situation led him to fix his observation exclusively on human nature. The exquisite opening of the 8th Canto of the Purgatorio affords a striking instance of this. He leaves to others the earth, the ocean, and the sky. His business is with man. To other writers evening may be the season of dews, and stars, and radiant clouds: to DANTE it is the season of fond recollection and passionate devotion-the hour which melts the heart of the mariner and kindles the love of the pilgrim, the hour when the toll of the bell seems to mourn for another day, which is gone and will return no more."-(Ibid.) It will be remembered that when Zachary Macaulay consulted Lord Brougham, and sought his advice respecting the education of his youthful and promising son-the future Critic, Orator, Poet, Peer of Parliament, and Historian of his Country,—the pith of his Lordship's reply was, "Let him read and study Demosthenes and DANTE!" That this judicious advice was attended to, cannot be doubted; and that the Trilogy of DANTE was an especial favourite of Lord Macaulay is evident from almost every part of his writings. To no author are his allusions more frequent. They are both direct and incidental; they are found not only in his critical but in his historical works; and they are made with a frequency and apparent zest which prove the high estimation in which he held the Florentine Poet. The biographer of Robert Hall describes the eloquent but suffering Baptist Preacher as lying on his back, at the age of sixty, learning the Italian language, that he might verify MACAULAY'S description of DANTE," who ranks him above all the ancient poets except Homer. In speaking of the 3rd Canto of Inferno and the 6th of Purgatorio, as passages incomparable in their kind, he thus alludes to the opinion of Lord Brougham :-"The merit of the latter (the concluding part of Canto 6th) is, perhaps rather oratorical than poetical; nor can we recollect anything in the great Athenian speeches which equals it in force of invective and bitterness of sarcasm. I have heard the most eloquent statesmen of the age remark that, next to Demosthenes, DANTE is the writer who ought to be the most attentively studied by every man who desires to attain oratorical eminence." (MACAULAY'S Miscel laneous Writings, vol. i. pp. 70-71.) In the Autumn of 1859, the Translator had the privilege of an introduction to Lord Brougham, at Brougham, Westmoreland; and he never can forget the urbanity with which he was received, nor the familiarity with DANTE's Divina Commedia displayed by his Lordship, and his evident appreciation of its brilliant and striking passages. He seemed never tired of quoting the original, which he did with ease and fluency. In referring to the splendid invective contained in the 6th Canto, mentioned above, the name of the person with whom it is connected had escaped him. We suggested that of the Emperor Albert, which occurs in the invective, but that was not the name intended by his Lordship. It was the only instance in which his memory appeared at fault. After we had taken our leave, and were on our way from Brougham Hall, we heard our name pronounced with great emphasis by his Lordship, and, hastening back, beheld him standing on a bridge that crosses the road through his domain. We had to wait but an instant for the communication, to hear which we had been recalled. With a voice which would have commanded an audience of five thousand persons, had they been present, Lord Brougham pronounced the single word "SORDELLO!" It was enough! the temporary lapse had been recovered, and the tenacity of his memory amply vindicated; while on ours were indelibly impressed the scene, the sound, and the association between the famous Mantuan Troubadour, described in the Purgatorio, and the distinguished British Statesman, to whose lion-like presence, whether couching or roused, that description will not inaptly apply; and whose vehement eloquence and tremendous powers of sarcasm were not surpassed, even in the famous invective inscribed by DANTE to the memory of Sordello! TIME TABLE OF PURGATORIO. FIRST DAY; Saturday, April 9th, 1300: Noon on the Meridian of Jerusalem. Night-Midnight at the Antipodes, where the Poets emerge from the Abyss, on the Anniversary of the RESURRECTION. "Non derelinques animam meam in INFERNO."--Psalm xv (xvi), 10. The Morning Star ushers in the Dawn; Purgatorio, Canto i. lines 13-20. "Ego sum radix et genus David, stella splendida et matutina."-Apoc. xxii. 16. Sunrise; Canto i. 107-123. "Et orietur vobis timentibus nomen meum Sol Justitia."-Mal. iv. 2. Morning-Sunset at Jerusalem; Canto ii. 1-9. "Ecce relinquetur vobis domus vestra deserta."-Luc. xiii. 35. Forenoon; Canto ii. 55-57. Three hours five minutes after Sunrise; iv. 15. Noon; Midnight at Jerusalem; from 9 to 10 P.M., at Afternoon; vi. 51. Towards evening; vii. 43. Sunset; vii.85. SECOND DAY; Sunday, April 10th. The Stars appear; Canto viii. 85-90. Two hours after Sunset; the Moon rising; ix. 1-9. Dawn; ix. 13, 14. Two hours after Sunrise; ix. 44. Noon, xii. 80, 81. Three hours before Sunset; Midnight in Italy; xv. 1-6. Evening; xv. 139; xvii. 9. Sunset; xvii. 12. Night; xvii. 70-72. THIRD DAY; Monday, April 11th. Midnight; the Moon rising; xviii. 76-78. About 3 A.M., three hours after Midnight, or a little later; xix. 1-6. Daybreak; the Sun risen; xix. 37-39. Fifth hour after Sunrise, or 11 A.M.; xxii. 118-120. The Sun setting; xxvi. 1-6. Sunset-Sunrise at Jerusalem; Noon on the Ganges; xxvii. 1-5. "Populus qui ambulat in tenebris, vidit lucem magnam: habitantibus in regione umbræ mortis, lux orta est."-Esaiæ ix. 2. Twilight; xxvii. 61-69. FOURTH DAY; Tuesday, April 12th. Night; xxvii. 70—75. Rising of the Morning Star; 94-96. Morning; xxvii. 109. Noon; xxxiii. 103-105. PLAN OF PURGATORIO. Dante's Purgatory consists of a lofty_mountain, situated on an island, at the antipodes of Jerusalem. Round the lower part the shades of those who have deferred repentance wander and wait. Purgatory proper, surrounded by a wall, and entered through a narrow gate, consists of seven rounds, ledges, or cornices, gradually decreasing in circumference, and appropriated to the punishment and purification of different classes of sinners. The mountain is crowned by the Terrestrial Paradise. Dante was probably indebted for this idea to an Oriental tradition. Mohammedans believe that the Island of Serendib (Ceylon) was the place where Adam spent the remainder of his life, after his fall from Paradise in the Seventh Heaven. Hence the mountain, supposed to contain his grotto and sepulchre, was named by the Portuguese Pico d'Adam (Adam's Peak). NOTICE. *** The names of many additional Subscribers have been received; but as others continue from time to time to arrive, their publication is deferred: a complete List will appear in the Third Part. A copious Index to the whole Trilogy will also be published with PARADISO. THE TRILOGY, &c. PURGATORIO. CANTO I. THE ARGUMENT. Proposition of the subject, and invocation of the Muses. Dante's delight in breathing the pure fresh air, on the shore of the Mountain of Purgatory, where he sees the four stars of the Southern pole he meets the shade of Cato of Utica, the appointed guardian of the place; in answer to whose demand, Virgil relates the occasion of their visit. Before setting out on their journey Virgil, at Cato's instance, washes Dante's face with dew and girds him with a reed. To speed o'er calmer waters rapidly, My Fancy's bark now spreads her sail on high, And of that second realm a song I'll try, Here wake to life dead Poesy again, 1 The Muse of Eloquence and Heroic Poetry. From κaλos— of, beautiful speech or song. |