s s , 4 ( ), 3 X 1 setti r : 53 Hu es T omas 6 8 I I I 2 note 2 gh , h , X , 4 ( ), 3 , e 6 6 note (not ) , 7 7 ( ) 2 68 I EX ND .

I n erno X I V 8 1 usserand 1 8 f , , , 4 J , note 8 1 2 2 ( ), 9 , 93, 4

note astner 0 note ( ) K , 5 ( ) VI I 6 note in sle 1 2 note X , 3 ( ), 4 5 K g y , 4 ( ) note 66 2 0 0 2 Kirku S e m our 2 0 ( ), , , 37 p , y , 5 (note) (note) ’ X I X 1 note 8 Kni hte s Tale :see C au , 4 ( ), 4 , g h 84 (note) cer

6 note oc Dr o n 2 0 XX , 7 ( ) K h , . J h , I V 6 0 1 0 1 note XX , , ( ) XXV 1 0 0 oni ante , K g , D

VI 2 S a e s e are 0 XX , 53 h k p , 7 VI I 2 note o E Da te n e el . n i der XX , 55 ( ) K pp , I note E n lischen Litteratur XX X , 7 7 ( ) g I note des 1 6 ahrhunderts XXX , 7 7 ( ), . j ,

1 0 6 note 2 note 3 4 ( ), 5 ( ), I I I 2 6 note note , XXX , ( ), 7 3 ( )

1 1 0 1 0 note 1 , 3 ( ), 54

not e 1 2 0 1 La Boe tie 6 note ( ), 55 , , 3 ( )

I n M emoriam : see Ten Lam artine 2 no te , 3 ( ) n son Lam C arle s y b , h , I tal S a e s e are and 1 1 y , h k p , 3 7 2 Lament of Tasso Byron ason Landor Walter S ava e J . 35 , g , ob 1 note 86 0 note 1 2 1 J , 7 ( ), 9 ( ), 3, 59 o n on S amuel 8 0 Lan land m i s W . P ers J h , , , g , , Plowman 1 8 , , 37 onson Ben note Launcelot 1 6 1 J , , 7 3 ( ), , 4 , 99 1 2 1 awe H o L s , S nnet to : se e j ournal of Comparative Milton Philolo no te Le end o Goo Women gy, 4 9 ( ) g f d J ulius Ccesar: see S hake see Chauce r

S eare Lei ton 1 2 p gh , 5

2 0 EX 7 I ND .

Milton Paradise Lost Ode to Libert : e , , y S e Shel if le 86 . 84 , y L cidas 8 Oelsner H y , 5 , . , Dante in o H S onnet t M r. . F rankreich note , 4 5 ( ), awes 8 1 1 no L , 5 5 ( te) o M a istrates One Word M irror f g , M ore S e e 6 Brownin 55 . 5 g ’ M onk s Tale : see Chau Othello : see S hakespeare

cer Orlando F urioso 1 , 5 Montai ne note 6 se e also Ario sto g , 4 5 ( ), 3 note Ovid 8 note 1 ( ) , ( ), 4 3

Monti S tudi Critici 1 Ox ord ante at ? 1 , , 54 f , D , 7 Moore Edward 1 2 2 Ox ord Movement and , , f Moore T om as 1 6 ante 1 2 , h , 5 D , 5

M or ante M a iore : see Oz anam note 1 1 g gg , 4 ( ), 9 Byron and Pulci

Morle H enr 6 Paintin and ante 1 2 y , y , 34 , 3 g , D , 5

Mo rle o n Li e o Paoli General 1 2 0 y , J h , f f , , Gladstone 1 0 note Pa auti Dante S econde , 3 ( ), p , 1 2 note la Tradiz ione e i o 3 ( ) , N

Mo rris William 1 8 vellatori 0 note , , 9 , , 4 ( ), I 99 5 2 (note) M niopotmos se e Sp enser Paradise Lost : se e Mil Musset Al re d de 0 ton , f , 3 note 2 2 Paradiso I 0 no te ( ), 7 , , 3 ( ), 1 0 3

Nas 2 I I note 1 0 2 h , 7 , 9 ( ), 93, , Nencioni 2 0 2 6 , 7 4

N ibelun enlied 1 1 8 I I I 1 1 note 1 2 g , 3 ( ), 3 N ort on 1 2 2 note 1 2 note 1 0 ( ), 7 ( ), 9 , N otes and ueries 6 6 8 Q , , 7

note I 0 ( ) V, 1 2

N um hole tus s e e V 1 note p p , 4 3 ( ) Brownin I X 8 g . 4 2 1 I NDEX. 7

Paradiso 2 8 note Perc R eli ues 1 1 8 , X , 3 ( ) y q , X I 1 1 Pe trarc 2 no te 2 8 , 9 h , , 9 ( ),

