But there is another thing to be said about the Mahometan Heaven and h.e.l.l. This namely, that, however gross and material they may be, they are an emblem of an everlasting truth, not always so well remembered elsewhere. That gross sensual Paradise of his; that horrible flaming h.e.l.l; the great enormous Day of Judgment he perpetually insists on: what is all this but a rude shadow, in the rude Bedouin imagination, of that grand spiritual Fact, and Beginning of Facts, which it is ill for us too if we do not all know and feel: the Infinite Nature of Duty? That man's actions here are of _infinite_ moment to him, and never die or end at all; that man, with his little life, reaches upwards high as Heaven, downwards low as h.e.l.l, and in his threescore years of Time holds an Eternity fearfully and wonderfully hidden: all this had burnt itself, as in flame-characters, into the wild Arab soul. As in flame and lightning, it stands written there; awful, unspeakable, ever present to him. With bursting earnestness, with a fierce savage sincerity, halt, articulating, not able to articulate, he strives to speak it, bodies it forth in that Heaven and that h.e.l.l.

Bodied forth in what way you will, it is the first of all truths. It is venerable under all embodiments. What is the chief end of man here below? Mahomet has answered this question, in a way that might put some of _us_ to shame! He does not, like a Bentham, a Paley, take Right and Wrong, and calculate the profit and loss, ultimate pleasure of the one and of the other; and summing all up by addition and subtraction into a net result, ask you, Whether on the whole the Right does not preponderate considerably? No, it is not _better_ to do the one than the other; the one is to the other as life is to death,--as Heaven is to h.e.l.l. The one must in nowise be done, the other in nowise left undone. You shall not measure them; they are incommensurable: the one is death eternal to a man, the other is life eternal. Benthamee Utility, virtue by Profit and Loss; reducing this G.o.d's-world to a dead brute Steam-engine, the infinite celestial Soul of Man to a kind of Hay-balance for weighing hay and thistles on, pleasures and pains on:--If you ask me which gives, Mahomet or they, the beggarlier and falser view of Man and his Destinies in this Universe, I will answer, It is not Mahomet!----

On the whole, we will repeat that this Religion of Mahomet's is a kind of Christianity; has a genuine element of what is spiritually highest looking through it, not to be hidden by all its imperfections. The Scandinavian G.o.d _Wish_, the G.o.d of all rude men,--this has been enlarged into a Heaven by Mahomet; but a Heaven symbolical of sacred Duty, and to be earned by faith and welldoing, by valiant action, and a divine patience which is still more valiant. It is Scandinavian Paganism, and a truly celestial element superadded to that. Call it not false; look not at the falsehood of it, look at the truth of it.

For these twelve centuries, it has been the religion and life-guidance of the fifth part of the whole kindred of Mankind. Above all things, it has been a religion heartily _believed_. These Arabs believe their religion, and try to live by it! No Christians, since the early ages, or only perhaps the English Puritans in modern times, have ever stood by their Faith as the Moslem do by theirs,--believing it wholly, fronting Time with it, and Eternity with it. This night the watchman on the streets of Cairo when he cries "Who goes?" will hear from the pa.s.senger, along with his answer, "There is no G.o.d but G.o.d." _Allah akbar, Islam_, sounds through the souls, and whole daily existence, of these dusky millions. Zealous missionaries preach it abroad among Malays, black Papuans, brutal Idolaters;--displacing what is worse, nothing that is better or good.

To the Arab Nation it was as a birth from darkness into light; Arabia first became alive by means of it. A poor shepherd people, roaming unnoticed in its deserts since the creation of the world: a Hero-Prophet was sent down to them with a word they could believe: see, the unnoticed becomes world-notable, the small has grown world-great; within one century afterwards, Arabia is at Grenada on this hand, at Delhi on that;--glancing in valour and splendour and the light of genius, Arabia shines through long ages over a great section of the world. Belief is great, life-giving. The history of a Nation becomes fruitful, soul-elevating, great, so soon as it believes. These Arabs, the man Mahomet, and that one century,--is it not as if a spark had fallen, one spark, on a world of what seemed black unnoticeable sand; but lo, the sand proves explosive powder, blazes heaven-high from Delhi to Grenada! I said, the Great Man was always as lightning out of Heaven; the rest of men waited for him like fuel, and then they too would flame.

LECTURE III

THE HERO AS POET. DANTE; SHAKSPEARE.

