In the first volume, and in the early part of the second, the author's hold on his design is comparatively firm, but it somewhat relaxes as he proceeds, and in the end it seems almost to escape from his grasp. Few can be satisfied with the concluding chapters, for the reason that nothing is really concluded. We are willing to follow the ingenious processes of Calhoun's deductive logic, because we are sure, that, however severely they task the faculty of attention, they will lead to some positive result; but Hawthorne's logic of events leaves us in the end bewildered in a labyrinth of guesses. The book is, on the whole, such a great book, that its defects are felt with all the more force.
In this rapid glance at some of the peculiarities of Hawthorne's genius, we have not, of course, been able to do full justice to the special merits of the works we have passed in review; but we trust that we have said nothing which would convey the impression that we do not place them among the most remarkable romances produced in an age in which romance-writing has called forth some of the highest powers of the human mind. In intellect and imagination, in the faculty of discerning spirits and detecting laws, we doubt if any living novelist is his equal; but his genius, in its creative action, has been heretofore attracted to the dark rather than the bright side of the interior life of humanity, and the geniality which evidently is in him has rarely found adequate expression. In the many works which he may still be expected to write, it is to be hoped that his mind will lose some of its sadness of tone without losing any of its subtilty and depth; but, in any event, it would be unjust to deny that he has already done enough to insure him a commanding position in American literature as long as American literature has an existence.
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REVIEWS AND LITERARY NOTICES.
Le Prime Quattro Edizioni della Divina Commedia Letteralmente Ristampate per Cura di G.G. WARREN LORD VERNON. Londra: Presso Tommaso e Guglielmo Boone. MDCCCLVIII. 4to. pp. xxvi., 748.
The zeal with which the study of Dante has been followed by students in every country of Europe, during the last forty years, is one of the most illustrative facts of the moral as well as of the intellectual character of the period. The interest which has attracted men of the most different tempers and persuasions to this study is not due alone to the poetic or historic value of his works, however high we may place them in these respects, but also and especially to the circumstance that they present a complete and distinct view of the internal life and spiritual disposition of an age in which the questions which still chiefly concern men were for the first time positively stated, and which exhibited in its achievements and its efforts some of the highest qualities of human nature in a condition of vigor such as they have never since shown. Dante himself combined a power of imagination beyond that of any other poet with an intensity and directness of individual character not less extraordinary. The tendency of modern civilization is to diminish rather than to strengthen the originality and independence of individuals. Autocracy and democracy seem to have a like effect in reducing men to a uniform level of thought and effort. And thus during a time when these two principles have been brought into sharp conflict, it is not surprising that the most thoughtful students should turn to the works of a man who by actual experience, or by force of imagination, comprehended all the conditions of his own age, and exhibited in his life and in his writings an individualism of the noblest sort. The conservative and the reformer, the king and the radical, the priest and the heretic, the man of affairs and the man of letters, have taken their seats, side by side, on the scholars' benches, before the same teacher, and, after listening to his large discourse, have discussed among themselves the questions in religion, in philosophy, in morals, politics, or history, which his words suggested or explained.
The success which has attended these studies has been in some degree proportioned to the zeal with which they have been pursued. Dante is now better understood and more intelligently commented than ever before. Much remains to be done as regards the clearing up of some difficult points and the explanation of some dark passages,—and the obscurity in which Dante intentionally involved some portions of his writings is such as to leave little hope that their absolute meaning will ever be satisfactorily established. The history of the study of the poet, of the comments on his meaning or his text, of the formation of the commonly received text, and of the translations of the "Divina Commedia," affords much curious and entertaining matter to the lover of purely literary and bibliographic narrative, and incidentally illustrates the general character of each century since his death. As regards the settlement of the text, no single publication has ever appeared of equal value to that of the magnificent volume the title of which stands at the head of this notice. Lord Vernon has been known for many years as the most munificent fosterer of Dantesque publications. One after another, precious and costly books upon Dante have appeared, edited and printed at his expense, showing both a taste and a liberality as honorable as unusual.
The first four editions of the "Divina Commedia," of which this volume is a reprint, are all of excessive rarity. Although each is a document of the highest importance in determining the text, few of the editors of the poem have had the means of consulting more than one or two of them. The volumes are to be found united only in the Library of the British Museum, and it is but a few years that even that great collection has included them all. They were printed originally between 1470 and 1480 at Foligno, Jesi, Mantua, and Naples; and their chief value arises from the fact that they present the various readings of three, if not four, early and selected manuscripts. The doubt whether four manuscripts are represented by them is occasioned by the similarity between the editions of Foligno and Naples, which are of such a sort (for instance, correspondence in the most unlikely and odd misprints) as to prove that one must have served as the basis of the other. But at the same time there are such differences between them as indicate a separate revision of each, and possibly the consultation by their editors of different codices.
Unfortunately, there is no edition of the "Divina Commedia" which can claim any special authority,—none which has even in a small degree such authority as belongs to the first folio of Shakspeare's plays. The text, as now received, rests upon a comparison of manuscripts and early printed editions; and as affording to scholars the means of an independent critical judgment upon it, a knowledge of the readings of these earliest editions is indispensable. But reprints of old books are proverbially open to error. The reprint of the first folio Shakspeare is so full of mistakes as to be of comparatively little use. The character of the Italian language is such that inaccuracies are both easier and more dangerous than in English. Unless the reprint of the first four editions were literally correct, it would be of little value. To secure this correctness, so far as was possible, Lord Vernon engaged Mr. Panizzi, the chief librarian of the British Museum, to edit the volume. A more competent editor never lived. Mr. Panizzi is distinguished not more for his thorough and appreciative acquaintance with the poetic literature of his country than for the extent and accuracy of his bibliographical knowledge and the refinement of his bibliographic skill. There can be no doubt that the reprint is as exact as the most rigid critic could desire. It is a monument of patience and of unpretending labor, as well as of typographic beauty,—the work of the editor having been well seconded by that well-known disciple of Aldus, Mr. Charles Whittingham.
Nor is it only in essential variations that these four texts are important, but also in the illustration which their different spelling and their varying grammatical forms afford in regard to the language used by Dante. At the time when these editions appeared, the orthography of the Italian tongue was not yet established, and its grammatical inflections not in all cases definitely settled. Printing had not yet been long enough in use to fix a permanent form upon words. Moreover, the misprints themselves, which in these early editions are very numerous, often give hints as to the changes which they may have induced, or as to the misplacing of letters most likely to occur, and consequently most likely to lead to unobserved errors of the text.