[86] Purgatorio, XIX. 7-33.

[87] Convito, Tr. II. c. 16.

[88] _La natura universale, cioe Iddio._ (Convito, Tr. III. c. 4.)

[89] Inferno, III. 7, 8.

[90] Inferno, XX. 30. Mr. W.M. Rossetti strangely enough renders this verse "Who hath a pa.s.sion for G.o.d's judgeship" _Compa.s.sion porta_, is the reading of the best texts, and Witte adopts it. Buti's comment is "_cioe porta pena e dolore di colui che giustamente e condannato da Dio che e sempre giusto_." There is an a.n.a.logous pa.s.sage in "The Revelation of the Apostle Paul," printed in the "Proceedings of the American Oriental Society" (Vol. VIII. pp. 213, 214): "And the angel answered and said, 'Wherefore dost thou weep? Why! art thou more merciful than G.o.d?' And I said, 'G.o.d forbid, O my lord; for G.o.d is good and long-suffering unto the sons of men, and he leaves every one of them to his own will, and he walks as he pleases'" This is precisely Dante's view.

[91] Inferno, VIII 40.

[92] "I following her (Moral Philosophy) in the work as well as the pa.s.sion, so far as I could, abominated and disparaged the errors of men, not to the infamy and shame of the erring, but of the errors."

(Convito, Tr IV. c. 1.) "Wherefore in my judgment as he who defames a worthy man ought to be avoided by people and not listened to, so a vile man descended of worthy ancestors ought to be hunted out by all." (Convito, Tr. IV. c. 29.)

[93] Paradise, XVII. 61-69.

[94] It is worth mentioning that the sufferers in his Inferno are in like manner pretty exactly divided between the two parties. This is answer enough to the charge of partiality. He even puts persons there for whom he felt affection (as Brunetto Latini) and respect (as Farinata degli Uberti and Frederick II.). Till the French looked up their MSS., it was taken for granted that the _beccajo di Parigi_ (Purgatorio, XX. 52) was a drop of Dante's gall. "Ce fu Huez Capez e'

on apelle bouchier." Hugues Capet, p. 1.

[95] De Vulgari Eloquio, Lib. I, Cap. VI. Cf. Inferno, XV. 61-64.

[96] Convito, Tr. IV. c. 23. Ib. Tr. I. c. 2.

[97] Convito, Tr. III. c. 13.

[98] Opp. Min., ed. Fraticelli, Vol. II. pp. 281 and 283. Witte is inclined to put it even earlier than 1300, and we believe he is right.

[99] Paradiso, VI. 103-105.

[100] Some Florentines have amusingly enough doubted the genuineness of the De vulgari Eloquio, because Dante therein denies the pre-eminence of the Tuscan dialect.

[101] See particularly the second book of the De vulgari Eloquio.

[102] Purgatorio, x.x.xIII. 141. "That thing one calls beautiful whose parts answer to each other, because pleasure results from their harmony." (Convito, Tr. I. c. 5.) Carlyle says that "he knew too, partly, that his work was great, the greatest a man could do." He knew it fully. Telling us how Giotto's fame as a painter had eclipsed that of Cimabue, he takes an example from poetry also, and selecting two Italian poets,--one the most famous of his predecessors, the other of his contemporaries,--calmly sets himself above them both (Purgatorio, XI. 97-99), and gives the reason for his supremacy (Purgatorio, XXIV. 49-62). It is to be remembered that _Amore_ in the latter pa.s.sage does not mean love in the ordinary sense, but in that transcendental one set forth in the Convito,--that state of the soul which opens it for the descent of G.o.d's spirit, to make it over into his own image. "Therefore it is manifest that in this love the Divine virtue descends into men in the guise of an angel, ... and it is to be noted that the descending of the virtue of one thing into another is nothing else than reducing it to its own likeness." (Convito, Tr.

III. c. 14.)

[103] Convito, Tr. III. c. 11. Ib. Tr. I. c. 11.

[104] Convito, Tr. III. c. 12-15.

[105] Inferno, II. 94. The _donna gentil_ is Lucia, the prevenient Grace, the _light_ of G.o.d which shows the right path and guides the feet in it. With Dante G.o.d is always the sun, "which leadeth others right by every road." (Inferno, I. 18.) "The spiritual and unintelligible Sun, which is G.o.d." (Convito, Tr. III. c. 12) His light "enlighteneth every man that cometh into the world," but his dwelling is in the heavens. He who wilfully deprives himself of this light is spiritually dead in sin. So when in Mars he beholds the glorified spirits of the martyrs he exclaims, "O Elios, who so arrayest them!" (Paradiso, XIV. 96.) Blanc (Vocabolario, _sub voce_) rejects this interpretation. But Dante, entering the abode of the Blessed, invokes the "good Apollo," and shortly after calls him _divina virtu._ We shall have more to say of this hereafter.

[106] Convito, Tr. III. c. 12.

[107] Convito, Tr. III. c. 15. Recalling how the eyes of Beatrice lift her servant through the heavenly spheres, and that smile of hers so often dwelt on with rapture, we see how Dante was in the habit of commenting and ill.u.s.trating his own works. We must remember always that with him the allegorical exposition is the true one (Convito, Tr. IV. c. 1), the allegory being a truth which is hidden under a beautiful falsehood (Convito, Tr. II. c. 1), and that Dante thought his poems without this exposition "under some shade of obscurity, so that to many their beauty was more grateful than their goodness"

(Convito, Tr. I. c. 1), "because the goodness is in the meaning, and the beauty in the ornament of the words" (Convito, Tr. II. c. 12).

[108] Convito, Tr. III. c. 14.

[109] Convito, Tr. IV. c. 22.

[110] Convito, Tr. III. c. 6.

[111] Convito, Tr. III. c. 2. By _potenzia_ and _potenza_ Dante means the faculty of receiving influences or impressions. (Paradiso, XIII.

61; XXIX. 34.) Reason is the "sovran potency" because it makes us capable of G.o.d.

[112]

"O thou _well-born_, unto whom Grace concedes To see the thrones of the Eternal triumph, Or ever yet the warfare be abandoned."

Paradiso, V. 115-118.

[113] Convito, Tr. IV. c. 21.

[114] Convito, Tr. III. c. 7.

[115] Inferno, X. 55, 56; Paradiso, XXII. 112-117.

[116] Convito, Tr. I. c. 23 (cf. Inferno, I. IV).