[_Tuesday, 12th May 1840_]

The Hero as Divinity, the Hero as Prophet, are productions of old ages; not to be repeated in the new. They presuppose a certain rudeness of conception, which the progress of mere scientific knowledge puts an end to. There needs to be, as it were, a world vacant, or almost vacant of scientific forms, if men in their loving wonder are to fancy their fellow-man either a G.o.d or one speaking with the voice of a G.o.d. Divinity and Prophet are past. We are now to see our Hero in the less ambitious, but also less questionable, character of Poet; a character which does not pa.s.s. The Poet is a heroic figure belonging to all ages; whom all ages possess, when once he is produced, whom the newest age as the oldest may produce;--and will produce, always when Nature pleases. Let Nature send a Hero-soul; in no age is it other than possible that he may be shaped into a Poet.

Hero, Prophet, Poet,--many different names, in different times and places, do we give to Great Men; according to varieties we note in them, according to the sphere in which they have displayed themselves!

We might give many more names, on this same principle. I will remark again, however, as a fact not unimportant to be understood, that the different _sphere_ const.i.tutes the grand origin of such distinction; that the Hero can be Poet, Prophet, King, Priest or what you will, according to the kind of world he finds himself born into. I confess, I have no notion of a truly great man that could not be _all_ sorts of men. The Poet who could merely sit on a chair, and compose stanzas, would never make a stanza worth much. He could not sing the Heroic warrior, unless he himself were at least a Heroic warrior too. I fancy there is in him the Politician, the Thinker, Legislator, Philosopher;--in one or the other degree, he could have been, he is all these. So too I cannot understand how a Mirabeau, with that great glowing heart, with the fire that was in it, with the bursting tears that were in it, could not have written verses, tragedies, poems, touched all hearts in that way, had his course of life and education led him thitherward. The grand fundamental character is that of Great Man; that the man be great. Napoleon has words in him which are like Austerlitz Battles. Louis Fourteenth's Marshals are a kind of poetical men withal; the things Turenne says are full of sagacity and geniality, like sayings of Samuel Johnson. The great heart, the clear deep-seeing eye: there it lies; no man whatever, in what province soever, can prosper at all without these. Petrarch and Boccaccio did diplomatic messages, it seems, quite well: one can easily believe it; they had done things a little harder than these! Burns, a gifted song-writer, might have made a still better Mirabeau. Shakspeare,--one knows not what _he_ could not have made, in the supreme degree.

True, there are apt.i.tudes of Nature too. Nature does not make all great men, more than all other men, in the self-same mould. Varieties of apt.i.tude doubtless; but infinitely more of circ.u.mstance; and far oftenest it is the _latter_ only that are looked to. But it is as with common men in the learning of trades. You take any man, as yet a vague capability of a man, who could be any kind of craftsman; and make him into a smith, a carpenter, a mason: he is then and thenceforth that and nothing else. And if, as Addison complains, you sometimes see a street-porter staggering under his load on spindle-shanks, and near at hand a tailor with the frame of a Samson handling a bit of cloth and small Whitechapel needle,--it cannot be considered that apt.i.tude of Nature alone has been consulted here either!--The Great Man also, to what shall he be bound apprentice? Given your Hero, is he to become Conqueror, King, Philosopher, Poet? It is an inexplicably complex controversial-calculation between the world and him! He will read the world and its laws; the world with its laws will be there to be read.

What the world, on _this_ matter, shall permit and bid is, as we said, the most important fact about the world.--

Poet and Prophet differ greatly in our loose modern notions of them.

In some old languages, again, the t.i.tles are synonymous; _Vates_ means both Prophet and Poet: and indeed at all times, Prophet and Poet, well understood, have much kindred of meaning. Fundamentally indeed they are still the same; in this most important respect especially, That they have penetrated both of them into the sacred mystery of the Universe; what Goethe calls 'the open secret.' "Which is the great secret?" asks one.--"The _open_ secret,"--open to all, seen by almost none! That divine mystery, which lies everywhere in all Beings, 'the Divine Idea of the World, that which lies at the bottom of Appearance,' as Fichte styles it; of which all Appearance, from the starry sky to the gra.s.s of the field, but especially the Appearance of Man and his work, is but the _vesture_, the embodiment that renders it visible. This divine mystery _is_ in all times and in all places; veritably is. In most times and places it is greatly overlooked; and the Universe, definable always in one or the other dialect, as the realised Thought of G.o.d, is considered a trivial, inert, commonplace matter,--as if, says the Satirist, it were a dead thing, which some upholsterer had put together! It could do no good at present, to _speak_ much about this; but it is a pity for every one of us if we do not know it, live ever in the knowledge of it. Really a most mournful pity;--a failure to live at all, if we live otherwise!

