a brother man sentenced by a court to be burned alive, or later on, has been tried himself, and upon a false charge sentenced to death by flame. We stand aghast at Dante's miseries and monsters, furies and gorgons, snakes and fires, lakes of pitch and pools of blood, a physical hell of utter and unspeakable dreariness and despair. But Dante's was an era of outbreaking and almost universal physical cruelty; sinners and criminals could not be reached by argument, for they could not think; there was but one way to approach animal man, and that was from the animal side. Through fear, Dante endeavoured to scourge men back from the horrors of iniquity. He appealed to material men through the imagery of material flames, and slowly by this scourge, tried to drive them back toward obedience, sympathy and love for the poor and the weak. For their allurement also he showed them a golden city in the far-off blue, with the flowers blooming in the fields of Paradise. He used his unrivalled genius to make vice and sin revolting and infinitely repulsive, just as he tried to make truth, kindness and justice alluring.
This volume, therefore, represents "the life history of a human soul redeemed from sin and error, from lust and wrath and mammon, and restored to the right path by the reason and the grace which enable him to see things as they are." Dante's conception is that "penalty is the same thing as sin, only it is sin taken at a later period of its history and a little lower down the stream." It is in life, here and now, that men's hands are fouled with the pits of greed; their tongues tipped with envenomed hate; their hearts steeped in crimson ooze. It is here and now that materialists "load themselves down with sacks of yellow clay," that misers plunge into "the boiling pitch of avarice." The genius of the Inferno is that sins are seeds, big with the harvest of their own penalty.
Our age makes little of the Purgatory itself—this realm which Dante describes as the place where the human soul is cleansed and made worthy to ascend to heaven. It is described as a kind of vestibule of Paradise, where the soul fronts the results of wrong-doing, through the debt of penalty and the evil inclination of the will, and the instincts that have been perverted. The sins of which men are cleansed are the sins against love and pride, envy and anger; the sins of the body, avarice and gluttony and passion. The angels that cleanse are the angels of forgiveness and peace. On that island of cleansing Virgil and Dante land, and place their hands upon the ground and bathe in dew their tear-stained cheeks. But climbing up the steep way of penitence is like climbing up a craggy mountainside, toiling on hands and knees, with tire that almost brings despair; and yet the higher Dante climbs the easier the task. Just as in the Inferno, Dante placed certain well-known figures—Judas Iscariot, who for avarice betrayed his Lord, and Alberigo who with horrible treachery murdered his own guests at a banquet, and that "youth who made the Great Refusal"; so in the Purgatory he shows us many men known to history who have stumbled here and there and are breast-buried in the rubbish of the world, to whom comes some angel bringing release, and whispering "Loose him, and let him go."
When he approaches the confines of Paradise and sees from afar the glorified form of Beatrice, Dante asks that God may become to his soul like a refiner's fire and cleanse away any stain or dross of sin. Gladly he enters that healing flame, guided by a sweet voice, which sang, "Come, ye blessed of my Father;" but, says Dante, "When I was within I would have flung myself into molten glass to cool myself, so immeasurable was the burning there." Then, broken down with utter remorse, he falls in a swoon; but he is plunged in the waters of forgetfulness and refreshed, like young plants; re-clad as if by the angel of spring, he issues from the wave, pure and true, ready to mount to the stars beyond.
Strangely enough, this book, the Inferno, is the most widely read. The Purgatory is less frequently opened, while men value least of all the Paradise of Dante. Doubtless the reason is that experience has brought familiarity with sin, so that all men understand its penalties, and at the selfsame time know something of penitence and of pardon, while the nature of that realm of perfect happiness, righteousness and peace is beyond human experience. But if any man was ever purified by suffering and earned the right to trust his visions and surrender himself to the pictures that noble imagination painted, that man was Dante. On the side of culture the measure of education of any man is his knowledge of Shakespeare. On the side of imagination and of pure and tender goodness, a man is a man just in proportion as he knows his Dante. James Russell Lowell's supreme essay was his essay on Dante, and he tells us that the great Italian "wrote with his heart's blood, like an inspired prophet of old." 'Midst all his poverty, exile and grief, he rose triumphant over sorrow and neglect. He never lost his confidence in the ultimate victory of right and truth. Hating oppression, he struggled as a prophet of liberty. Offered an invitation to return to his native city, on the condition that he would humiliate himself by confessing that he had done a wrong, he accepted an exile's death rather than be faithless to his great convictions. Climbing the stairs of other men's houses, he salted his bread with his own tears.
An old man at fifty-six, his last days were spent in Ravenna, in the house of a noble duke, who recognized in Dante the greatest man of his time. Long afterward, Byron sought out the house where Dante died, and falling upon his knees, beat upon his breast and wept, at the recollection of the sorrows that overwhelmed the master of them all. Just as Bunyan was rewarded for the second book in English literature by twelve years in Bedford Jail, so Dante, as a reward for writing the greatest book in Italian literature, was exiled from his home and city, pursued by spies, hunted over the hills with hounds, made to conceal himself in dens and caves of the earth, and brought to an untimely death. Dying, Dante might have used the words which, later, fell from the lips of Bacon, "I leave my name and fame to foreign lands, and to my own country when long time has passed." Let us believe that after having lived for fifty-six years in at once an Inferno and a Purgatory, at last Dante, the prisoner, was redeemed out of his dungeon, the exile out of his loneliness, the fugitive out of his rags and crusts, and the cave wherein he was hiding from his pursuers; that the man who for years held heart-break at bay at last was brought in out of the night, the fire-mist and the hail, into the imperial palaces of God, where one word of welcome repaid him ten thousand times for the bitter, grievous years, and where one word of love leaped forth from the ineffable light—and in a moment, his every wound was healed!
II
SAVONAROLA
(1452–1498)
And the Renaissance of Conscience
When the first warm days of May come to a land chilled through with the frosts of winter, all pastures and meadows, all vineyards and orchards, even the desert and the mountain rift awake to a new bloom and beauty. The revival of learning which culminated in that golden age known as the Renaissance was ushered in by the poet Dante, with his love for Beatrice and his immortal poem called the Divine Comedy. Dante has been likened unto that angel who descended from Heaven and, standing with one foot on the sea and one on the land, lifted the trumpet to his lips, and wakened the whole world. To Dante belongs the double glory "of immortalizing in verse the centuries behind him, while he inaugurated a new age and created a new language." But if Dante's face was turned upward and backward, his work was taken up by the great humanist, Petrarch, whose face was toward the future. Soon the whole land was awake, and while other countries were held in the grip of ice and winter, full summer burst upon Italy.
Scholars have interpreted the Renaissance from many different angles. Students of literature identify it with the discovery and reproduction of the manuscripts of the Greek and Latin authors. Artists associate it with Giotto's paintings and tower, with Michael Angelo's Moses and Last Judgment, and with the names of Alberti and Leonardo. Scientists point toward the discoveries of Copernicus and Columbus, just as jurists think of the rise of popular freedom and the overthrow of tyranny. Practical men associate the new era
