Heroes and Hero Worship [48]
indeed, what are they but the _inverse_ or _converse_ of his love? "_A Dio spiacenti ed a' nemici sui_, Hateful to God and to the enemies of God: "lofty scorn, unappeasable silent reprobation and aversion; "_Non ragionam di lor_, We will not speak of _them_, look only and pass." Or think of this; "They have not the _hope_ to die, _Non han speranza di morte_." One day, it had risen sternly benign on the scathed heart of Dante, that he, wretched, never-resting, worn as he was, would full surely _die_; "that Destiny itself could not doom him not to die." Such words are in this man. For rigor, earnestness and depth, he is not to be paralleled in the modern world; to seek his parallel we must go into the Hebrew Bible, and live with the antique Prophets there.
I do not agree with much modern criticism, in greatly preferring the _Inferno_ to the two other parts of the Divine _Commedia_. Such preference belongs, I imagine, to our general Byronism of taste, and is like to be a transient feeling. Thc _Purgatorio_ and _Paradiso_, especially the former, one would almost say, is even more excellent than it. It is a noble thing that _Purgatorio_, "Mountain of Purification;" an emblem of the noblest conception of that age. If sin is so fatal, and Hell is and must be so rigorous, awful, yet in Repentance too is man purified; Repentance is the grand Christian act. It is beautiful how Dante works it out. The _tremolar dell' onde_, that "trembling" of the ocean-waves, under the first pure gleam of morning, dawning afar on the wandering Two, is as the type of an altered mood. Hope has now dawned; never-dying Hope, if in company still with heavy sorrow. The obscure sojourn of demons and reprobate is underfoot; a soft breathing of penitence mounts higher and higher, to the Throne of Mercy itself. "Pray for me," the denizens of that Mount of Pain all say to him. "Tell my Giovanna to pray for me," my daughter Giovanna; "I think her mother loves me no more!" They toil painfully up by that winding steep, "bent down like corbels of a building," some of them,--crushed together so "for the sin of pride;" yet nevertheless in years, in ages and aeons, they shall have reached the top, which is heaven's gate, and by Mercy shall have been admitted in. The joy too of all, when one has prevailed; the whole Mountain shakes with joy, and a psalm of praise rises, when one soul has perfected repentance and got its sin and misery left behind! I call all this a noble embodiment of a true noble thought.
But indeed the Three compartments mutually support one another, are indispensable to one another. The _Paradiso_, a kind of inarticulate music to me, is the redeeming side of the _Inferno_; the _Inferno_ without it were untrue. All three make up the true Unseen World, as figured in the Christianity of the Middle Ages; a thing forever memorable, forever true in the essence of it, to all men. It was perhaps delineated in no human soul with such depth of veracity as in this of Dante's; a man _sent_ to sing it, to keep it long memorable. Very notable with what brief simplicity he passes out of the every-day reality, into the Invisible one; and in the second or third stanza, we find ourselves in the World of Spirits; and dwell there, as among things palpable, indubitable! To Dante they _were_ so; the real world, as it is called, and its facts, was but the threshold to an infinitely higher Fact of a World. At bottom, the one was as _preternatural_ as the other. Has not each man a soul? He will not only be a spirit, but is one. To the earnest Dante it is all one visible Fact; he believes it, sees it; is the Poet of it in virtue of that. Sincerity, I say again, is the saving merit, now as always.
Dante's Hell, Purgatory, Paradise, are a symbol withal, an emblematic representation of his Belief about this Universe:--some Critic in a future age, like those Scandinavian ones the other day, who has ceased altogether to think as Dante did, may find this too all an "Allegory," perhaps an idle Allegory! It is a sublime embodiment, or sublimest,
I do not agree with much modern criticism, in greatly preferring the _Inferno_ to the two other parts of the Divine _Commedia_. Such preference belongs, I imagine, to our general Byronism of taste, and is like to be a transient feeling. Thc _Purgatorio_ and _Paradiso_, especially the former, one would almost say, is even more excellent than it. It is a noble thing that _Purgatorio_, "Mountain of Purification;" an emblem of the noblest conception of that age. If sin is so fatal, and Hell is and must be so rigorous, awful, yet in Repentance too is man purified; Repentance is the grand Christian act. It is beautiful how Dante works it out. The _tremolar dell' onde_, that "trembling" of the ocean-waves, under the first pure gleam of morning, dawning afar on the wandering Two, is as the type of an altered mood. Hope has now dawned; never-dying Hope, if in company still with heavy sorrow. The obscure sojourn of demons and reprobate is underfoot; a soft breathing of penitence mounts higher and higher, to the Throne of Mercy itself. "Pray for me," the denizens of that Mount of Pain all say to him. "Tell my Giovanna to pray for me," my daughter Giovanna; "I think her mother loves me no more!" They toil painfully up by that winding steep, "bent down like corbels of a building," some of them,--crushed together so "for the sin of pride;" yet nevertheless in years, in ages and aeons, they shall have reached the top, which is heaven's gate, and by Mercy shall have been admitted in. The joy too of all, when one has prevailed; the whole Mountain shakes with joy, and a psalm of praise rises, when one soul has perfected repentance and got its sin and misery left behind! I call all this a noble embodiment of a true noble thought.
But indeed the Three compartments mutually support one another, are indispensable to one another. The _Paradiso_, a kind of inarticulate music to me, is the redeeming side of the _Inferno_; the _Inferno_ without it were untrue. All three make up the true Unseen World, as figured in the Christianity of the Middle Ages; a thing forever memorable, forever true in the essence of it, to all men. It was perhaps delineated in no human soul with such depth of veracity as in this of Dante's; a man _sent_ to sing it, to keep it long memorable. Very notable with what brief simplicity he passes out of the every-day reality, into the Invisible one; and in the second or third stanza, we find ourselves in the World of Spirits; and dwell there, as among things palpable, indubitable! To Dante they _were_ so; the real world, as it is called, and its facts, was but the threshold to an infinitely higher Fact of a World. At bottom, the one was as _preternatural_ as the other. Has not each man a soul? He will not only be a spirit, but is one. To the earnest Dante it is all one visible Fact; he believes it, sees it; is the Poet of it in virtue of that. Sincerity, I say again, is the saving merit, now as always.
Dante's Hell, Purgatory, Paradise, are a symbol withal, an emblematic representation of his Belief about this Universe:--some Critic in a future age, like those Scandinavian ones the other day, who has ceased altogether to think as Dante did, may find this too all an "Allegory," perhaps an idle Allegory! It is a sublime embodiment, or sublimest,