But now, I say, whoever may forget this divine mystery, the _Vates_, whether Prophet or Poet, has penetrated into it; is a man sent hither to make it more impressively known to us. That always is his message; he is to reveal that to us,--that sacred mystery which he more than others lives ever present with. While others forget it, he knows it;--I might say, he has been driven to know it; without consent asked of _him_, he finds himself living in it, bound to live in it. Once more, here is no Hearsay, but a direct Insight and Belief; this man too could not help being a sincere man! Whosoever may live in the shows of things, it is for him a necessity of nature to live in the very fact of things. A man once more, in earnest with the Universe, though all others were but toying with it. He is a _Vates_, first of all, in virtue of being sincere. So far Poet and Prophet, partic.i.p.ators in the 'open secret,' are one.

With respect to their distinction again: The _Vates_ Prophet, we might say, has seized that sacred mystery rather on the moral side, as Good and Evil, Duty and Prohibition; the _Vates_ Poet on what the Germans call the aesthetic side, as Beautiful, and the like. The one we may call a revealer of what we are to do, the other of what we are to love. But indeed these two provinces run into one another, and cannot be disjoined. The Prophet too has his eye on what we are to love: how else shall he know what it is we are to do? The highest Voice ever heard on this earth said withal, "Consider the lilies of the field; they toil not, neither do they spin: yet Solomon in all his glory was not arrayed like one of these." A glance, that, into the deepest deep of Beauty. 'The lilies of the field,'--dressed finer than earthly princes, springing-up there in the humble furrow-field; a beautiful _eye_ looking-out on you, from the great inner Sea of Beauty! How could the rude Earth make these, if her Essence, rugged as she looks and is, were not inwardly Beauty? In this point of view, too, a saying of Goethe's, which has staggered several, may have meaning: 'The Beautiful,' he intimates, 'is higher than the Good: the Beautiful includes in it the Good.' The _true_ Beautiful; which however, I have said somewhere, 'differs from the _false_ as Heaven does from Vauxhall!' So much for the distinction and ident.i.ty of Poet and Prophet.--

In ancient and also in modern periods we find a few Poets who are accounted perfect; whom it were a kind of treason to find fault with.

This is noteworthy; this is right: yet in strictness it is only an illusion. At bottom, clearly enough, there is no perfect Poet! A vein of Poetry exists in the hearts of all men; no man is made altogether of Poetry. We are all poets when we _read_ a poem well. The 'imagination that shudders at the h.e.l.l of Dante,' is not that the same faculty, weaker in degree, as Dante's own? No one but Shakspeare can embody, out of _Saxo Grammaticus_, the story of _Hamlet_ as Shakspeare did: but every one models some kind of story out of it; every one embodies it better or worse. We need not spend time in defining. Where there is no specific difference, as between round and square, all definition must be more or less arbitrary. A man that has _so_ much more of the poetic element developed in him as to have become noticeable, will be called Poet by his neighbours. World-Poets too, those whom we are to take for perfect Poets, are settled by critics in the same way. One who rises _so_ far above the general level of Poets will, to such and such critics, seem a Universal Poet; as he ought to do. And yet it is, and must be, an arbitrary distinction. All Poets, all men, have some touches of the Universal; no man is wholly made of that. Most Poets are very soon forgotten: but not the n.o.blest Shakspeare or Homer of them can be remembered _forever_;--a day comes when he too is not!

Nevertheless, you will say, there must be a difference between true Poetry and true Speech not poetical: what is the difference? On this point many things have been written, especially by late German Critics, some of which are not very intelligible at first. They say, for example, that the Poet has an _infinitude_ in him; communicates an _Unendlichkeit_, a certain character of 'infinitude,' to whatsoever he delineates. This, though not very precise, yet on so vague a matter is worth remembering: if well meditated, some meaning will gradually be found in it. For my own part, I find considerable meaning in the old vulgar distinction of Poetry being _metrical_, having music in it, being a Song. Truly, if pressed to give a definition, one might say this as soon as anything else: If your delineation be authentically _musical_, musical, not in word only, but in heart and substance, in all the thoughts and utterances of it, in the whole conception of it, then it will be poetical; if not, not.--Musical: how much lies in that! A _musical_ thought is one spoken by a mind that has penetrated into the inmost heart of the thing; detected the inmost mystery of it, namely the _melody_ that lies hidden in it; the inward harmony of coherence which is its soul, whereby it exists, and has a right to be, here in this world. All inmost things, we may say, are melodious; naturally utter themselves in Song. The meaning of Song goes deep. Who is there that, in logical words, can express the effect music has on us? A kind of inarticulate unfathomable speech, which leads us to the edge of the Infinite, and lets us for moments gaze into that!