XVI 2 8 note 2 2 0 note 6 0 , ( ), , ( ). 4 . 4 7 . 4 9 . 5 . 2 6 6 1 6 note 1 6 6 3 , 3 ( ), ,

VI I 6 2 1 1 0 1 2 2 1 0 2 0 X , 9 , 3 7 , 7 , , 4 VI I I 1 0 2 20 note X , 3, ( ) note 2 8 note 2 imitate d C aucer ( ), 3 ( ), 4 5 by h , X X I 1 0 1 2 , 0

I I note Trium hs , XX . 54 ( ). 99. p , 37 2 1 2 (note) Libri R erum M emo

I I I 2 randarum 0 note XX , 39 , 4 ( ) I V Praise o f ante XX , 7 9 D , 44 VI 1 2 no te De Contem tu M undi XX , 3 ( ) p , VI I 8 note 6 6 note XX , 5 ( ), ( ) 86 note 2 1 2 P le e t on 6 ( ), h g h , 3 VI I I 1 0 Pia dei Tolomei 1 2 XX , 3 , 57 , 44 I 8 86 Piccarda 1 1 XX X , 4 , , 94 , 3 1 2 1 2 note Piers Plowman XXX , 5 , ( ) I I I 2 8 note Lan land XXX , ( ), g ’ 1 89 Pilgrim s Progress: see r llels literar 6 if B n an Pa a . u , y , y Parini 1 0 Plato 2 note , 7 , 34 ( ) Parisina: see B ron Plum tre Dante: The y p , Parlement ofF ou les: see Divina Commedia and

C aucer Canz oniere 1 8 note h , ( ), Parsons T omas Will 6 2 note 1 2 1 2 , h ( ), 3, 5 iam translator 1 2 6 note , , ( )

Paton Noel S ir 20 8 Po io see Bracciolini , , , gg ; Peacock T omas Love Politian note 6 , h , , 59 ( ), 9 I Polidori octor 2 0 7 S , D , 4 Peacoc R e inald Bis Po e 1 0 6 k , g , h p ,

o f S t A sa Pre - R a aelite Mov o . e p ph , 4 9 ph note ment and ante 1 2 ( ) , D , 5 , enseroso I I : e e Milton 2 0 P , s 3 Prisoner o Chi llon: se e Pur ator VI I I f g y , X , 95 B ron X I 1 y X , 0 0

Prom et eus 1 1 X X I 1 1 no te h , 7 , ( ), 5 5 Prometheus nboun XX lll 0 n U d. see 8 ote , ( ), S helle y 1 0 1 Pro hec o Dante : see I V 2 28 p y f XX , B ron VI note y XX , 4 5 ( ) Pro u natore 2 8 note VI I 1 0 2 p g , 4 ( ) XX , Ptolem aic s stem 0 VI I I 1 2 1 y , 9 , XX , 9 , 9 , 7 9 1 1 I 8 note 7 XX X , 5 ( ) Pulci M or ante M a 1 note , g g XXX , 4 , 59 ( ),

iore 1 1 g , 5

Pur ator 2 2 2 2 6 2 1 X X I 2 1 1 note 2 1 2 g y , 3, , 3 , ( ), (note) (no te)

I note no te I I 1 , 33 ( ), 54 ( ) XXX , 4 3 0 note 1 0 2 1 0 I I I 1 note 7 ( ), , 4 , XXX , 53 ( ) 1 86 note Putten am ( ) h , 4 9 I I 6 note 8 , 3 ( ), 5

no te 1 R acine 1 ( ), 94 , 54

I I I 1 1 R a na 1 2 , 3 j , 3

V 6 no te 1 0 R am e au 1 2 1 , 7 ( ), 7 4 , 4 b , 9 , , 34 ,

VI 2 no te . . 7 7 . 54 ( ) 37

VI I 2 note R a ae l 2 1 , 3 ( ), 53 ph , 3

note 1 0 2 1 0 R av e nna S elle at 1 ( ), , 3 , h y , 7 5

VI I I 1 0 1 6 no te B ro n at 1 6 , 9 , 3 ( ) y , 7

I X 6 note 1 0 2 R eason o Church Gov , 3 ( ), , f 2 38 ernment: se e Milton

1 2 note R enaissance 1 X , 4 ( ) , , 4 4 X I 6 no te 1 1 R e nolds Sir o s ua , 7 ( ), 3 y , J h ,

no te 1 2 no te Picture o f U o lino ( ), 7 ( ) g , X I I note , 33 ( )

