LXXVI. E de gli onor ricevuti da questi, Qualche volta potendo, arà buon merito; LXXVII. Io me ne porto per sempre nel core LXXVIII. Quando l'abate il conte Orlando intese, LXXIX. Noi ti potremo di messe onorare, Di prediche di laude e paternostri, LXXX. Tanto ch'a questo par contraddizione; Ma so che tu se' savio, e 'ntendi e gusti, LXXXI. Tu ci hai salvato l'anima e la vita: Tanta perturbazion già que' giganti Ma da portar la lancia e l'armadura: LXXXIII. Se c'è armadura o cosa che tu voglia, Vattene in zambra e pigliane tu stessi, E cuopri a questo gigante le scoglia. Rispose Orlando: se armadura avessi Prima che noi uscissim de la soglia, Che questo mio compagno difendessi: Questo accetto io, e sarammi piacere. Disse l'abate: venite a vedere. LXXXIV. E in certa cameretta entrati sono, LXXXV. Questo fu d'un gigante smisurata, Ch 'a la badía fu morto per antico Come e' fu morto questo gran nimico, Veggendo questa istoria il conte Orlando, The Prophecy of Dante.' "'Tis the sunset of life gives me mystical lore, CAMPBELL. DEDICATION. LADY! if for the cold and cloudy clime I dare to build the imitative rhyme, Thy gentle heart will pardon me the crime. Thou, in the pride of Beauty and of Youth, Are one; but only in the sunny South Such sounds are utter'd, and such charms display'd, So sweet a language from so fair a mouth - Ravenna, June 21. 1819. Ravenna. Dante's tomb, the classical pine wood, the relics of antiquity which are to be found in that place, afforded a sufficient pretext for me to invite him to come, and for him to accept my invitation. He came in the month of June, 1*19, arriving at Ravenna on the day of the festival of the Corpas Domini. Being deprived at this time of his books, his horses and all that occupied him at Venice, I begged him to gratify me by writing something on the subject of Dante; and, with his usual facility and rapidity, he composed his Prophecy."} ["Twas in a grove of spreading pines he strayed." &c. DRYDEN'S Theodore and Honora | PREFACE. Is the course of a visit to the city of Ravenna in the summer of 1819, it was suggested to the author that having composed something on the subject of Tasso's confinement, he should do the same on Dante's exile, the tomb of the poet forming one of the principal objects of interest in that city, both to the native and to the stranger. "On this hint I spake," and the result has been the following four cantos, in terza rima, now offered to the reader. If they are understood and approved, it is my purpose to continue the poem in various other cantos, to its natural conclusion in the present age. The reader is requested to suppose that Dante addresses him in the interval between the conclusion of the Divina Commedia and his death, and shortly before the latter event, foretelling the fortunes of Italy in general in the ensuing centuries. In adopting this plan I have had in my mind the Cassandra of Lycophron, and the Prophecy of Nereus by Horace, as well as the Prophecies of Holy Writ. The measure adopted is the terza rima of Dante, which I am not aware to have seen hitherto tried in our language, except it may be by Mr. Hayley, of whose translation I never saw but one extract, quoted in the notes to Caliph Vathek; so that-if I do not err-this poem may be considered as a metrical experiment. The cantos are short, and about the same length of those of the poet, whose name I have borrowed, and most probably taken in vain. Amongst the inconveniences of authors in the present day, it is difficult for any who have a name, good or bad, to escape translation. I have had the fortune to see the fourth canto of Childe Harold translated into Italian versi sciolti,—that is, a poem written in the Spenserean stanza into blank verse, without regard to the natural divisions of the stanza or of the sense. If the present poem, being on a national topic, should chance to undergo the same fate, I would request the Italian reader to remember that when I have failed in the imitation of his great "Padre Alighier," I have failed in imitating that which all study and few understand, since to this very day it is not yet settled what was the meaning of the allegory in the first canto of the Inferno, unless Count Marchetti's ingenious and probable conjecture may be considered as having decided the question. He may also pardon my failure the more, as I am not quite sure that he would be pleased with my success, since the Italians, with a pardonable