Nay all speech, even the commonest speech, has something of song in it: not a parish in the world but has its parish-accent;--the rhythm or _tune_ to which the people there _sing_ what they have to say!

Accent is a kind of chanting; all men have accent of their own,--though they only _notice_ that of others. Observe too how all pa.s.sionate language does of itself become musical,--with a finer music than the mere accent; the speech of a man even in zealous anger becomes a chant, a song. All deep things are Song. It seems somehow the very central essence of us, Song; as if all the rest were but wrappages and hulls! The primal element of us; of us, and of all things. The Greeks fabled of Sphere-Harmonies; it was the feeling they had of the inner structure of Nature; that the soul of all her voices and utterances was perfect music. Poetry, therefore, we will call _musical Thought_. The Poet is he who _thinks_ in that manner. At bottom, it turns still on power of intellect; it is a man's sincerity and depth of vision that makes him a Poet. See deep enough, and you see musically; the heart of Nature _being_ everywhere music, if you can only reach it.

The _Vates_ Poet, with his melodious Apocalypse of Nature, seems to hold a poor rank among us, in comparison with the _Vates_ Prophet; his function, and our esteem of him for his function, alike slight. The Hero taken as Divinity; the Hero taken as Prophet; then next the Hero taken only as Poet: does it not look as if our estimate of the Great Man, epoch after epoch, were continually diminishing? We take him first for a G.o.d, then for one G.o.d-inspired; and now in the next stage of it, his most miraculous word gains from us only the recognition that he is a Poet, beautiful verse-maker, man of genius, or suchlike!--It looks so; but I persuade myself that intrinsically it is not so. If we consider well, it will perhaps appear that in man still there is the _same_ altogether peculiar admiration for the Heroic Gift, by what name soever called, that there at any time was.

I should say, if we do not now reckon a Great Man literally divine, it is that our notions of G.o.d, of the supreme unattainable Fountain of Splendour, Wisdom and Heroism, are ever rising _higher_; not altogether that our reverence for these qualities, as manifested in our like, is getting lower. This is worth taking thought of. Sceptical Dilettantism, the curse of these ages, a curse which will not last forever, does indeed in this the highest province of human things, as in all provinces, make sad work; and our reverence for great men, all crippled, blinded, paralytic as it is, comes out in poor plight, hardly recognisable. Men worship the shows of great men; the most disbelieve that there is any reality of great men to worship. The dreariest, fatalest faith; believing which, one would literally despair of human things. Nevertheless look, for example, at Napoleon!

A Corsican lieutenant of artillery; that is the show of _him_: yet is he not obeyed, _worshipped_ after his sort, as all the Tiaraed and Diademed of the world put together could not be? High d.u.c.h.esses, and ostlers of inns, gather round the Scottish rustic, Burns;--a strange feeling dwelling in each that they had never heard a man like this; that, on the whole, this is the man! In the secret heart of these people it still dimly reveals itself, though there is no accredited way of uttering it at present, that this rustic, with his black brows and flashing sun-eyes, and strange words moving laughter and tears, is of a dignity far beyond all others, incommensurable with all others.

Do not we feel it so? But now, were Dilettantism, Scepticism, Triviality, and all that sorrowful brood, cast-out of us,--as, by G.o.d's blessing, they shall one day be; were faith in the shows of things entirely swept-out, replaced by clear faith in the _things_, so that a man acted on the impulse of that only, and counted the other non-extant; what a new livelier feeling towards this Burns were it!

Nay here in these pages, such as they are, have we not two mere Poets, if not deified, yet we may say beatified? Shakspeare and Dante are Saints of Poetry; really, if we will think of it, _canonised_, so that it is impiety to meddle with them. The unguided instinct of the world, working across all these perverse impediments, has arrived at such result. Dante and Shakspeare are a peculiar Two. They dwell apart, in a kind of royal solitude; none equal, none second to them: in the general feeling of the world, a certain transcendentalism, a glory as of complete perfection, invests these two. They _are_ canonised, though no Pope or Cardinals took hand in doing it! Such, in spite of every perverting influence, in the most unheroic times, is still our indestructible reverence for heroism.--We will look a little at these Two, the Poet Dante and the Poet Shakspeare: what little it is permitted us to say here of the Hero as Poet will most fitly arrange itself in that fashion.

