The Thirteenth Part 29

Even more striking than this however, was his att.i.tude toward the lepers of the time. These poor creatures were compelled to live apart from the population and were not allowed to approach healthy individuals. They were of exceeding interest to Louis however, who took every opportunity to mitigate the trials and hards.h.i.+ps of their existence. Whenever he met them on his journeys he insisted on abundant alms being given them, and gave orders that every possible provision for their welfare, consonant with the care that their affection should not be permitted to spread, be made for them. Over and over again he greeted them as his brothers and when his retinue feared to approach them, would himself go to them, in order to console them by his words and his exhibition of personal interest. There is an incident told of his having on one occasion, when a muddy stream intervened between him and some lepers, forded the stream alone in order to get to them, and neither any personal fear of contagion nor any natural repugnance was permitted to deter him from this sublime work of charity. It is no wonder that his people proclaimed him a saint, that is "one who thinks first of others and only second of himself," even during his lifetime.

The only supposed blot upon Louis' character is the denunciation by certain modern writers of what they call the fanaticism, {298} which prompted him to go on the Crusades instead of remaining at home properly to care for his people. The opinion with regard to the place that must be a.s.signed to the Crusades as a factor in history and national as well as European development, has changed very much in recent years. Formerly it was the custom almost entirely to condemn them and to look upon them as a serious mistake. Such ideas however, are only entertained by those who do not realize the conditions under which they were undertaken or the important results which flowed from them. Bishop Stubbs in his lectures on Medieval and Modern History, delivered while he was professor of History at Oxford, has been at some pains to correct this false notion, and his pa.s.sage const.i.tutes one of the best apologies for Louis' interest in the Crusades which could be written. He said:--

"The Crusades are not, in my mind, either the popular delusions that our cheap literature has determined them to be, nor papal conspiracies against kings and peoples, as they appear to Protestant controversialists; nor the savage outbreak of expiring barbarism, thirsting for blood and plunder, nor volcanic explosions of religious intolerance. I believe them to have been in their deep sources, and in the minds of their best champions, and in the main tendency of their results, capable of ample justification. They were the first great effort of medieval life to go beyond the pursuit of selfish and isolated ambitions; they were the trial-feat of the young world, essaying to use, to the glory of G.o.d and the benefit of man, the arms of its new knighthood. That they failed in their direct object is only what may be alleged against almost every great design which the great disposer of events has moulded to help the world's progress; for the world has grown wise from the experience of failure, rather than by the winning of high aims. That the good they did was largely leavened with evil may be said of every war that has ever been waged; that bad men rose by them while good men fell, is and must be true, wherever and whenever the race is to the swift and the battle to the strong. But that in the end they were a benefit to the world no one who reads can doubt; and that in their course they brought out a love for all that is heroic in human nature, the love of freedom, the honor of prowess, sympathy with sorrow, {299} perseverance to the last, the chronicles of the age abundantly prove; proving, moreover, that it was by the experience of these times that the forms of those virtues were realized and presented to posterity." [Footnote 25]

[Footnote 25: Stubbs, "Seventeen Lectures on Medieval and Modern History," p. 180.]

With the stigma of supposed imprudence or foolhardiness for having gone on the Crusade turned into a new cause for honor, Louis must be considered as probably the greatest monarch who ever occupied an important throne. Instead of being surprised that such a monarch should have come in the heart of the Middle Ages and during a century so distant as the Thirteenth, readers must now be ready to appreciate to some degree at least the fact, that his environment instead of being a hindrance in any sense of the word to the development of Louis' greatness, should rather be considered as one of the princ.i.p.al sources of it. Louis' character was representative of the men of that time and exhibits in their most striking form the qualities that were set up as ideals in that period. If the century had produced nothing else but Louis, it would have to be considered as a great epoch in history, for he was no mere accident but typically a son of his age.

If this is but properly appreciated the true significance not only of Louis' life but the period in which he lived will be better understood than would be possible by any other means. Those who want to know the men of this wonderful century as they actually were should study Louis' life in detail, for we have been only able to hint at its most striking characteristics.

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DECORATION (QUEEN MARY'S PSALTER, XIII. CENTURY MS.)

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XIX

DANTE THE POET.

It is only too often the custom to talk of Dante as a solitary phenomenon in his time. Even Carlyle who knew well and properly appreciated many things in medieval life and letters and especially in the literary productions of the Thirteenth Century said, that in Dante "ten silent centuries found a voice." Anyone who has followed what we have had to say with regard to the Thirteenth Century will no longer think of Dante as standing alone, but will readily appreciate that he is only the fitting culmination of a great literary era. After having gone over even as hurriedly as has been necessary in our brief s.p.a.ce, what was accomplished in every country of Europe in literature that was destined to live not only because of the greatness of the thoughts, but also for the ultimateness of its expression, we should expect some surpa.s.sing literary genius at the end of the period. It seems almost inevitable indeed that a supreme poet, whose name stands above all others but one or two at the most in the whole history of the race, should have lived in the Thirteenth Century, and should have summed up effectually in himself all the greatness of the century and enshrined its thoughts in undying verse for all future generations.