nationality, are particularly jealous of all that is left them [Dante Alighieri was born in Florence in May, 1265, of an ancient and honourable family. In the early part of his life he gained some credit in a military character, and distingushed himself by his bravery in an action where the Florentines obtained a signal victory over the citizens of Arezzo. He became still more eminent by the acquisition of court hars; and at the age of thirty-five he rose to be one of the chart magistrates of Florence, when that dignity was conferred by the suffrages of the people. From this exaltation the poet bimself dated his principal misfortunes. Italy was at that time distracted by the contending factions of the Ghibelines and Guelpis, among the latter Dante took an active part. In one of the proscriptions he was banished, his possessions enfiscated, and he died in exile in 1321. Boccaccio thus describes his person and manners:-" He was of the middle stature, of a mild disposition, and, from the time he arrived at manhool, grave in his manner and deportment. His clothes were plain, and his dress always conformable to his years: his face was long; his nose aquiline; his eyes rather large than otherwise. His complexion was dark, melancholy, and pensive. In his meals he was extremely moderate; in his as a nation-their literature; and in the present bitterness of the classic and romantic war, are but ill disposed to permit a foreigner even to approve or imitate them, without finding some fault with his ultramontane presumption. I can easily enter into all this, knowing what would be thought in England of an Italian imitator of Milton, or if a translation of Monti, or Pindemonte, or Arici, should be held up to the rising generation as a model for their future poetical essays. But I perceive that I am deviating into an address to the Italian reader, when my business is with the English one; and be they few or many, I must take my leave of both. The Prophecy of Dante.' CANTO THE FIRST. ONCE more in man's frail world! which I had left My earthly sorrows, and to God's own skies Mysterious, three, sole, infinite, great God ! From star to star to reach the almighty throne. That nought on earth could more my bosom move, Relieved her wing till found; without thy light Thou wert my life, the essence of my thought, manners most courteous and civil; and, both in public and private life, he was admirably decorous."] The reader is requested to adopt the Italian pronunciation of Beatrice, sounding all the syllables. 3 "Che sol per le belle opre Che fanno in Cielo il sole e l'altre stelle Pensar ben déi ch' ogni terren' placere." [According to Boccaccio, Dante was a lover long before he was a soldier, and his passion for the Beatrice whom he has immortalised commenced while he was in his ninth year, and she in her eighth year. It is said that their first meeting was at a banquet in the house of Folco Portinaro, her father; and certain it is, that the impression then made on the sus ceptible and constant heart of Dante was not obliterated by her death, which happened after an interval of sixteen years. CARY.] K k Still in these dim old eyes, now overwrought By tyrannous faction, and the brawling crowd, And though the long, long conflict hath been spent In vain, and never more, save when the cloud Which overhangs the Apennine, my mind's eye Unto my native soil, they have not yet And the night cometh; I am old in days, And deeds, and contemplation, and have met Destruction face to face in all his ways. The world hath left me, what it found me, pure, Man wrongs, and Time avenges, and my name And make men's fickle breath the wind that blows In bloody chronicles of ages past. I would have had my Florence great and free: 1 Oh Florence Florence !-unto me thou wast Like that Jerusalem which the Almighty He Wept over," but thou wouldst not; " as the bird Gathers its young, I would have gather'd thee Beneath a parent pinion, hadst thou heard My voice; but as the adder, deaf and fierce, Against the breast that cherish'd thee was stirr'd Thy venom, and my state thou didst amerce, And doom this body forfeit to the fire. Alas! how bitter is his country's curse To him who for that country would expire, But did not merit to expire by her, And loves her, loves her even in her ire. The day may come when she will cease to err, The day may come she would be proud to have The dust she dooms to scatter, and transfer 2 Of him, whom she denied a home, the grave. But this shall not be granted; let my dust Lie where it falls; nor shall the soil which gave Me breath, but in her sudden fury thrust Me forth to breathe elsewhere, so reassume My indignant bones, because her angry gust Forsooth is over, and repeal'd her doom; "L'Esilio che m' è dato onor mi tegno. Cader tra' bouni è pur di lode degno." Sonnet of Dante, in which he represents Right, Generosity, and Temperance as banished from among men, and seeking refuge from Love, who inhabits his bosom. 