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1596 AD (search for this): chapter 1
teenth, at least eighty. The first translation was into Spanish, in 1428. St. Rene Taillandier, in Revue des Deux Mondes, December 1, 1856. M. St. Rene Taillandier says that the Commedia was condemned by the inquisition in Spain; but this seems too general a statement, for, according to Foscolo, Dante, Vol. IV. p. 116. it was the commentary of Landino and Vellutello, and a few verses in the Inferno and Paradiso, which were condemned. The first French translation was that of Grangier, 1596, but the study of Dante struck no root there till the present century. Rivarol, who translated the Inferno in 1783, was the first Frenchman who divined the wonderful force and vitality of the Commedia. Ste. Beuve, Causeries du Lundi, Tome XI. p. 169. The expressions of Voltaire represent very well the average opinion of cultivated persons in respect of Dante in the middle of the eighteenth century. He says: The Italians call him divine; but it is a hidden divinity; few people understand
September (search for this): chapter 1
Dante, however, among others, by name. Macchiavelli is the authority for this, and is carelessly cited in the preface to the Udine edition of the Codex Bartolinianus as placing it in 1312. Macchiavelli does no such thing, but expressly implies an earlier date, perhaps 1310. (See Macch. Op. ed. Baretti, London, 1772, Vol. I. p. 60.) The undertaking of Henry, after an ill-directed dawdling of two years, at last ended in his death at Buonconvento (August 24, 1313; Carlyle says wrongly September); poisoned, it was said, in the sacramental bread, by a Dominican friar, bribed thereto by Florence. See Carlyle's Frederic, Vol. I. p. 147. The story is doubtful, the more as Dante nowhere alludes to it, as he certainly would have done had he heard of it. According to Balbo, Dante spent the time from August, 1313, to November, 1314, in Pisa and Lucca, and then took refuge at Verona, with Can Grande della Seala (whom Voltaire calls, drolly enough, le grand-can de Verone, as if he had
1341 AD (search for this): chapter 1
t canto of the Purgatorio says that unless you understand him and his figures allegorically, you will be deceived by the bark, and adds that our author made his pilgrimage as the representative of the rest (in persona ceterorum). We cite this comment under its received name, though it is uncertain if Pietro was the author of it. Indeed, we strongly doubt it. It is at least one of the earliest, for it appears, by the comment on Paradiso, XXVI., that the greater part of it was written before 1341. It is remarkable for the strictness with which it holds to the spiritual interpretation of the poem, and deserves much more to be called Ottimo, than the comment which goes by that name. Its publication is due to the zeal and liberality of the late Lord Vernon, to whom students of Dante are also indebted for the parallel-text reprint of the four earliest editions of the Commedia. To give his vision reality, he has adapted it to the vulgar mythology, but to understand it as the author meant
June (search for this): chapter 1
ly May. The indication which Dante himself gives that he was born when the sun was in Gemini would give a range from about the middle of May to about the middle of June, so that the 8th is certainly too early. This is the date given by Boccaccio, who is generally followed, though he makes a blunder in saying, sedendo Urbano quarto Tr. IV. c. 24. The date of Dante's birth is uncertain, but the period he assigns for it (Paradiso, XXII. 112-117) extends from the middle of May to the middle of June. If we understand Buti's astrological comment, the day should fall in June rather than May. That there should seem to be a discrepancy between the Lady of theJune rather than May. That there should seem to be a discrepancy between the Lady of the Vita Nuova and her of the Convito, Dante himself was already aware when writing the former and commenting it. Explaining the sonnet beginning Gentil pensier, he says, In this sonnet I make two parts of myself according as my thoughts were divided in two. The one part I call heart, that is, the appetite, the other soul, that is,
1373 AD (search for this): chapter 1
rm by Cardinal Gonzaga, in 1780, ail three of whom commemorated themselves in Latin inscriptions. It is a little shrine covered with a dome, not unlike the tomb of a Mohammedan saint, and is now the chief magnet which draws foreigners and their gold to Ravenna. The valet de place says that Dante is not buried under it, but beneath the pavement of the street in front of it, where also, he says, he saw my Lord Byron kneel and weep. Like everything in Ravenna, it is dirty and neglected. In 1373 (August 9) Florence instituted a hair of the Divina Commedia, and Boccaccio was named first professor. He accordingly began his lectures on Sunday, October 3, following, but his comment was broken off abruptly at the 17th verse of the 17th canto of the Inferno by the illness which ended in his death, December 21, 1375. Among his successors were Filippo Villani and Filelfo. Bologna was the first to follow the example of Florence, Benvenuto da Imola having begun his lectures, according to Ti
