Part 7

In Platonic cosmology, the concentric spheres were bodies formed and animated by intelligences of various orders. The nobler an intelligence, the more swift and outward, or higher, was the sphere it moved; whence the identification of “higher” with better, which survives, absurdly, to this day. And while Dante could not attribute literal truth to his fancies about hell, purgatory, and heaven, he believed that an actual heaven, purgatory, and hell had been fashioned by God on purpose to receive souls of varying deserts and complexion; so that while the poet’s imagination, unless it reechoed divine revelation, was only human and not prophetic, yet it was a genuine and plausible imagination, moving on the lines of nature, and anticipating such things as experience might very well realize. Dante’s objectification of morality, his art of giving visible forms and local habitations to ideal virtues and vices, was for him a thoroughly serious and philosophical exercise. God had created nature and life on that very principle. The poet’s method repeated the magic of Genesis. His symbolical imagination mirrored this symbolical world; it was a sincere anticipation of fact, no mere laboured and wilful allegory.

This situation has a curious consequence. Probably for the first and last time in the history of the world a classification worked out by a systematic moralist guided the vision of a great poet. Aristotle had distinguished, named, and classified the various virtues, with their opposites. But observe: if the other world was made on purpose--as it was--to express and render palpable those moral distinctions which were eternal, and to express and render them palpable in great detail, with all their possible tints and varieties; and if Aristotle had correctly classified moral qualities, as he had--then it follows that Aristotle (without knowing it) must have supplied the ground-plan, as it were, of hell and of heaven. Such was Dante’s thought. With Aristotle’s _Ethics_ open before him, with a supplementary hint, here and there, drawn from the catechism, and with an ingrained preference (pious and almost philosophic) for the number three and its multiples, he needed not to voyage without a chart. The most visionary of subjects, life after death, could be treated with scientific soberness and deep sincerity. This vision was to be no wanton dream. It was to be a sober meditation, a philosophical prophecy, a probable drama,--the most poignant, terrible, and consoling of all possible truths.

The good--this was the fundamental thought of Aristotle and of all Greek ethics,--the good is the end at which nature aims. The demands of life cannot be radically perverse, since they are the judges of every excellence. No man, as Dante says, could hate his own soul; he could not at once be, and contradict, the voice of his instincts and emotions. Nor could a man hate God; for if that man knew himself, he would see that God was, by definition, his natural good, the ultimate goal of his actual aspirations.[10] Since it was impossible, according to his insight, that our faculties should be intrinsically evil, all evil had to arise from the disorder into which these faculties fall, their too great weakness or strength in relation to one another. If the animal part of man was too strong for his reason, he fell into incontinence,--that is, into lust, gluttony, avarice, wrath, or pride. Incontinence came from an excessive or ill-timed pursuit of something good, of a part of what nature aims at; for food, children, property, and character are natural goods. These sins are accordingly the most excusable and the least odious. Dante puts those who have sinned through love in the first circle of hell, nearest to the sunlight, or in the topmost round of purgatory, nearest to the earthly paradise. Below the lovers, in each case, are the gluttons,--where a northern poet would have been obliged to place his drunkards. Beneath these again are the misers,--worse because less open to the excuse of a merely childish lack of self-control.

The disorder of the faculties may arise, however, in another way. The combative or spirited element, rather than the senses, may get out of hand, and lead to crimes of violence. Violence, like incontinence, is spontaneous enough in its personal origin, and would not be odious if it did not inflict, and intend to inflict, harm on others; so that besides incontinence, there is malice in it. Ill-will to others may arise from pride, because one loves to be superior to them, or from envy, because one abhors that they should seem superior to oneself; or through desire for vengeance, because one smarts under some injury. Sins of these kinds are more serious than those of foolish incontinence; they complicate the moral world more; they introduce endless opposition of interests, and perpetual, self-propagating crimes. They are hateful. Dante feels less pity for those who suffer by them: he remembers the sufferings these malefactors have themselves caused, and he feels a sort of joy in joining the divine justice, and would gladly lash them himself.

Worse still than violence, however, is guile: the sin of those who in the service of their intemperance or their malice have abused the gift of reason. _Corruptio optimi pessima_; and to turn reason, the faculty that establishes order, into a means of organizing disorder, is a perversity truly satanic: it turns evil into an art. But even this perversity has stages; and Dante distinguishes ten sorts of dishonesty or simple fraud, as well as three sorts of treachery.

