VI
DANTE AND ISLAM
(As represented by “The Gospel of Barnabas”)
E solo in parte vidi il Saladino.
—Inf. iv. 129.
The aim of these Essays has been to present Dante in different aspects as the Apostle of Freedom: a man endowed with those profound convictions on which alone true tolerance can be built, a man whose deep and passionate earnestness is tempered and balanced by a saving sense of humour. The substantiation of this claim may perhaps justify us in carrying the reader into a remote by-way of Italian literature; in asking him to note points of contact and of contrast which emerge when the Poet is confronted, so to speak, with a document which we may be sure he never saw,[261] but which yet seems to bear, here and there, strange marks of the impress of his thoughts and of his phraseology. If the comparison of the two writers should seem at first sight gratuitous and far-fetched, it may yet succeed in throwing light on Dante’s genius and temper from an unfamiliar angle.
The Clarendon Press published in 1907 an Editio princeps of the Mohammedan Gospel of Barnabas from an unique MS. of the latter half of the sixteenth century in the Imperial Library at Vienna.[262] This document—apart from its theological and dogmatic importance—should prove to be of considerable interest to students of Italian literature, as well on account of its grammatical and orthographic peculiarities, as for the positive literary merits which not infrequently relieve a style in general somewhat rough and bald.
The task of preparing for the press a translation of this remarkable document could not fail to bring before one’s mind certain points of contact with Dante, more especially as the curious archaic Italian in which the “Gospel” is written lends itself, in a certain measure, to verbal coincidences and quasi-coincidences with passages in the Poet’s writings. The points of contact which will be adduced in the present paper are none the less interesting because the date of the original Gospel of Barnabas still remains to a certain extent an open question, and with it also the nature of the relations, direct or indirect, that may have subsisted between its compiler and the author of the Divina Commedia.[263]
But first a word is due about the character and scope of this very apocryphal Gospel. The MS., as we have already suggested, is of comparatively recent date. Paper, binding, and orthography all combine with the script to place it—not, as its eighteenth century critics supposed, in the fifteenth century, or earlier, but—in the latter half of the sixteenth century.[264] It is, however, of course possible that the Vienna Codex may be a copy of an earlier MS.; and, curiously enough, one of the strongest arguments for this earlier original arises, as we shall shortly see, out of an apparent reference to the famous Jubilee of 1300 A.D. which looms so large in Dante’s life and writings.
The book is a frankly Mohammedan Gospel, giving a full, but garbled, story of the life and teaching of Jesus Christ, from a Moslem point of view. It claims to have been written by Saint Barnabas (who figures in it as one of the Twelve—to the exclusion of poor Saint Thomas!) at the injunction of his Master, for the express purpose of combating the errors taught by Saint Paul and others. These errors are summed up under three heads: (1) the doctrine that Jesus is Son of God, (2) the rejection of Circumcision, and (3) the permission to eat unclean meats. Of these three errors the first is regarded as of the greatest importance; and not only is the Gospel narrative contorted and expurgated to suit the writer’s purpose, but Christ Himself is made repeatedly to deny his own Divinity and even his Messiahship, and to predict the advent of Mohammed, the “Messenger of God.”