1312 AD (search for this): chapter 1
niory of Florence recalled a portion of the exiles, excepting Dante, however, among others, by name. Macchiavelli is the authority for this, and is carelessly cited in the preface to the Udine edition of the Codex Bartolinianus as placing it in 1312. Macchiavelli does no such thing, but expressly implies an earlier date, perhaps 1310. (See Macch. Op. ed. Baretti, London, 1772, Vol. I. p. 60.) The undertaking of Henry, after an ill-directed dawdling of two years, at last ended in his deatheath of Ugolino and Francesca da Rimini, 1282; death of Beatrice, 1290; Roger Bacon died, 1292; death of Cimabue, 1302; Dante's banishment, 1302; Petrarch born, 1304; Fra Dolcino burned, 1307; Pope Clement V. at Avignon, 1309; Templars suppressed, 1312; Boccaccio born, 1313; Dante died, 1321; Wycliffe born, 1324; Chaucer born, 1328. The range of Dante's influence is not less remarkable than its intensity. Minds, the antipodes of each other in temper and endowment, alike feel the force of h
1314 AD (search for this): chapter 1
a poem so long even as a single one of the three divisions of the Commedia would be accomplished very slowly. But it is difficult to account for the great fame which Dante enjoyed during the latter years of his life, unless we suppose that parts, at least, of his greatest work had been read or heard by a large number of persons. This need not, however, imply publication; and Witte, whose opinion is entitled to great consideration, supposes even the Inferno not to have been finished before 1314 or 1315. In a matter where certainty would be impossible, it is of little consequence to reproduce conjectural dates. In the letter to Can Grande, before alluded to, Dante himself has stated the theme of his song. He says that the literal subject of the whole work is the state of the soul after death simply considered. But if the work be taken allegorically, the subject is man, as by merit or demerit, through freedom of the will, he renders himself liable to the reward or punishment of ju
1814 AD (search for this): chapter 1
d his works closely. Thenceforward for more than a century Dante became a mere name, used without meaning by literary sciolists. Lord Chesterfield echoes Voltaire, and Dr. Drake in his Literary Hours Second edition, 1800. could speak of Darwin's Botanic Garden as showing the wild and terrible sublimity of Dante The first complete English translation was by Boyd,—of the Inferno in 1785, of the whole poem in 1802. There have been eight other complete translations, beginning with Cary's in 1814, six since 1850, beside several of the Inferno singly. Of these that of Longfellow is the best. It is only within the last twenty years, however, that the study of Dante, in any true sense, became at all general. Even Coleridge seems to have been familiar only with the Inferno. In America Professor Ticknor was the first to devote a special course of illustrative lectures to Dante; he was followed by Longfellow, whose lectures, illustrated by admirable translations, are remembered with grat
1483 AD (search for this): chapter 1
s built by Guido, as is asserted by Balbo (Vita, I. Lib. II. Cap. XVII.), whom De Vericour copies without question, we are at a loss to account for the preservation of the original epitaph replaced by Cardinal Bembo when he built the new tomb, in 1483. Bembo's own inscription implies an already existing monument, and, if in disparaging terms, yet epitaphial Latin verses are not to be taken too literally, considering the exigencies of that branch of literary ingenuity. The doggerel Latin has blorence got a cenotaph fairly built in Santa Croce (by Ricci), ugly beyond even the usual lot of such, with three colossal figures on it, Dante in the middle, with Italy on one side and Poesy on the other. The tomb at Ravenna, built originally in 1483, by Cardinal Bembo, was restored by Cardinal Corsi in 1692, and finally rebuilt in its present form by Cardinal Gonzaga, in 1780, ail three of whom commemorated themselves in Latin inscriptions. It is a little shrine covered with a dome, not unli
1519 AD (search for this): chapter 1
he sum of ten golden florins to be paid by the hands of Messer Giovanni Boccaccio to Dante's daughter Beatrice, a nun in the convent of Santa Chiara at Ravenna. In 1396 Florence voted a monument, and begged in vain for the metaphorical ashes of the man of whom she had threatened to make literal cinders if she could catch him alive. In 1429 See the letter in Gaye, Carteggio inedito d'artisti, Vol. I. p. 123. she begged again, but Ravenna, a dead city, was tenacious of the dead poet. In 1519 Michel Angelo would have built the monument, but Leo X. refused to allow the sacred dust to be removed. Finally, in 1829, five hundred and eight years after the death of Dante, Florence got a cenotaph fairly built in Santa Croce (by Ricci), ugly beyond even the usual lot of such, with three colossal figures on it, Dante in the middle, with Italy on one side and Poesy on the other. The tomb at Ravenna, built originally in 1483, by Cardinal Bembo, was restored by Cardinal Corsi in 1692, and f
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