from Milton, who was a revengeful and intensely-bigoted fanatic of his own faction, and he admitted to his companionship no man, high or low, who presumed to differ from him. Dante was a politician by principle, placing his country first, and setting a high value on himself as her servant. Milton was a politician by bigotry, placing himself first, and setting a high value on his country because he was her servant. But the manliness of Dante in demanding that the severe precepts of religion should be inflexibly applied to political administration in an age whose corruption was only less shocking than that of our own, is the particular lesson which this vigorous extract from Lowell conveys. If society in this era should esteem political wire-pullers, convention-packers, and politicians who deem patriotism the science of personal exigencies, as Dante esteemed and treated them, should we be any the worse off? Dante looked upon a thief as a thief, and the knave who conspired to defraud the government as fit only to “begone among the other dogs.” Would there not be a healthier tone in our political affairs if these classes of criminals were not met, as is usually the case, by justice daintily gloved and the bandage removed from her eyes, lest she should make a mistake as to persons?
The inspiration of Dante was strictly religious. So was Milton’s; but with this distinction: that Dante’s religiousness was real and beneficent, while Milton’s was unreal and malignant—as Lowell says, Milton’s “God was a Calvinistic Zeus.”
A brief and succinct analysis of the Divine Comedy will be found serviceable by those who have not analyzed it for themselves, and at the same time will make manifest
the dependence of Dante’s inspiration upon Catholic doctrine:
“The poem consists of three parts—Hell, Purgatory, and Paradise. Each part is divided into thirty-three cantos, in allusion to the years of the Saviour’s life; for although the Hell contains thirty-four, the first canto is merely introductory. In the form of the verse (triple rhyme) we may find an emblem of the Trinity, and in the three divisions of the threefold state of man, sin, grace, and beatitude.… Lapse through sin, mediation, and redemption—these are the subjects of the three parts of the poem; or, otherwise stated, intellectual conviction of the result of sin, typified in Virgil; … moral conversion after repentance, by divine grace, typified in Beatrice; reconciliation with God, and actual, blinding vision of him—‘The pure in heart shall see God.’… The poem is also, in a very intimate sense, an apotheosis of woman.… Nothing is more wonderful than the power of absorption and assimilation in this man, who could take up into himself the world that then was, and reproduce it with such cosmopolitan truth, to human nature and to his own individuality as to reduce all contemporary history to a mere comment on his vision. We protest, therefore, against the parochial criticism which would degrade Dante to a mere partisan; which sees in him a Luther before his time, and would clap the bonnet rouge upon his heavenly muse.”
Dante proved himself a reformer of the most aggressive kind. The difference between him and Luther was that Dante endeavored to reform men by means of the church; Luther endeavored to destroy the church rather than reform himself. Evils existed within the church, as a part of society, during the periods of both. Dante helped to correct them as a conservative; Luther chose, as a radical, to tear the edifice down. Unlike the temple of Philistia, the church stood, and the Samson of the sixteenth century fell beneath the ruins of a single column.
No fact in the history of poetry is
more striking than the necessity of religion as a source of inspiration. The Iliad and Odyssey acquire their epic quality from the religion of Greece; gods stalk about, and Minerva’s shield resounds in the clangor with that of Achilles. The Æneid would be beautiful without the association of mythology; but it is mythology which enhances its grace into grandeur. The Vedas are an expression of the religious aspirations of the Hindoos. The verse of Boccaccio is pleasing only in proportion as religion cleansed his pen. Petrarch’s sonnets would never have been written had not Laura taught him the distinction between pure love, as the church knows it, and the passions which carried Byron into hysterics. The Italian epic of the sixteenth century, Jerusalem Delivered, which is held by Hallam to be equal in grace to the Æneid, had the First Crusade for its theme. Would it have been possible for Milton to have written any poem equal to Paradise Lost out of other than Scriptural materials? Aside from the literary characteristics and dramatic strength of the plays of Shakspeare, does not their chief value lie in their correct morality—the morality which is found nowhere outside Catholic teaching? This is not the place to discuss the modern decline of poetry. Matthew Arnold’s theory—it is a general favorite—is that history and boldly-outlined epochs make poetry; and Lowell says, in his essay on Milton, “It is a high inspiration to be the neighbor of great events.” But the last two centuries have been crowded with history; boldly-outlined epochs have lifted their awful summits in England, in France, in Italy, in the United States, in Spain. Where are the great poets among the verse-makers who have been
neighbors of these great events, and might have caught high inspiration from them? Since the Reformation the moral world has been growing iconoclastic, and there is no poetry in iconoclasm.
Next to religion, woman has been the great inspiration of poets; but the modern idea of marriage has shattered the sanctuary walls which Christianity erected around it; the sacredness of home is invaded, the oneness of love destroyed—there is no poetry in divorce.