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PORTRAIT OF DANTE (GIOTTO, IN THE BARGELLO, FLORENCE)

When Dante himself dares to place his name with those of the men whom he considered the five greatest poets of all time, it seems sublimest egotism. At first thought many will at once conclude that his reason for so doing was, that in the unlettered times his critical faculty was not well developed and as he knew that his work far surpa.s.sed that of his contemporaries, he could scarcely help but conclude that his place must be among the great poets. Any such thought however, is entirely due to lack of knowledge of the conditions of Dante's life and education. He had been in the universities of Italy, and in his exile had visited Paris and probably also Oxford. He knew the poets of his country well. He appreciated them {301} highly. It was the consciousness of genius that made him place himself so high and not any faulty comparison with others. Succeeding generations have set him even higher than the place chosen by himself and now we breathe his name only with those of Homer and Shakespeare, considering that these three sublime immortals are so far above all other poets that there is scarcely a second to them.

Dante is the most universal of poets. He has won recognition from all nations, and he has been the favorite reading of the most diverse times and conditions of men. From the very beginning he has been appreciated, and even before his death men had begun to realize something of the supremacy of his greatness. Commentaries on his works that have been preserved down to our own day were written almost during his lifetime. Only supreme interest could have tempted men to multiply these by the hard labor of patient handwriting. Petrarch who as a young man, was his contemporary, recognized him as the Prince of Italian poets who had composed in their common tongue, and even was tempted to say that the subtle and profound conceptions of the Commedia could not have been written without the special gift of the Holy Ghost. Boccaccio was wont to speak of him as the Divine Poet, and tells us that he had learned that Petrarch deliberately held aloof from the Commedia, through fear of losing his originality if he came under the spell of so great a master.

Very few realize how great a poet Dante must be considered even if only the effusions of his younger years were to be taken as the standard of his poetical ability. Some of his sonnets are as beautiful of their kind as are to be found in this form of poetry. His description of his lady-love is famous among sonnets of lovers and may only be compared with some of the Sonnets from the Portuguese in our own day, or with one or two of Camoens' original sonnets in the Portuguese, for lofty praise of the beloved in worthy numbers. After reading Dante's sonnets it is easy to understand how a half century later Petrarch was able to raise the sonnet form to an excellence that was never to be surpa.s.sed. With a beginning like this it is no wonder that the sonnet became so popular in Europe during the next three centuries, and that every young poet, {302} down to Shakespeare's time, had an attack of sonneteering just as he might have had an attack of the measles. The first one of a pair of sonnets that are considered supreme in their cla.s.s deserves a place here as an example of Dante's poetic faculty in this form, for which he is so much less known than he ought to be.

He sees completely fullest bliss abound Who among ladies sees my Lady's face; Those that with her do go are surely bound To give G.o.d thanks for such exceeding grace.

And in her beauty such strange might is found.

That envy finds in other hearts no place; So she makes them walk with her, clothed all round With love and faith and courteous gentleness.

The sight of her makes all things lowly be; Nor of herself alone she gives delight.

But each through her receiveth honor due.

And in her acts is such great courtesy, That none can recollect that wondrous sight.

Who sighs not for it in Love's sweetness true.

It will be noted that Dante has nothing to say of the personal appearance of his beloved. This is true, however, of the whole series of poems to and about her. He never seems to have thought for a moment of her physical qualities. What he finds worthy to praise is her goodness which s.h.i.+nes out from her features so that everyone rejoices in it, while a sweetness fills the heart as if a heavenly visitor had come. For him her supreme quality is that, with all her beauty, envy finds no place in others' hearts because she is so clothed around with love and faith and courteous gentleness. It has often been said that Shakespeare did not describe the physical appearances of his heroines because he realized that this meant very little, but then Shakespeare had to write for the stage and realized that blondes and brunettes, especially in the olden time, could not be made to order and that it was better to leave the heroine's physical appearance rather vague. It would be expected, however, that Dante, with his Southern temperament, would have dwelt on the physical perfections of his fair. The next {303} sonnet, however, of the best known group emphasizes his abstraction of all physical influence in the matter and insists on her goodness and the womanly beauty of her character. It will be found in our chapter on Women of the Century.

