It presents a broken and mysterious picture. A boy of quick and enthusiastic temper grows up into youth in a dream of love. The lady of his mystic passion dies early. He dreams of her still, not as a wonder of earth, but as a saint in paradise, and relieves his heart in an autobiography, a strange and perplexing work of fiction—quaint and subtle enough for a metaphysical conceit; but, on the other hand, with far too much of genuine and deep feeling. It is a first essay; he closes it abruptly as if dissatisfied with his work, but with the resolution of raising at a future day a worthy monument to the memory of her whom he has lost. It is the promise and purpose of a great work. But a prosaic change seems to come over his half-ideal character. The lover becomes the student—the student of the thirteenth century—struggling painfully against difficulties, eager and hot after knowledge, wasting eyesight and stinting sleep, subtle, inquisitive, active-minded and sanguine, but omnivorous, overflowing with dialectical forms, loose in premise and ostentatiously rigid in syllogism, fettered by the refinements of half-awakened taste and the mannerisms of the Provençals.
Boethius and Cicero and the mass of mixed learning within his reach are accepted as the consolation of his human griefs; he is filled with the passion of universal knowledge, and the desire to communicate it. Philosophy has become the lady of his soul—to write allegorical poems in her honor, and to comment on them with all the apparatus of his learning in prose, his mode of celebrating her. Further, he marries; it is said, not happily. The antiquaries, too, have disturbed romance by discovering that Beatrice also was married some years before her death. He appears, as time goes on, as a burgher of Florence, the father of a family, a politician, an envoy, a magistrate, a partisan, taking his full share in the quarrels of the day.
Beatrice reappears—shadowy, melting at times into symbol and figure—but far too living and real, addressed with too intense and natural feeling, to be the mere personification of anything. The lady of the philosophical Canzoni has vanished. The student's dream has been broken, as the boy's had been; and the earnestness of the man, enlightened by sorrow, overleaping the student's formalities and abstractions, reverted in sympathy to the earnestness of the boy, and brooded once more on that saint in paradise, whose presence and memory had once been so soothing, and who now seemed a real link between him and that stable country "where the angels are in peace." Round her image, the reflection of purity and truth and forbearing love, was grouped that confused scene of trouble and effort, of failure and success, which the poet saw round him; round her image it arranged itself in awful order—and that image, not a metaphysical abstraction, but the living memory, freshened by sorrow, and seen through the softening and hallowing vista of years, of Beatrice Portinari—no figment of imagination, but God's creature and servant. A childish love, dissipated by heavy sorrow—a boyish resolution, made in a moment of feeling, interrupted, though it would be hazardous to say, in Dante's case, laid aside, for apparently more manly studies, gave the idea and suggested the form of the "sacred poem of earth and heaven."
And the occasion of this startling unfolding of the poetic gift, of this passage of a soft and dreamy boy into the keenest, boldest, sternest of poets, the free and mighty leader of European song, was, what is not ordinarily held to be a source of poetical inspiration—the political life. The boy had sensibility, high aspirations, and a versatile and passionate nature; the student added to this energy, various learning, gifts of language, and noble ideas on the capacities and ends of man. But it was the factions of Florence which made Dante a great poet.
The connection of these feuds with Dante's poem has given to the Middle-Age history of Italy an interest of which it is not undeserving in itself, full as it is of curious exhibitions of character and contrivance, but to which politically it cannot lay claim, amid the social phenomena, so far grander in scale and purpose and more felicitous in issue, of other western nations. It is remarkable for keeping up an antique phase, which, in spite of modern arrangements, it has not yet lost. It is a history of cities. In ancient history all that is most memorable and instructive gathers round cities; civilization and empire were concentrated within walls; and it baffled the ancient mind to conceive how power should be possessed and wielded by numbers larger than might be collected in a single market-place. The Roman Empire, indeed, aimed at being one in its administration and law; and it was not a nation nor were its provinces nations, yet everywhere but in Italy it prepared them for becoming nations. And while everywhere else parts were uniting and union was becoming organization—and neither geographical remoteness nor unwieldiness of number nor local interests and differences were untractable obstacles to that spirit of fusion which was at once the ambition of the few and the instinct of the many; and cities, even where most powerful, had become the centres of the attracting and joining forces, knots in the political network—while this was going on more or less happily throughout the rest of Europe, in Italy the ancient classic idea lingered in its simplicity, its narrowness and jealousy, wherever there was any political activity. The history of Southern Italy, indeed, is mainly a foreign one—the history of modern Rome merges in that of the papacy; but Northern Italy has a history of its own, and that is a history of separate and independent cities—points of reciprocal and indestructible repulsion, and within, theatres of action where the blind tendencies and traditions of classes and parties weighed little on the freedom of individual character, and citizens could watch and measure and study one another with the minuteness of private life.