Many volumes have been written by way of commentary on Dante and his Book; yet, on the whole, with no great result. His Biography is, as it were, irrecoverably lost for us. An unimportant, wandering, sorrowstricken man, not much note was taken of him while he lived; and the most of that has vanished, in the long s.p.a.ce that now intervenes.

It is five centuries since he ceased writing and living here. After all commentaries, the Book itself is mainly what we know of him. The Book;--and one might add that Portrait commonly attributed to Giotto, which, looking on it, you cannot help inclining to think genuine, whoever did it. To me it is a most touching face; perhaps of all faces that I know, the most so. Lonely there, painted as on vacancy, with the simple laurel wound round it; the deathless sorrow and pain, the known victory which is also deathless;--significant of the whole history of Dante! I think it is the mournfulest face that ever was painted from reality; an altogether tragic, heart-affecting face.

There is in it, as foundation of it, the softness, tenderness, gentle affection as of a child; but all this is as if congealed into sharp contradiction, into abnegation, isolation, proud hopeless pain. A soft ethereal soul looking-out so stern, implacable, grim-trenchant, as from imprisonment of thick-ribbed ice! Withal it is a silent pain too, a silent scornful one: the lip is curled in a kind of G.o.dlike disdain of the thing that is eating-out his heart,--as if it were withal a mean insignificant thing, as if he whom it had power to torture and strangle were greater than it. The face of one wholly in protest, and life-long unsurrendering battle, against the world. Affection all converted into indignation: an implacable indignation; slow, equable, silent, like that of a G.o.d! The eye too, it looks-out as in a kind of _surprise_, a kind of inquiry, Why the world was of such a sort? This is Dante: so he looks, this 'voice of ten silent centuries,' and sings us 'his mystic unfathomable song.'

The little that we know of Dante's Life corresponds well enough with this Portrait and this Book. He was born at Florence, in the upper cla.s.s of society, in the year 1265. His education was the best then going; much school-divinity, Aristotelean logic, some Latin cla.s.sics,--no inconsiderable insight into certain provinces of things: and Dante, with his earnest intelligent nature, we need not doubt, learned better than most all that was learnable. He has a clear cultivated understanding, and of great subtlety; the best fruit of education he had contrived to realise from these scholastics. He knows accurately and well what lies close to him; but, in such a time, without printed books or free intercourse, he could not know well what was distant: the small clear light, most luminous for what is near, breaks itself into singular _chiaroscuro_ striking on what is far off.

This was Dante's learning from the schools. In life, he had gone through the usual destinies; been twice out campaigning as a soldier for the Florentine State, been on emba.s.sy; had in his thirty-fifth year, by natural gradation of talent and service, become one of the Chief Magistrates of Florence. He had met in boyhood a certain Beatrice Portinari, a beautiful little girl of his own age and rank, and grown-up thenceforth in partial sight of her, in some distant intercourse with her. All readers know his graceful affecting account of this; and then of their being parted; of her being wedded to another, and of her death soon after. She makes a great figure in Dante's Poem; seems to have made a great figure in his life. Of all beings it might seem as if she, held apart from him, far apart at last in the dim Eternity, were the only one he had ever with his whole strength of affection loved. She died: Dante himself was wedded; but it seems not happily, far from happily. I fancy, the rigorous earnest man, with his keen excitabilities, was not altogether easy to make happy.

We will not complain of Dante's miseries: had all gone right with him as he wished it, he might have been Prior, Podesta, or whatsoever they call it, of Florence, well accepted among neighbours,--and the world had wanted one of the most notable words ever spoken or sung. Florence would have had another prosperous Lord Mayor; and the ten dumb centuries continued voiceless, and the ten other listening centuries (for there will be ten of them and more) had no _Divina Commedia_ to hear! We will complain of nothing. A n.o.bler destiny was appointed for this Dante; and he, struggling like a man led towards death and crucifixion, could not help fulfilling it. Give _him_ the choice of his happiness! He knew not, more than we do, what was really happy, what was really miserable.

In Dante's Priorship, the Guelf-Ghibelline, Bianchi-Neri, or some other confused disturbance rose to such a height, that Dante, whose party had seemed the stronger, was with his friends cast unexpectedly forth into banishment; doomed thenceforth to a life of woe and wandering. His property was all confiscated and more; he had the fiercest feeling that it was entirely unjust, nefarious in the sight of G.o.d and man. He tried what was in him to get reinstated; tried even by warlike surprisal, with arms in his hand: but it would not do; bad only had become worse. There is a record, I believe, still extant in the Florence Archives, dooming this Dante, wheresoever caught, to be burnt alive. Burnt alive; so it stands, they say: a very curious civic doc.u.ment. Another curious doc.u.ment, some considerable number of years later, is a Letter of Dante's to the Florentine Magistrates, written in answer to a milder proposal of theirs, that he should return on condition of apologising and paying a fine. He answers, with fixed stern pride: "If I cannot return without calling myself guilty, I will never return, _nunquam revertar_."