In his earlier years Dante considered himself one of the Troubadours, and there can be no doubt that if he had never written the Divine Comedy, he still would have been remembered as one of the great poets who wrote of love in this Thirteenth Century. Not only does he deserve a place among the greatest of the Minnesingers, the Trouveres, and the Troubadours, but he is perhaps the greatest of them. That he should have sung as he did at the end of the century only shows that he was in the stream of literary evolution and not being merely carried idly along, but helping to guide it into ever fairer channels. Dante's minor poems would have made enduring fame for any poet of less genius than himself. His prose works deserve to be read by anyone who wishes to know the character of this greatest of poets, and also to appreciate what the educational environment of the Thirteenth Century succeeded in making out of good intellectual material when presented to it. Dante's works are the real treasury of information of the most precious kind with regard to the century, since they provide the proper standpoint from which to view all that it accomplished.

While Dante was a supreme singer among the poets of a great song time, it was only natural, in the light of what we know about the literary product of the rest of this century, that he should have put into epic form the supreme product of his genius. With the great national epics in every country of Europe--the Cid, the Arthur Legends, and the Nibelungen, at the beginning of this century, and the epical poems of the Meistersingers during its first half, it is not surprising, but on the contrary rather what might have been confidently looked for, that there should have arisen a great national epic in Italy before the end of the century. The Gothic art movement spread through all these countries, and so did the wind of the spirit of esthetic accomplishment which blew the flame of national literature in each country into a mighty blaze, that not only was {304} never to be extinguished, but was to be a beacon light in the realm of national literatures forever after.

We have already said a word of the well-known contemporary admiration for the poet but it should be realized that due appreciation of Dante continued in Italy during all the time when Italian art and literature was at its highest. It dwindled only at periods of decadence and lack of taste. Cornelius' law with regard to Dante's influence on art is very well known, Italian art according to him, has been strong and vigorous just in proportion as it has worked under Dante's influence, while it became weak and sensuous as that influence declined. This has held true from the very beginning and has been as true for literature as for art. When the Italians became interested in trivialities and gave themselves up to weak imitations of the cla.s.sics, or to pastoral poetry that was not a real expression of feeling but a pa.s.sing fancy of literary folk, then Dante was for a time in obscurity. Even at the height of the Renaissance, however, when Greek was at the acme of its interest and the cla.s.sics occupied so much attention that Dante might be expected to be eclipsed, the great thinkers and critics of the time still wors.h.i.+pped at the shrine of their great master of Italian verse.

The best proof of this is to be found in Michael Angelo's famous sonnets in praise of Dante, the second of which would seem to exhaust all that can be said in praise of a brother poet.

Into the dark abyss he made his way; Both nether worlds he saw, and in the might Of his great soul beheld G.o.d's splendour bright.

And gave to us on earth true light of day: Star of supremest worth with its clear ray.

Heaven's secrets he revealed to us through our dim sight.

And had for guerdon what the base world's spite Oft gives to souls that n.o.blest grace display, Full ill was Dante's life-work understood, His purpose high, by that ungrateful state.

That welcomed all with kindness but the good.

Would I were such, to bear like evil fate, To taste his exile, share his lofty mood.

For this I'd gladly give all earth calls great.

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In the first of this pair of sonnets, however, Michael Angelo gave if possible even higher praise than this. It will be recalled that he himself, besides being the greatest of sculptors and one of the greatest of painters and architects in a wonderfully productive period, was also a very great poet. These sonnets to Dante, the one to his crucifix, and one to Vittoria Colonna, are the best proof of this.

He knew how to chisel thoughts into wonderfully suitable words quite as well as marble into the beautiful forms that grew under his hands.

With all his greatness, and he must have been conscious of it, he thinks that he would be perfectly willing to give up all that earth calls great, simply to share Dante's lofty mood even in his exile. No greater tribute has ever been paid by one poet to another than this, and Michael Angelo's genius was above all critical, never thoughtlessly laudatory. As emphasizing the highest enlightened taste of a great epoch this has seemed to deserve a place here also.

What should be said of him speech may not tell; His splendor is too great for men's dim sight; And easier 'twere to blame his foes aright Than for his poorest gifts to praise him well.

He tracked the path that leads to depths of h.e.l.l To teach us wisdom, scaled the eternal height.

And heaven with open gates did him invite.

Who in his own loved city might not dwell.

Ungrateful country step-dame of his fate.

To her own loss: full proof we have in this That souls most perfect bear the greatest woe.

Of thousand things suffice in this to state: No exile ever was unjust as his, Nor did the world his equal ever know.

In England, in spite of distance of country, race and language, the appreciation of Dante began very early. Readers of Chaucer know the great Italian as the favorite poet of the Father of English poetry, and over and over again he has expressed the feeling of how much greater than anything he could hope to do was Dante's accomplishment.

