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Perhaps it is to enjoin sincerity; especially as the region of expiation has now been entered, and sincerity is the first step to repentance. The lingering shadows now began to flee Before the whitening dawn, so that mine eyes Discerned far off the trembling of the sea. is the beginning of the ode sung by Dante's friend.
Do I remember with the keenest joy the brain-tourneys in the old form-room, and the bally rot which used to take place on the Fourth of June? No. Burned deeply into my memory is a certain hot bath I took after one of the foulest cross-country runs that ever occurred outside Dante's Inferno. So with the present moment.
The narrative of Dante's journey through Hell and Purgatory, which is put into Michelangelo's mouth, if we are to believe that he really made it extempore and without book, shows a most minute knowledge of the Inferno. Michelangelo's doings at Serravezza can be traced with some accuracy during the summers of 1518 and 1519.
Dante's belief in immortality is formal, precise, and firm, as much so almost as that of a child, who thinks the dead will hear if you cry loud enough.
I thought of Dante's walk through hell, and called to mind the burning lake, which he describes, from which the wretched sufferers vainly sought to free themselves. Leaving, at last, this roof of the infernal regions, just as we again stood apparently on solid ground, a fierce explosion close beside us caused us to start and run for twenty feet. Our guide laughed heartily.
Had Dante's pride and indignation always vented themselves in this truly exalted manner, never could the admirers of his genius have refused him their sympathy; and never, I conceive, need he either have brought his exile upon him, or closed it as he did. To that close we have now come, and it is truly melancholy and mortifying.
Now then: that great Memnon's head comes from behind the horizon of time and the sunset of the Mysteries; and in it we sample the kind of consciousness produced by the Teaching of the Mysteries. Go back step by step, from Shakespeare's "Glamis hath murdered Sleep, and therefore Cawdor Shall sleep no more."; to Dante's "The love that moves the Sun and the other Stars"; to Talesin's
Liszt talked of his plans for compositions. He said he wished to express in music his impressions of Dante's "Divina Commedia," with a diorama of scenic effects. To fit out the diorama, it needed about $15,000. The princess, carried away with the idea, offered him the money from her own purse.
Olaf and the Bonders seek for him in Thora's house, but in vain; and finally, Olaf, standing on the very stone against which the swine-stye is built, promises wealth and honours to him who shall bring him the Jarl of Lade's head. The scene which follows is related by the Icelandic historian with Dante's tragic power.
From the affectation of cosmopolitan indifference not AEschylus, not Pindar, not Dante's very self was more alien or more free than Shakespeare; but there was nothing of the dry Tyrtaean twang, the dull mechanic resonance as of wooden echoes from a platform, in the great historic chord of his lyre.
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