1 Rh e di 1 1 2 note X I V, 0 4 , ( )

R ichard I I I e e S a e XV 1 0 1 6 2 1 8 . : s , 95 , 3, , 5 h k VI I 1 8 S e are X , 9 p

S a e s eare ulius S e lle Perc B ss h k p j h y , y y he , Caesar 1 2 note D e ense o Poetr 1 , ( ) f f y, 7 5 , inﬂuenced ante 1 8 2 by D , if Trium h o i 0 . L e 1 6 7 p f f, 7 , icha d I I I 0 I R r . , 7 7 7

note A donais 1 8 ( ) , 7

H amlet 0 note Ode to Libert 1 8 , 7 ( ), y, 7 Tower o F amine 7 4 f ,

if 1 S onnets 1 . 8 , 7 7 and I tal 2 Translations rom y , 7 f M erchant o Venice ante 1 8 ff f , D , 7 . 2 E i s chidion 1 8 1 ff 7 p p y , . Tamin o the S hrew Prometheu s Unbound g f , ,

1 8 1 1 8 if 2 . 7 , 7 Othello Sidne S ir Phili 0 , 7 3 y , p , 5 , M easure or M easure 1 f , 7 6 note no te S ie e o Corinth s e e 7 . 7 7 ( ). 97 ( ). g f 1 93 (note) Byron oilus and ressida Sills W att and Dante Tr C , , y , 7 7 (note) 4 9 (note) M acbeth note Simon Ma us , 7 7 ( ) g , 53 Tem est no te Sism ondi 1 1 note p , 7 7 ( ) , 9 ( ) ’ Winter s Tale S e at , 7 7 k , 34 n te S olerti 8 note ( o ) , 9 ( ) I V note ommium ci ionus H enr . S S y , 7 7 ( ) p S elle Mar 1 8 note see Cicero h y , y , 3 ( ) S elle Perc B ss e S on o S olomon 8 h y , y y h , g f , 7 ’ S onge d E nfer: see H ou ’ n ou da , R a l d

inﬂuenced ante S o ocle s 86 by D , ph , if ordello : see Brownin 1 7 3 . S g iscourse on the S out e 1 1 6 2 8 D h y , 35 , 3 , 7 anners o the A n ommon lace Book M f C p , ients 1 c , 7 5 1 36 I N EX D .

S out e Vision Tem est The :see S ake h y , p , h ud ment 1 6 S e are j g , 3 p S enser 6 80 no te Tenn son note p , 9, ( ), y , 39 ( ),

’ ante s inﬂuence on Lad Clara Vere de D , y if not 8 . Vere 2 e 5 , 3 ( ) F aerie ueene ff 6 inﬂuenced nt . a e Q , 59 , 5 by D , ’ E istle to S he hearde s 2 if p p 39 .

alendar 6 1 emoriam C , I n M , 240 ,

Letter to S ir alter 2 if W 4 5 .

R alei h 6 2 Two Voices 2 2 g , , 4

Visions o Bella 6 2 Princess 2 2 f y, , 4

Visions o Petrarch Locksle H all 2 f , y , 4 3

6 note Palace o A rt 2 3 ( ) f , 43,

M uio otmos 6 2 p , 9 44 S tatius M ariana in the S outh , 35 ,

S tedman 2 1 2 , 9 44

S te n L lie 1 2 not Ul sses 2 ff e e s e . ph , , ( ) y , 4 7 S tern aniel 1 1 8 no te Crossin the Bar 2 6 , D , ( ) g , 5 S un N ew York 1 2 note Terz a R ima 0 , , ( ) , 5 S urre o T om as William on y . 4 9 . s h , , Swin urne 1 20 ante b , 93, 7 D , 4 7 note T om son 1 1 ( ) h , 7 S lvester Po e 1 8 Tic n or Pro e ssor lec y , p , 4 , 4 k , f , note 8 tures on ante 1 26 ( ), 4 D , To dd e ditor o fS enser , p , amin o the hrew: ee note 6 1 6 6 T g f S s 59 ( ), , 4 , 7 S a e s e are on Milton 0 h k p , 9 Tasso 2 note 2 Towe r o f H un e r 2 , , 9 ( ), 3 g , 4 , note note 1 ( ). 44 . 59 ( ). 54 6 2 6 86 8 8 Tower o F amine : s e e , 9 , 7 9 , , 7 , 9 f

