The interest of the events which moulded Dante’s career and influenced his work has perhaps led to their occupying too large a share of these pages; but it has been thought best to go into the history at some length, as being after all the first and most essential step towards a thorough comprehension of the position which his writings, and especially the Commedia, hold in European literature. This is quite unique of its kind. Never before or since has a poem of the highest imagination served—not merely as a political manifesto, but—as a party pamphlet; and we may safely say that no such poem will in future serve that purpose, at all events until the conditions under which it was produced occur. Whether that is ever likely to be the case, those who have followed the history may judge.
FOOTNOTES:
[27] So I understand an obviously corrupt passage in Villani, viii. 41. One of the unlucky Blacks was a Portinari, doubtless a kinsman of Beatrice—a fact which curiously seems to have escaped the conjectural commentators.
CHAPTER VI.
THE “COMMEDIA”
So many good summaries of the Commedia exist that to give another may appear superfluous. At the same time, experience shows not only that such a summary is found by most readers to be the best of all helps to the study of the poem, but also that every fresh summariser treats it from a somewhat different point of view. It is therefore possible that in the following pages answers, or at least suggestions of answers, may be found to some questions which previous writers, in England at all events, have passed over; and that they may serve in some measure as a supplement to the works which will be mentioned in the appendix.
§ 1. Hell.
The first eleven cantos of the Hell form a very distinct subdivision of the poem. They embrace, first, the introduction contained in Canto i.; secondly, the description of the place of punishment up to a point at which a marked change in the character of the sins punished is indicated. In one sense, no doubt, an important stage in the journey is completed when the City of Dis is reached, in Canto viii.; but it will be observed, when we reach that point, that the class of sinners who are met with immediately within the walls of the City, the Epicureans or, as we should now say, the Materialists, bear really a much stronger affinity to those who are outside the walls, those whose sin has been lack of self-restraint in one form or another, than they do to the worse criminals who have “offended of malicious wickedness,” and who lie at and below the foot of the steep guarded by the Minotaur. The former class at all events have been, to use a common phrase, “their own worst enemies;” their sins have not been, at any rate in their essence, like those of the latter, of the kind which break up the fabric of society, and with them the heretics may most naturally be considered. It can hardly be doubted that some such view as this led Dante to make the first great break of level in his scheme of the lower world at a point which would leave the freethinkers and materialists actually nearer to the sinners of whom he holds that their sin “men Dio offende,” even though theological exigencies compel him to place them within the walls of the “red-hot city.” We may thus conveniently take these eleven cantos for consideration as a group by themselves.
In the earlier cantos, as indeed throughout the poem, the main difficulties with which we meet depend far more on interpretation than on the mere “construing” of the words; and even if it were otherwise, all purely linguistic difficulties have been so fully dealt with over and over again in commentaries and translations that it would, as has been said, be quite superfluous to enter here upon any discussion of them. The opening canto, as every reader will at once perceive, is symbolism and allegory from beginning to end, from the “dark wood” in which the action of the poem begins to the “hound” who is to free Italy. These, more especially the latter, have given as much trouble to the interpreter as anything in the whole poem; indeed it may be said that in the matter of the Veltro we have not made much advance on Boccaccio, who frankly admitted that he could not tell what was meant. But between these two points we have some hundred lines in nearly every one of which, beside its obvious and literal interpretation, we must look for all the others enumerated by Dante in the famous passage of his letter to Can Grande. The second canto is of much the same character, in some respects almost in more need of close study. The significance of the three beasts who hinder Dante is easier to make out than that of the three heavenly ladies who assist him. Meantime, if we are content to read the poem as narrative merely, there is no great difficulty to be overcome. The language is straightforward on the whole, almost the only crux being ii. 108, which has not yet been satisfactorily explained, nor is the imagery other than simple.