Dante, like any other literary celebrity of the time, was not less from the custom of the day than from his own purpose a public man. He took his place among his fellow-citizens; he went out to war with them; he fought, it is said, among the skirmishers at the great Guelf victory at Campaldino; to qualify himself for office in the democracy, he enrolled himself in one of the guilds of the people, and was matriculated in the "art" of the apothecaries; he served the state as its agent abroad; he went on important missions to the cities and courts of Italyaccording to a Florentine tradition, which enumerates fourteen distinct embassies, even to Hungary and France. In the memorable year of jubilee, 1300, he was one of the priors of the Republic. There is no shrinking from fellowship and coöperation and conflict with the keen or bold men of the market-place and council hall, in that mind of exquisite and, as drawn by itself, exaggerated sensibility. The doings and characters of men, the workings of society, the fortunes of Italy, were watched and thought of with as deep an interest as the courses of the stars, and read in the real spectacle of life with as profound emotion as in the miraculous page of Vergil; and no scholar ever read Vergil with such feeling—no astronomer ever watched the stars with more eager inquisitiveness. The whole man opens to the world around him; all affections and powers, soul and sense, diligently and thoughtfully directed and trained, with free and concurrent and equal energy, with distinct yet harmonious purposes, seek out their respective and appropriate objects, moral, intellectual, natural, spiritual, in that admirable scene and hard field where man is placed to labor and love, to be exercised, proved, and judged.
The outlines of this part of Dante's history are so well known that it is not necessary to dwell on them; and more than the outlines we know not. The family quarrels came to a head, issued in parties, and the parties took names; they borrowed them from two rival factions in a neighboring town, Pistoia, whose feud was imported into Florence; and the Guelfs became divided into the Black Guelfs, who were led by the Donati, and the White Guelfs, who sided with Cerchi. It is still professed to be but a family feud, confined to the great houses; but they were too powerful and Florence too small for it not to affect the whole Republic. The middle classes and the artisans looked on, and for a time not without satisfaction, at the strife of the great men; but it grew evident that one party must crush the other and become dominant in Florence; and of the two, the Cerchi and their White adherents were less formidable to the democracy than the unscrupulous and overbearing Donati, with their military renown and lordly tastes; proud not merely of being nobles, but Guelf nobles; always loyal champions, once the martyrs, and now the hereditary assertors, of the great Guelf cause. The Cerchi, with less character and less zeal, but rich, liberal, and showy, and with more of rough kindness and vulgar good-nature for the common people, were more popular in Guelf Florence than the Parte Guelfa; and, of course, the Ghibellines wished them well.
Both the contemporary historians of Florence lead us to think that they might have been the governors and guides of the Republic—if they had chosen, and had known how; and both, though condemning the two parties equally, seem to have thought that this would have been the best result for the state. But the accounts of both, though they are very different writers, agree in their scorn of the leaders of the White Guelfs. They were upstarts, purse-proud, vain, and coarse-minded; and they dared to aspire to an ambition which they were too dull and too cowardly to pursue, when the game was in their hands. They wished to rule; but when they might, they were afraid. The commons were on their side, the moderate men, the party of law, the lovers of republican government, and for the most part the magistrates; but they shrank from their fortune, "more from cowardice than from goodness, because they exceedingly feared their adversaries." Boniface VIII had no prepossessions in Florence, except for energy and an open hand; the side which was most popular he would have accepted and backed. But he said, "Io non voglio perdere gli uomini perle femminelle."[38] If the Black party furnished types for the grosser or fiercer forms of wickedness in the poet's hell, the White party surely were the originals of that picture of stupid and cowardly selfishness, in the miserable crowd who moan and are buffeted in the vestibule of the Pit, mingled with the angels who dared neither to rebel nor be faithful, but "were for themselves"; and whoever it may be who is singled out in the setta dei cattivi, for deeper and special scorn—he,
"Che fece per vilta il gran rifinto,"[39]
the idea was derived from the Cerchi in Florence.