Читать книгу A history of Italian literature онлайн

50 страница из 109

He would probably at first contemplate nothing more than the expansion of the thought of his sonnet into a vision somewhat resembling that of Laura in Petrarch’s Trionfi; but ere long he might say to himself, inverting the question which Ellwood the Quaker addressed to Milton: “Thou hast told us of Paradise gained, what hast thou to tell us of Paradise lost?” and, granted the existence of the intermediate realm of Purgatory, the entire scheme of theDivina Commedia would be present to his mind. As poets but rarely “imitate the example of those two prudent insects the bee and the spider,” he would begin with theInferno, where, notwithstanding the inscription, offensive to an age as far in advance of its sentiment as Dante himself was in advance of Homer’s polytheism and anthropomorphism, which he has thought fit to place upon the portal, Beatrice could have neither part nor lot. It must be long indeed before he could rejoin her.

It can hardly be said, then, that Beatrice is the heroine of his poem, unless Helen of Troy is the heroine of the Iliad. Neither poem could have existed without the woman; the action of each turns entirely upon her; but the appearance of each is infrequent until, in Beatrice’s case, she appears as the pervading spirit of the Paradiso. Yet, had we merely known her from theDivina Commedia, their opinion who regard her as a mere symbol would not have appeared so groundless as it must in the light of the transparent autobiography of theVita Nuova. If the great epic has given her her world-wide fame, she is indebted for her personality to the brief lyrics and snatches of impassioned prose. The old love, though not extinct, had been transformed into something far more expansive, as alchemists are said to revive a glowing rose from the ashes of a faded one. When Dante himself essays to give Can Grande some insight into the purpose of his poem, he does not mention Beatrice, but says: “The object of the whole work is to make those who live in this life leave their state of misery, and to lead them to a state of happiness.” By this, as Symonds points out, is not to be understood that the purpose of the poem was the admonition of individuals. “It was both moral and political. The status miseriæ was the discord of divided Christendom as well as of the unregenerate will; the status felicitatis was the pacification of the world under the coequal sway of Emperor and Pope in Rome, as well as the restoration of the human soul to faith.”