The Divine Comedy of Dante Alighieri: The Inferno. Dante Alighieri

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СКАЧАТЬ But of all this he is silent in his works, or only makes casual mention of it by way of illustration. It is, therefore, a waste of time trying to prove his domestic misery from his silence about his marriage.

      IV.

      So hard a student was Dante that he now for a time nearly lost the use of his eyes.[58] But he was cured by regimen, and came to see as well as ever, he tells us; which we can easily believe was very well indeed. For his work, as he planned it out, he needed all his powers. The Convito, for example, was designed to admit of a full treatment of all that concerns philosophy. It marks an earlier stage of his intellectual and spiritual life than does the opening of the Inferno. In it we have the fruit of the years during which he was wandering astray from his early ideal, misled by what he afterwards came to count as a vain and profitless curiosity. Most of its contents, as we have it,[59] are only indirectly interesting. It is impossible for most people to care for discussions, conducted with all the nicety of scholastic definition, on such subjects as the system of the universe as it was evolved out of the brains of philosophers; the subject-matter of knowledge; and how we know. But there is one section of it possessed of a very special interest, the Fourth, in which he treats of the nature of nobility. This he affirms to be independent of wealth or ancestry, and he finds every one to be noble who practises the virtues proper to his time of life. ‘None of the Uberti of Florence or the Visconti of Milan can say he is noble because belonging to such or such a race; for the Divine seed is sown not in a family but in the individual man.’ This amounts, it must be admitted, to no more than saying that high birth is one thing, and nobility of character another; but it is significant of what were the current opinions, that Dante should be at such pains to distinguish between the two qualities. The canzone which supplies the text for the treatise closes with a picture of the noble soul at every stage of life, to which Chaucer may well have been indebted for his description of the true gentleman:[60]—‘The soul that is adorned by this grace does not keep it hid, but from the day when soul is wed to body shows it forth even until death. In early life she is modest, obedient, and gentle, investing the outward form and all its members with a gracious beauty: in youth she is temperate and strong, full of love and courteous ways, delighting in loyal deeds: in mature age she is prudent, and just, and apt to liberality, rejoicing to hear of others’ good. Then in the fourth stage of life she is married again to God,[61] and contemplates her approaching end with thankfulness for all the past.’[62]

      In this passage it is less the poet that is heard than the sober moralist, one with a ripe experience of life, and contemptuous of the vulgar objects of ambition. The calm is on the surface. As has been said above, he was proud of his own birth, the more proud perhaps that his station was but a middling one; and to the close of his life he hated upstarts with their sudden riches, while the Philip Argenti on whom in the Inferno he takes what has much the air of a private revenge may have been only a specimen of the violent and haughty nobles with whom he stood on an uneasy footing.

      Yet the impression we get of Dante’s surroundings in Florence from the Vita Nuova and other poems, from references in the Comedy, and from some anecdotes more or less true which survive in the pages of Boccaccio and elsewhere, is on the whole a pleasant one. We should mistake did we think of him as always in the guise of absorbed student or tearful lover. Friends he had, and society of various kinds. He tells how in a severe illness he was nursed by a young and noble lady, nearly related to him by blood—his sister most probably; and other ladies are mentioned as watching in his sick-chamber.[63] With Forese and Piccarda Donati, brother and sister of the great Corso Donati, he was on terms of the warmest friendship.[64] From the Vita Nuova we can gather that, even when his whole heart fainted and failed at the mere sight of Beatrice, he was a favourite with other ladies and conversed familiarly with them. The brother of Beatrice was his dear friend; while among those of the elder generation he could reckon on the friendship of such men as Guido Cavalcanti and Brunetto Latini. Through Latini he would, even as a young man, get the entry of the most lettered and intellectually active society of Florence. The tradition of his intimacy with Giotto is supported by the mention he makes of the painter,[65] and by the fact, referred to in the Vita Nuova, that he was himself a draughtsman. It is to be regretted there are not more anecdotes of him on record like that which tells how one day as he drew an angel on his tablets he was broken in upon by ‘certain people of importance.’ The musician Casella, whom he ‘woes to sing in Purgatory’[66] and Belacqua, the indolent good-humoured lutemaker,[67] are greeted by him in a tone of friendly warmth in the one case and of easy familiarity in the other, which help us to know the terms on which he stood with the quick-witted artist class in Florence.[68] Already he was in the enjoyment of a high reputation as a poet and scholar, and there seemed no limit to the greatness he might attain to in his native town as a man of action as well as a man of thought.

      In most respects the Florence of that day was as fitting a home for a man of genius as could well be imagined. It was full of a life which seemed restless only because the possibilities of improvement for the individual and the community seemed infinite. A true measure of its political progress and of the activity of men’s minds is supplied by the changes then being made in the outward aspect of the city. The duties of the Government were as much municipal as political, and it would have surprised a Florentine to be told that the one kind of service was of less dignity than the other. The population grew apace, and, to provide the means for extending the city walls, every citizen, on pain of his testament being found invalid, was required to bequeath a part of his estate to the public. Already the banks of the Arno were joined by three bridges of stone, and the main streets were paved with the irregularly-shaped blocks of lava still familiar to the sojourner in Florence. But between the time of Dante’s boyhood and the close of the century the other outstanding features of the city were greatly altered, or were in the course of change. The most important churches of Florence, as he first knew it, were the Baptistery and the neighbouring small cathedral church of Santa Reparata; after these ranked the church of the Trinity, Santo Stefano, and some other churches which are now replaced by larger ones, or of which the site alone can be discovered. On the other side of the river, Samminiato with its elegant façade rose as now upon its hill.[69] The only great civic building was the Palace of the Podesta. The Old Market was and had long been the true centre of the city’s life.

      At the time Dante went into exile Arnolfo was already working on the great new cathedral of St. Mary[Pg lxviii] of the Flowers, the spacious Santa Croce, and the graceful Badia; and Santa Maria Novella was slowly assuming the perfection of form that was later to make it the favourite of Michel Angelo. The Palace of the Signory was already planned, though half a century was to elapse before its tower soared aloft to daunt the private strongholds which bristled, fierce and threatening, all over the city. The bell-tower of Giotto, too, was of later erection—the only pile we can almost regret that Dante never saw. The architect of it was however already adorning the walls of palace and cloister with paintings whose inspiration was no longer, like that of the works they overshadowed, drawn from the outworn motives of Byzantine art, but from the faithful observation of nature.[70] He in painting and the Pisan school in sculpture were furnishing the world with novel types of beauty in the plastic arts, answering to the ‘sweet new style’ in verse СКАЧАТЬ