For Dante there was now no home in this world. He wandered from patron to patron, from place to place; proving in his own bitter words, 'How hard is the path, _Come e duro calle_.' The wretched are not cheerful company. Dante, poor and banished, with his proud earnest nature, with his moody humours, was not a man to conciliate men. Petrarch reports of him that being at Can della Scala's court, and blamed one day for his gloom and taciturnity, he answered in no courtier-like way. Della Scala stood among his courtiers, with mimes and buffoons (_nebulones ac histriones_) making him heartily merry; when turning to Dante, he said: "Is it not strange, now, that this poor fool should make himself so entertaining; while you, a wise man, sit there day after day, and have nothing to amuse us with at all?" Dante answered bitterly: "No, not strange; your Highness is to recollect the Proverb, _Like to Like_;"--given the amuser, the amusee must also be given! Such a man, with his proud silent ways, with his sarcasms and sorrows, was not made to succeed at court. By degrees, it came to be evident to him that he had no longer any resting-place, or hope of benefit, in this earth. The earthly world had cast him forth, to wander, wander; no living heart to love him now; for his sore miseries there was no solace here.

The deeper naturally would the Eternal World impress itself on him; that awful reality over which, after all, this Time-world, with its Florences and banishments, only flutters as an unreal shadow. Florence thou shalt never see: but h.e.l.l and Purgatory and Heaven thou shalt surely see! What is Florence, Can della Scala, and the World and Life altogether? ETERNITY: thither, of a truth, not elsewhither, art thou and all things bound! The great soul of Dante, homeless on earth, made its home more and more in that awful other world. Naturally his thoughts brooded on that, as on the one fact important for him. Bodied or bodiless, it is the one fact important for all men:--but to Dante, in that age, it was bodied in fixed certainty of scientific shape; he no more doubted of that _Malebolge_ Pool, that it all lay there with its gloomy circles, with its _alti guai_, and that he himself should see it, than we doubt that we should see Constantinople if we went thither. Dante's heart, long filled with this, brooding over it in speechless thought and awe, bursts forth at length into 'mystic unfathomable song;' and this his _Divine Comedy_, the most remarkable of all modern Books, is the result.

It must have been a great solacement to Dante, and was, as we can see, a proud thought for him at times, That he, here in exile, could do this work; that no Florence, nor no man or men, could hinder him from doing it, or even much help him in doing it. He knew too, partly, that it was great; the greatest a man could do. 'If thou follow thy star, _Se tu segui tua stella_,'--so could the Hero, in his forsakenness, in his extreme need, still say to himself: "Follow thou thy star, thou shalt not fail of a glorious haven!" The labour of writing, we find, and indeed could know otherwise, was great and painful for him; he says, This Book, 'which has made me lean for many years.' Ah yes, it was won, all of it, with pain and sore toil,--not in sport, but in grim earnest. His Book, as indeed most good Books are, has been written, in many senses, with his heart's blood. It is his whole history, this Book. He died after finishing it; not yet very old, at the age of fifty-six;--broken-hearted rather, as is said. He lies buried in his death-city Ravenna: _Hic claudor Dantes patriis extorris ab oris._ The Florentines begged back his body, in a century after; the Ravenna people would not give it. "Here am I Dante laid, shut-out from my native sh.o.r.es."

I said, Dante's Poem was a Song: it is Tieck who calls it 'a mystic unfathomable Song;' and such is literally the character of it.

Coleridge remarks very pertinently somewhere, that wherever you find a sentence musically worded, of true rhythm and melody in the words, there is something deep and good in the meaning too. For body and soul, word and idea, go strangely together here as everywhere. Song: we said before, it was the Heroic of Speech! All _old_ Poems, Homer's and the rest, are authentically Songs. I would say, in strictness, that all right Poems are; that whatsoever is not _sung_ is properly no Poem, but a piece of Prose cramped into jingling lines,--to the great injury of the grammar, to the great grief of the reader, for most part! What we want to get at is the _thought_ the man had, if he had any: why should he twist it into jingle, if he _could_ speak it out plainly? It is only when the heart of him is rapt into true pa.s.sion of melody, and the very tones of him, according to Coleridge's remark, become musical by the greatness, depth and music of his thoughts, that we can give him right to rhyme and sing; that we call him a Poet, and listen to him as the Heroic of Speakers,--whose speech _is_ Song.