Readers will remember how Chaucer feels unable to tell the story of {306} Ugolino and his starving sons in the Hunger Tower, and refers those interested in the conclusion of the tale to Dante. After the religious revolt of the early Sixteenth Century Dante was lost sight of to a great extent. His temper was too Catholic to be appreciated by Puritan England, and the Elizabethans were too much occupied with their own creation of a great national literature, to have any time for appreciation of a foreigner so different in spirit from their times. With the coming of the Oxford Movement, however, Dante at once sprang into favor, and a number of important critical appreciations of him reintroduced him to a wide reading public in England, most of whom were among the most cultured of the island. This renewed interest in Dante gave rise to some of the best critical appreciations in any language. Dean Church's famous essay is the cla.s.sic English monograph on Dante, and its opening paragraph sounds the keynote of critical opinion among English speaking people.

"The Divina Commedia is one of the landmarks of history. More than a magnificent poem, more than the beginning of a language and the opening of a national literature, more than the inspirer of art and the glory of a great people, it is one of those rare and solemn monuments of the mind's power which measure and test what it can reach to, which rise up ineffaceably and forever as time goes on, marking out its advance by grander divisions than its centuries, and adopted as epochs by the consent of all who come after. It stands with the Iliad and Shakespeare's Plays, with the writings of Aristotle and Plato, with the Novum Organon and the Principia, with Justinian's Code, with the Parthenon and St. Peter's. It is the first Christian Poem, and it opens European literature as the Iliad did that of Greece and Rome. And, like the Iliad, it has never become out of date; it accompanies in undiminished freshness the literature which it began."

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TORRE DEL FAME (DANTE, PISA)

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PALAZZO PRETORIO (TODI)

No better introduction to Dante could be obtained than this from Dean Church. Those who have found it difficult to get interested in the great Florentine poet, and who have been p.r.o.ne to think that perhaps the pretended liking for him on the part of many people was an affectation rather than a sincere expression of opinion, should read this essay and learn {307} something of the wealth of sympathy there is in Dante for even the man of these modern times. Our Thirteenth Century poet is not easy to read but there is probably no reading in all the world that brings with it so much of intellectual satisfaction, so much of awakening of the best feelings in man, so many glimpses into the depths of his being, as some lines from Dante pondered under favorable circ.u.mstances. Like one of these Gothic cathedrals of the olden times he never grows old, but, on the contrary, every favorite pa.s.sage seems to have a new message for each mood of the reader. This is particularly true for the spiritual side of man's being as has been pointed out by Dean Church in a well-known pa.s.sage toward the end of his essay.

"Those who know the Divina Commedia best will best know how hard it is to be the interpreter of such a mind; but they will sympathize with the wish to call attention to it. They know, and would wish others also to know, not by hearsay, but by experience, the power of that wonderful poem. They know its austere yet submitting beauty; they know what force there is in its free and earnest and solemn verse to strengthen, to tranquillize, to console. It is a small thing that it has the secret of Nature and Man; that a few keen words have opened their eyes to new sights in earth, and sea, and sky; have taught them new mysteries of sound; have made them recognize, in distinct image of thought, fugitive feelings, or their unheeded expression, by look, or gesture, or motion; that it has enriched the public and collective memory of society with new instances, never to be lost, of human feeling and fortune; has charmed mind and ear by the music of its stately march, and the variety and completeness of its plan. But besides this, they know how often its seriousness has put to shame their trifling, its magnanimity their faint-heartedness, its living energy their indolence, its stern and sad grandeur rebuked low thoughts, its thrilling tenderness overcome sullenness and a.s.suaged distress, its strong faith quelled despair, and soothed perplexity, its vast grasp imparted the sense of harmony to the view of clas.h.i.+ng truth. They know how often they have found in times of trouble, if not light, at least that deep sense of reality, permanent though unseen, which is more than light can {308} always give--in the view which it has suggested to them of the judgments and love of G.o.d."

As might have been expected from the fact of Dante's English popularity paralleling the Oxford Movement, both the great English Cardinals who were such prominent agents in that movement, looked upon him as a favorite author. Both of them have given him precious tributes. Newman's lofty compliment was the flattery of imitation when he wrote the Dream of Gerontius, that poem for poets which has told the men of our generation more about the immediate hereafter than anything written in these latter centuries. No poet of the intervening period, or of any other time, has so satisfactorily presented the after world as these writers so distant in time, so different in environment,--the one an Italian of the Thirteenth, the other an Englishman of the Nineteenth Century.

Cardinal Manning's tribute was much more formal though not less glorious. It occurs in the introduction to Father Bowden's English edition of the German critic Hettinger's appreciation of Dante, and deserves a place here because it shows how much a representative modern churchman thinks of the great Florentine poet.