2" Ut si quis predictorum ullo tempore in fortiam dicti communis pervenerit, talis perveniens igne comburatur, sic quod moriatur." Second sentence of Florence against Dante, and the fourteen accused with him. The Latin is worthy of the sentence. [On the 27th of January, 1302, Dante was mulcted eight thousand lire, and condemned to two years' banishment; and in case the fine was not paid, his goods were to be confiscated. On the eleventh of March, the same year, he was sentenced to a punishment due only to the most desperate of malefactors. The decree, that he and his associates in exile should be burned, if they fell into the hands of their enemies, was first discovered, in 1772, by the Conte Ludovico No, she denied me what was mine-my roof, And shall not have what is not hers-my tomb. Too long her armed wrath hath kept aloof The breast which would have bled for her, the heart That beat, the mind that was temptation proof, The man who fought, toil'd, travell'd, and each part Of a true citizen fulfill'd, and saw For his reward the Guelf's ascendant art These things are not made for forgetfulness, Though, like old Marius 3 from Minturnæ's marsh And sometimes the last pangs of a vile foe But on the pillow of Revenge-Revenge, When we shall mount again, and they that trod Be trampled on, while Death and Até range O'er humbled heads and sever'd necks -Great God ! Take these thoughts from me-to thy hands I yield My many wrongs, and thine almighty rod Will fall on those who smote me,- be my shield! As thou hast been in peril, and in pain, In turbulent cities, and the tented fieldIn toil, and many troubles borne in vain For Florence. I appeal from her to Thee! Thee, whom I late saw in thy loftiest reign, Even in that glorious vision, which to see And live was never granted until now, And yet thou hast permitted this to me. Alas! with what a weight upon my brow The sense of earth and earthly things come back, Corrosive passions, feelings dull and low, The heart's quick throb upon the mental rack, Long day, and dreary night; the retrospect Savioli. See Tiraboschi, where the sentence is given st length.] 3 [Under the pretence of opposing the power of Sylla Marius, who had been five times elected to the consulship aimed at the sovereign power. Stapylton says, that the Minturnian fens, in which he was discovered by Sylla's als saries, were in Switzerland! For this accurate plece of topography, he was indebted to the old scholiast however, lies on the right hand of the ferry of Garigliano, as you go from Rome to Naples.- GIFFORD.] The spot, 4 [In one so highly endowed by nature, and so consummate by instruction, we may well sympathise with a resentment which exile and poverty rendered perpetually fresh. But the heart of Dante was naturally sensible, and even tender: bis poetry is full of comparisons from rural life; and the sincerts of his early passion for Beatrice pierces through the vel of allegory that surrounds her. But the memory of his injuries pursued him into the immensity of eternal light; and in the company of saints and angels, his unforgiving spirit darkers at the name of Florence. HALLAM.] Of half a century bloody and black, And the frail few years I may yet expect Hoary and hopeless, but less hard to bear, For I have been too long and deeply wreck'd On the lone rock of desolate Despair, To lift my eyes more to the passing sail An eye to gaze upon their civil rage, Worthless as they who wrought it: 'tis the doom In life, to wear their hearts out, and consume To live in narrow ways with little men, A common sight to every common eye, A wanderer, while even wolves can find a den, Ripp'd from all kindred, from all home, all things That make communion sweet, and soften pain To feel me in the solitude of kings Without the power that makes them bear a crown— To envy every dove his nest and wings Which waft him where the Apennine looks down On Arno, till he perches, it