Pretenders to this are many; and to an earnest reader, I doubt, it is for most part a very melancholy, not to say an insupportable business, that of reading rhyme! Rhyme that had no inward necessity to be rhymed;--it ought to have told us plainly, without any jingle, what it was aiming at. I would advise all men who _can_ speak their thought, not to sing it; to understand that, in a serious time, among serious men, there is no vocation in them for singing it. Precisely as we love the true song, and are charmed by it as by something divine, so shall we hate the false song, and account it a mere wooden noise, a thing hollow, superfluous, altogether an insincere and offensive thing.

I give Dante my highest praise when I say of his _Divine Comedy_ that it is, in all senses, genuinely a Song. In the very sound of it there is a _canto fermo_; it proceeds as by a chant. The language, his simple _terza rima_, doubtless helped him in this. One reads along naturally with a sort of _lilt_. But I add, that it could not be otherwise; for the essence and material of the work are themselves rhythmic. Its depth, and rapt pa.s.sion and sincerity, makes its musical;--go _deep_ enough, there is music everywhere. A true inward symmetry, what one calls an architectural harmony, reigns in it, proportionates it all: architectural; which also partakes of the character of music. The three kingdoms, _Inferno_, _Purgatorio_, _Paradiso_, look-out on one another like compartments of a great edifice; a great supernatural world-cathedral, piled-up there, stern, solemn, awful; Dante's World of Souls! It is, at bottom, the _sincerest_ of all Poems; sincerity, here too, we find to be the measure of worth. It came deep out of the author's heart of hearts; and it goes deep, and through long generations, into ours. The people of Verona, when they saw him on the streets, used to say, "_Eccovi l'

uom ch' e stato all' Inferno_, See, there is the man that was in h.e.l.l!" Ah, yes, he had been in h.e.l.l;--in h.e.l.l enough, in long severe sorrow and struggle; as the like of him is pretty sure to have been.

Commedias that come-out _divine_ are not accomplished otherwise.

Thought, true labour of any kind, highest virtue itself, is it not the daughter of Pain? Born as out of the black whirlwind;--true _effort_, in fact, as of a captive struggling to free himself: that is Thought.

In all ways we are 'to become perfect through _suffering_.'--But, as I say, no work known to me is so elaborated as this of Dante's. It has all been as if molten, in the hottest furnace of his soul. It had made him 'lean' for many years. Not the general whole only; every compartment of it is worked-out, with intense earnestness, into truth, into clear visuality. Each answers to the other; each fits in its place, like a marble stone accurately hewn and polished. It is the soul of Dante, and in this the soul of the middle ages, rendered forever rhythmically visible there. No light task; a right intense one: but a task which is _done_.

Perhaps one would say, _intensity_, with the much that depends on it, is the prevailing character of Dante's genius. Dante does not come before us as a large catholic mind; rather as a narrow and even sectarian mind: it is partly the fruit of his age and position, but partly too of his own nature. His greatness has, in all senses, concentered itself into fiery emphasis and depth. He is world-great not because he is world-wide, but because he is world-deep. Through all objects he pierces as it were down into the heart of Being. I know nothing so intense as Dante. Consider, for example, to begin with the outermost development of his intensity, consider how he paints. He has a great power of vision; seizes the very type of a thing; presents that and nothing more. You remember that first view he gets of the Hall of Dite: _red_ pinnacle, redhot cone of iron glowing through the dim immensity of gloom;--so vivid, so distinct, visible at once and forever! It is as an emblem of the whole genius of Dante. There is a brevity, an abrupt precision in him: Tacitus is not briefer, more condensed; and then in Dante it seems a natural condensation, spontaneous to the man. One smiting word; and then there is silence, nothing more said. His silence is more eloquent than words. It is strange with what a sharp decisive grace he s.n.a.t.c.hes the true likeness of a matter: cuts into the matter as with a pen of fire. Plutus, the bl.u.s.tering giant, collapses at Virgil's rebuke; it is 'as the sails sink, the mast being suddenly broken.' Or that poor Brunetto Latini, with the _cotto aspetto_, 'face _baked_,' parched brown and lean; and the 'fiery snow,' that falls on them there, a 'fiery snow without wind,' slow, deliberate, never-ending! Or the lids of those Tombs; square sarcophaguses, in that silent dim-burning Hall, each with its Soul in torment; the lids laid open there; they are to be shut at the Day of Judgment, through Eternity. And how Farinata rises; and how Cavalcante falls--at hearing of his Son, and the past tense '_fue_'!