note 1 1 S elle ( ), 4 h y 1 0 1 2 no te 2 8 Trium h o Li e : s e e 7 , 7 ( ), 4 p f f (note) S helle y Troilus and Criseyde : Vision ofj udgment: see see Chaucer S outhe y Troilus and Cressida see Vision o Poets : see E B f . . S hake speare Browning

Tsc ai ows 1 2 Vita N uova 1 0 6 2 h k ky , 5 , ,

Tundal Vision o note 2 88 1 0 2 , f, 4 ( ), 7 , , , ff 1 0 1 2 1 8 1 . 1 6 3, 5 , , 9 ,

U olino 2 1 1 0 1 0 2 1 2 no te g , 4 , , 3 ( ) note 1 1 I Viviani Emilia 1 8 2 ( ). 53. 54 . S 7 . , , Vol mann Ludwi I co k , g , Ul sse s 1 1 no ra hia Dantesco y , 4 g p , last ourne and 1 2 note 2 0 8 note j y 5 ( ), ( ) de at 2 2 8 not e Voltaire on ante 1 1 h , 4 7 , 4 ( ) , D , 5 Ulysses : se e Tennyson (not e) U ton 6 1 6 6 6 p , , 4 ,

Wal ole H o race 1 1 p , , 4 Valla Lo renz o no te War urt on Canon 2 0 , , 4 9 ( ) b , , 4 Vere Au re de 6 Ward 8 , b y , 4 , 3 note 2 Warton T omas H is ( ), 4 4 , h , Ve r il 2 1 note 2 tor o E n lish Poetr g , , 4 , 3 ( ), 3 y f g y,

note 6 no te 2 6 1 1 2 ff 1 1 ( ), 35 , 3 ( ), 4 , 5 , , 5

0 1 6 2 6 note Watts 1 2 5 , 5 , , 7 ( ), , 5 86 8 1 0 6 1 2 We sle o n 1 1 note , 7 , 94 , , 7 , y , J h , 4 ( )

1 1 2 0 0 2 0 1 Wi le swort Mic ae l 7 7 , 99 , , , gg h , h , Da o D o o m y f , 53

Ve rn on Lord 1 2 2 note , , ( ) ’ V e rona ante in 2 1 ff Winter s Tale s e e , D , 3 Villon 6 note S a e s e are , 7 ( ) h k p Visio ns o Petrarch: e e Witt e 1 2 f s , 3 S enser Wo o d E st er 2 0 8 no te p , h , ( ) Visi ons o Bella : e Wood o f S uicides f y se , 33 S enser note 6 6 1 p ( ), , 7 7 Vision Literature in Wordswo rt 0 note , h , 3 ( ), ﬂuence on ante 2 0 note 2 D , 4 3 ( ), 35

SELEC TION S FROM DAN TE’S DIVINA COM M EDIA

sen translated and ann ate b Cho , , ot d y

R I CH ARD JA MES Cxo ss. Original and n o o i a Bound n translatio n Opp s te p ge s. i white cloth ilt and red ed es. 22 . g , g 4 pp

m net. I 6 o .

The wo rk has been ex ecuted by bo th transla» tor and publisher with a taste and skill which i the underta in hile discardin all the j ust fy k g. W g adornments which a metrical version might pe r mit and de endin l l n the inte nd , p g so e y upo rest a ’ im o rt o f Dante s t ou t the translator has at p h gh , ! ] the same time succeeded in keeping much ofthe " — ' irit o fthe o em. 1Vat zon sp p . “ is is a rett volume to the e e The Th p y y . ’ translator s s m at wit Dante his elective y p hy h , taste and his sense of r t m in ro se ma e his , hy h p k studies in the interpretation ofthe great I talian po et ' r in th main acce ta le M r r ss s inte est and in e . o g p b . C ”— versio n is smoot lucid and luminous. Baston h, , iterar World L y .