Besides these positive transgressions there is a possibility of general moral sluggishness and indifference. This Dante, with his fervid nature, particularly hates. He puts the Laodiceans in the fringe of his hell; within the gate, that they may be without hope, but outside of limbo, that they may have torments to endure, and be stung by wasps and hornets into a belated activity.[11]

To these vices, known to Aristotle, the Catholic moralist was obliged to add two others: original sin, of which spontaneous disbelief is one consequence, and heresy, or misbelief, after a revelation has been given and accepted. Original sin, and the paganism that goes with it, if they lead to nothing worse, are a mere privation of excellence and involve, in eternity merely a privation of joy: they are punished in limbo. There sighs are heard, but no lamentation, and the only sorrow is to live in desire without hope. This fate is most appropriately imputed to the noble and clear-sighted in the hereafter, since it is so often their experience here. Dante was never juster than in this stroke.[12] Heresy, on the other hand, is a kind of passion when honest, or a kind of fraud when politic; and it is punished as pride in fiery tombs,[13] or as faction by perpetual gaping wounds and horrible mutilations.[14]

So far, with these slight additions, Dante is following Aristotle; but here a great divergence sets in. If a pagan poet had conceived the idea of illustrating the catalogue of vices and virtues in poetic scenes, he would have chosen suitable episodes in human life, and painted the typical characters that figured in them in their earthly environment; for pagan morality is a plant of earth. Not so with Dante. His poem describes this world merely in retrospect; the foreground is occupied by the eternal consequences of what time had brought forth. These consequences are new facts, not merely, as for the rationalist, the old facts conceived in their truth; they often reverse, in their emotional quality, the events they represent. Such a reversal is made possible by the theory that justice is partly retributive; that virtue is not its own sufficient reward, nor vice its own sufficient punishment. According to this theory, this life contains a part of our experience only, yet determines the rest. The other life is a second experience, yet it does not contain any novel adventures. It is determined altogether by what we have done on earth; as the tree falleth so it lieth, and souls after death have no further initiative.

The theory Dante adopts mediates between two earlier views; in so far as it is Greek, it conceives immortality ideally, as something timeless; but in so far as it is Hebraic, it conceives of a new existence and a second, different taste of life. Dante thinks of a second experience, but of one that is wholly retrospective and changeless. It is an epilogue which sums up the play, and is the last episode in it. The purpose of this epilogue is not to carry on the play indefinitely: such a romantic notion of immortality never entered Dante’s mind. The purpose of the epilogue is merely to vindicate (in a more unmistakable fashion than the play, being ill acted, itself could do) the excellence of goodness and the misery of vice. Were this life all, he thinks the wicked might laugh. If not wholly happy, at least they might boast that their lot was no worse than that of many good men. Nothing would make an overwhelming difference. Moral distinctions would be largely impertinent and remarkably jumbled. If I am a simple lover of goodness, I may perhaps put up with this situation. I may say of the excellences I prize what Wordsworth says of his Lucy: there may be none to praise and few to love them, but they make all the difference to me.

Dante, however, was not merely a simple lover of excellence: he was also a keen hater of wickedness, one that took the moral world tragically and wished to heighten the distinctions he felt into something absolute and infinite. Now any man who is _enragé_ in his preferences will probably say, with Mohammed, Tertullian, and Calvin, that good is dishonoured if those who contemn it can go scot-free, and never repent of their negligence; that the more horrible the consequences of evil-doing, the more tolerable the presence of evil-doing is in the world; and that the everlasting shrieks and contortions of the damned alone will make it possible for the saints to sit quiet, and be convinced that there is perfect harmony in the universe. On this principle, in the famous inscription which Dante places over the gate of hell, we read that primal love, as well as justice and power, established that torture-house; primal love, that is, of that good which, by the extreme punishment of those who scorn it, is honoured, vindicated, and made to shine like the sun. The damned are damned for the glory of God.

This doctrine, I cannot help thinking, is a great disgrace to human nature. It shows how desperate, at heart, is the folly of an egotistic or anthropocentric philosophy. This philosophy begins by assuring us that everything is obviously created to serve our needs; it then maintains that everything serves our ideals; and in the end, it reveals that everything serves our blind hatreds and superstitious qualms. Because my instinct taboos something, the whole universe, with insane intensity, shall taboo it for ever. This infatuation was inherited by Dante, and it was not uncongenial to his bitter and intemperate spleen. Nevertheless, he saw beyond it at times. Like many other Christian seers, he betrays here and there an esoteric view of rewards and punishments, which makes them simply symbols for the intrinsic quality of good and evil ways. The punishment, he then seems to say, is nothing added; it is what the passion itself pursues; it is a fulfilment, horrifying the soul that desired it.

