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Thomas Wentworth Higginson, Henry Wadsworth Longfellow 2 0 Browse Search
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Thomas Wentworth Higginson, Henry Wadsworth Longfellow, Chapter 20: Dante (search)
he quality of Dante can no more be truthfully transmuted into this than we can transmute the charms of a spring morning into those of a summer afternoon, or violets into roses. Goethe, it is well known, took for his model as to the language of Faust the poetry of Hans Sachs, Longfellow's cobbler bard; and Dante's terse monosyllables were based upon the language of the people, which he first embodied in art. To mellow its refreshing brevities would perhaps be to destroy it, and that which Mr. Andrews finely says of the Faust may be still more true of the Divina Commedia, that it must remain, after all, the enchanted palace; and the bodies and the bones of those who in other days strove to pierce its encircling hedge lie scattered thickly about it. So Mr. W. C. Lawton, himself an experienced translator from the Greek, says of Longfellow's work, His great version is but a partial success, for it essays the unattainable. The New England Poets, p. 138. But if it be possible to win this