H enry Holt and Company Publishers N ew York KUHNS ’S GERMAN AND S WI S S SETTLEMENTS OF COLONI AL PENNS YLVANI A

A S tud of the S o - called Penns lvania u y y D tch . S CAR KUH N M em ber o ti e Pe nns lva nia By O S, f y S ociety of ti e S on: o th e R e volntz o n of tb e Pe nnsy lva nia- G erman S ociet f , y , a nd o the ancaster Co unt H istorical S ociet f y . 368 pp . ramo L y . Snso .

All t at is be st in th eir istor is co mpresse d into t is little volume h h y h , ir de e nde rs W lll b e sur r se d o and e ve n the f p i t le arn how much romance t e re is in the st o r o ft e ir suffe r n s in the Palatinate and ho h y h i g , w much 8 iritu al e x altatio n th e re w as back o f t e ir e migrati o n to A me ri ca h . ’ o r s acco unt o f the re l io us fa t a he auth ig i h nd te e li n o fthe G e rman ua e rs is wr tte n w it re at s m at and insi t anghis a Q k i h g y p hy gh , po lo gy for - o se r at m o f the e n the de e p se ate d c n v i s P nsylvania D utch is skillfully ”— made . 0 ntlook. “ A n isto rical w or o f e culiar and ca ital interest h k p p . A chapter I n mo de rn histo r articularl in A me rican istor w ic p y h y , h h A mericans in w ate ve r art 0 the co untr canno t aﬁ o rd to b e i no rant o f h p y . The ha ana e w it e x trao rdinar s ll w rite r s m g d h y ki to in use into his narrative the co nstant e le me nt o f e rso nal inte re st so t at the w l p , h h o e sto ry is trans " ' i - fuse d w ith th e s pirit o fa fasc natingromance . C/ uca o E venin Po g g st. ' E in e rschd fe nde s ild e ne r e inwande run dass sic r p B j g , h du ch sachliche nd Un arte il c e it aus i n u R uh e u p i hk ze ch e t nd e ine r ausfiihrliche n Bes re ch n ert ist S o inte re ssant auc die A u g w h . h usfiihrunge n de s Ve rgssers i ie le e te sind di h i ﬁbe r d e v n S k n , e t e ls sic h ie r niede rlie sz e n t he ile ier h , h ” m - e ildet wurde n so ktinne n wir ih darin nic t ol . g b , h f gen. N . Y S t t . ru s n Z e itu g.

No more e x austive acco unt o rthe ori in e mi atio h g , n and subsequent isto r o f th e arl G e rman and S wiss s ttl h y e y e e rs in ennsylvania than this i u d The a e ndix o has ye t be e n ss e . pp c nce rning the change in form unde r o ne b man Pe nns lvania- G erman am l name s the i lio g y y y f i y , b b graphy ' and i nde x co ntribute gre atly to the inte re st and practical im o tance 01 ’ ” p mono ra — P/z M r. Kuhns s valua le . dadd /sia L e b g ph y dger.

I t is a ﬁrst- rate se rvice to the cause o fAme rican history which Oscar n a n re d i n h is o ular e sch l rl Kuh s h s re de y t o a boo k . A n e x cee di ngl p p ” y — - inte re stin and instruct ve stor . Clxica o ecord H erald g i y g . McCRACKAN’S RI SE OF THE S WI S S REPUBLI C

A Histor . . D . M CCR A CKA N S econd E dition R evised y By W . , E nla r ed 2 a nd g . x + 4 3 pp . 8VO. This is the most co nve nie nt and service able book in E nglish o n S wiss histo r and de ve lo me nt and A me r ca has muc to learn fro m the ex e ri y p , i h p l ”— b s r u Pro A l e r . r e nce o four te r e c. . t B H art o H arva d. Si p b i f , f I t se e ms to me that on have happily ble nde d the picturesque treat i m wi me nt, w c so e arts 0 S ss istor de mand wit the o e ct o f rin h h p h y , h bj b g n o ut the o li i al le sso n o h la t ars I trust o ur i g p t c ft e st thirty o r ﬁf y y e . y o o a o l r a b k m y d muc to sh ow o ur e o e , as w e ll as yo u s, h ow much is t h p p ” be le arne d ro m a stud o f S wiss afairs The R i /rt H on. ame: B r ce f y f . g l y ,

All t in s conside re d t is isto r se e ms to me to be fa and awa the h , h h y y " ' es S w iss gistor e ve r e t ub lis e d in E n lisli —E n lisb H i e toriu t b t y y p h g . g

R eview .

2 ° ” ive “ HENRY HOLT co . m ass