The very movements in Dante have something brief; swift, decisive, almost military. It is of the inmost essence of his genius this sort of painting. The fiery, swift Italian nature of the man, so silent, pa.s.sionate, with its quick abrupt movements, its silent 'pale rages,'

speaks itself in these things.

For though this of painting is one of the outermost developments of a man, it comes like all else from the essential faculty of him; it is physiognomical of the whole man. Find a man whose words paint you a likeness, you have found a man worth something; mark his manner of doing it, as very characteristic of him. In the first place, he could not have discerned the object at all, or seen the vital type of it, unless he had, what we may call, _sympathised_ with it,--had sympathy in him to bestow on objects. He must have been _sincere_ about it too; sincere and sympathetic: a man without worth cannot give you the likeness of any object; he dwells in vague outwardness, fallacy and trivial hearsay, about all objects. And indeed may we not say that intellect altogether expresses itself in this power of discerning what an object is? Whatsoever of faculty a man's mind may have will come out here. Is it even of business, a matter to be done? The gifted man is he who _sees_ the essential point, and leaves all the rest aside as surplusage: it is his faculty too, the man of business's faculty, that he discern the true _likeness_, not the false superficial one, of the thing he has got to work in. And how much of _morality_ is in the kind of insight we get of anything; 'the eye seeing in all things what it brought with it the faculty of seeing'! To the mean eye all things are trivial, as certainly as to the jaundiced they are yellow. Raphael, the Painters tell us, is the best of all Portrait-painters withal. No most gifted eye can exhaust the significance of any object. In the commonest human face there lies more than Raphael will take-away with him.

Dante's painting is not graphic only, brief, true, and of a vividness as of fire in dark night; taken on the wider scale, it is everyway n.o.ble, and the outcome of a great soul. Francesca and her Lover, what qualities in that! A thing woven as out of rainbows, on a ground of eternal black. A small flute-voice of infinite wail speaks there, into our very heart of hearts. A touch of womanhood in it too; _della bella persona, che mi fu tolta_; and how, even in the Pit of woe, it is a solace that _he_ will never part from her! Saddest tragedy in these _alti guai_. And the racking winds, in that _aer bruno_, whirl them away again, to wail forever!--Strange to think: Dante was the friend of this poor Francesca's father; Francesca herself may have sat upon the Poet's knee, as a bright innocent little child. Infinite pity, yet also infinite rigour of law: it is so Nature is made; it is so Dante discerned that she was made. What a paltry notion is that of his _Divine Comedy's_ being a poor splenetic impotent terrestrial libel; putting those into h.e.l.l whom he could not be avenged-upon on earth! I suppose if ever pity, tender as a mother's, was in the heart of any man, it was in Dante's. But a man who does not know rigour cannot pity either. His very pity will be cowardly, egoistic,--sentimentality, or little better. I know not in the world an affection equal to that of Dante. It is a tenderness, a trembling, longing, pitying love: like the wail of aeolean harps, soft, soft; like a child's young heart;--and then that stern, sore-saddened heart! These longings of his towards his Beatrice; their meeting together in the _Paradiso_; his gazing in her pure transfigured eyes, her that had been purified by death so long, separated from him so far:--one likens it to the song of angels; it is among the purest utterances of affection, perhaps the very purest, that ever came out of a human soul.

For the _intense_ Dante is intense in all things; he has got into the essence of all. His intellectual insight as painter, on occasion too as reasoner, is but the result of all other sorts of intensity.

Morally great, above all, we must call him; it is the beginning of all. His scorn, his grief are as transcendent as his love;--as indeed, what are they but the _inverse_ or _converse_ of his love? '_A Dio spiacenti ed a' nemici sui_, Hateful to G.o.d and to the enemies of G.o.d:' lofty scorn, unappeasable silent reprobation and aversion; '_Non ragionam di lor_, We will not speak of _them_, look only and pa.s.s.' 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 rigour, 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. The _Purgatorio_ and _Paradiso_, especially the former, one would almost say, is even more excellent than it. It is a n.o.ble thing that _Purgatorio_, 'Mountain of Purification'; an emblem of the n.o.blest conception of that age. If Sin is so fatal, and h.e.l.l 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 daemons 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 n.o.ble embodiment of a true n.o.ble 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 pa.s.ses 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 _preter_-natural 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.