may be, Within my all inexorable town, Where yet my boys are, and that fatal she,1 Their mother, the cold partner who hath brought Destruction for a dowry - this to see And feel, and know without repair, hath taught A bitter lesson; but it leaves me free: I have not vilely found, nor basely sought, They made an Exile - not a slave of me. This lady, whose name was Gemma, sprung from one of the most powerful Guelf families, named Donati. Corso Donati was the principal adversary of the Ghibellines. She is described as being “ Admodum morosa, ut de Xantippe Socratis philosopki conjuge scriptum esse legimus," according to Giannozzo Manetti. But Lionardo Aretino is scandalised with Boccace. in his life of Dante, for saying that literary men should not marry. "Qui il Boccaccio non ha pazienza, e dice, be mogli esser contrarie agli studj; e non si ricorda che Socrate il più nobile filosofo che mai fosse, ebbe moglie e fighuoli e uffici della Repubblica nella sua Città; e Aristotele che &c. &c. ebbe due mogli in varj tempi, ed ebbe figliuoli, e ricchezze assai. — E Marco Tullio e Catone-e Varrone, e Seneca-ebbero moglie," &c. &c. It is odd that honest Lionardo's examples, with the exception of Seneca, and, for any thing I know, of Aristotle, are not the most felicitous. Tully's Terentia, and Socrates' Xantippe, by no means contritated to their husbands' happiness, whatever they might Forth from the abyss of time which is to be, The chaos of events, where lie half-wrought Shapes that must undergo mortality; What the great Seers of Israel wore within, That spirit was on them, and is on me, And if, Cassandra-like, amidst the din Of conflict none will hear, or hearing heed This voice from out the Wilderness, the sin Be theirs, and my own feelings be my meed, The only guerdon I have ever known. Hast thou not bled? and hast thou still to bleed, Italia? Ah! to me such things, foreshown With dim sepulchral light, bid me forget In thine irreparable wrongs my own; We can have but one country, and even yet Thou'rt mine-my bones shall be within thy breast, My soul within thy language, which once set With our old Roman sway in the wide West But I will make another tongue arise As lofty and more sweet, in which express'd The hero's ardour, or the lover's sighs, Shall find alike such sounds for every theme That every word, as brilliant as thy skies, Shall realise a poet's proudest dream, And make thee Europe's nightingale of song; So that all present speech to thine shall seem The note of meaner birds, and every tongue Confess its barbarism when compared with thine. This shalt thou owe to him thou didst so wrong, Thy Tuscan Bard, the banish'd Ghibelline. Woe! woe! the veil of coming centuries Is rent, a thousand years which yet supine Lie like the ocean waves ere winds arise, Heaving in dark and sullen undulation, Float from eternity into these eyes; The storms yet sleep, the clouds still keep their staThe unborn earthquake yet is in the womb, The bloody chaos yet expects creation, But all things are disposing for thy doom; The elements await but for the word, "Let there be darkness!" and thou grow'st a tomb! Yes! thou, so beautiful, shalt feel the sword, Thou, Italy! so fair that Paradise, [tion, Revived in thee, blooms forth to man restored : Ah! must the sons of Adam lose it twice? Thou, Italy whose ever golden fields, Plough'd by the sunbeams solely, would suffice For the world's granary; thou, whose sky heaven gilds With brighter stars, and robes with deeper blue; Thou, in whose pleasant places Summer builds Her palace, in whose cradle Empire grew, And form'd the Eternal City's ornaments From spoils of kings whom freemen overthrew ; Birthplace of heroes, sanctuary of saints, as to their philosophy-Cato gave away his wife of Varro's we know nothing and of Seneca's only that she was disposed to die with him, but recovered, and lived several years afterwards. But, says Lionardo, "L'uomo è animale civile, secondo piace a tutti i filosofi." And thence concludes that the greatest proof of the animal's civism is “la prima congiunzione, dalla quale multiplicata nasce la Città." [The violence of Gemma's temper proved a source of the bitterest suffering to Dante; and in that passage of the Inferno, where one of the characters says ——— La fiera moglie più ch' altro, mi nuoce, Of savage temper, more than aught beside, his own conjugal unhappiness must have recurred forcibly and painfully to his mind. CARY.] |