For instance, spirits newly arrived in hell require no devil with his prong to drive them to their punishment. They flit towards it eagerly, of their own accord.[15] Similarly, the souls in purgatory are kept by their own will at the penance they are doing. No external force retains them, but until they are quite purged they are not able, because they are not willing, to absolve themselves.[16] The whole mountain, we are told, trembles and bursts into psalmody when any one frees himself and reaches heaven. Is it too much of a gloss to say that these souls change their prison when they change their ideal, and that an inferior state of soul is its own purgatory, and determines its own duration? In one place, at any rate, Dante proclaims the intrinsic nature of punishment in express terms. Among the blasphemers is a certain king of Thebes, who defied the thunderbolts of Jupiter. He shows himself indifferent to his punishment and says: “Such as I was alive, such I am dead.” Whereupon Virgil exclaims, with a force Dante had never found in his voice before: “In that thy pride is not mortified, thou art punished the more. No torture, other than thy own rage, would be woe enough to match thy fury.”[17] And indeed, Dante’s imagination cannot outdo, it cannot even equal, the horrors which men have brought upon themselves in this world. If we were to choose the most fearful of the scenes in the _Inferno_, we should have to choose the story of Ugolino, but this is only a pale recital of what Pisa had actually witnessed.

A more subtle and interesting instance, if a less obvious one, may be found in the punishment of Paolo and Francesca di Rimini. What makes these lovers so wretched in the Inferno? They are still together. Can an eternity of floating on the wind, in each other’s arms, be a punishment for lovers? That is just what their passion, if left to speak for itself, would have chosen. It is what passion stops at, and would gladly prolong for ever. Divine judgement has only taken it at its word. This fate is precisely what Aucassin, in the well-known tale, wishes for himself and his sweetheart Nicolette,--not a heaven to be won by renunciation, but the possession, even if it be in hell, of what he loves and fancies. And a great romantic poet, Alfred de Musset, actually upbraids Dante for not seeing that such an eternal destiny as he has assigned to Paolo and Francesca would be not the ruin of their love,[18] but the perfect fulfilment of it. This last seems to be very true; but did Dante overlook the truth of it? If so, what instinct guided him to choose just the fate for these lovers that they would have chosen for themselves?

There is a great difference between the apprentices in life, and the masters,--Aucassin and Alfred de Musset were among the apprentices; Dante was one of the masters. He could feel the fresh promptings of life as keenly as any youngster, or any romanticist; but he had lived these things through, he knew the possible and the impossible issue of them; he saw their relation to the rest of human nature, and to the ideal of an ultimate happiness and peace. He had discovered the necessity of saying continually to oneself: Thou shalt renounce. And for this reason he needed no other furniture for hell than the literal ideals and fulfilments of our absolute little passions. The soul that is possessed by any one of these passions nevertheless has other hopes in abeyance. Love itself dreams of more than mere possession; to conceive happiness, it must conceive a life to be shared in a varied world, full of events and activities, which shall be new and ideal bonds between the lovers. But unlawful love cannot pass out into this public fulfilment. It is condemned to be mere possession--possession in the dark, without an environment, without a future. It is love among the ruins. And it is precisely this that is the torment of Paolo and Francesca--love among the ruins of themselves and of all else they might have had to give to one another. Abandon yourself, Dante would say to us,--abandon yourself altogether to a love that is nothing but love, and you are in hell already. Only an inspired poet could be so subtle a moralist. Only a sound moralist could be so tragic a poet.

The same tact and fine feeling that appear in these little moral dramas appear also in the sympathetic landscape in which each episode is set. The poet actually accomplishes the feat which he attributes to the Creator; he evokes a material world to be the fit theatre for moral attitudes. Popular imagination and the precedents of Homer and Virgil had indeed carried him halfway in this symbolic labour, as tradition almost always carries a poet who is successful. Mankind, from remotest antiquity, had conceived a dark subterranean hell, inhabited by unhappy ghosts. In Christian times, these shades had become lost souls, tormented by hideous demons. But Dante, with the Aristotelian chart of the vices before him, turned those vague windy caverns into a symmetrical labyrinth. Seven concentric terraces descended, step by step, towards the waters of the Styx, which in turn encircled the brazen walls of the City of Dis, or Pluto. Within these walls, two more terraces led down to the edge of a prodigious precipice--perhaps a thousand miles deep--which formed the pit of hell. At the bottom of this, still sinking gently towards the centre, were ten concentric furrows or ditches, to hold ten sorts of rogues; and finally a last sheer precipice fell to the frozen lake of Cocytus, at the very centre of the earth, in the midst of which Lucifer was congealed amongst lesser traitors.

Precision and horror, graphic and moral truth, were never so wonderfully combined as in the description of this hell. Yet the conception of purgatory is more original, and perhaps more poetical. The very approach to the place is enchanting. We hear of it first in the fatal adventure ascribed to Ulysses by Dante. Restless at Ithaca after his return from Troy, the hero had summoned his surviving companions for a last voyage of discovery. He had sailed with them past the Pillars of Hercules, skirting the African shore; until after three months of open sea, he saw a colossal mountain, a great truncated cone, looming before him. This was the island and hill of purgatory, at the very antipodes of Jerusalem. Yet before Ulysses could land there, a squall overtook him; and his galley sank, prow foremost, in that untraversed sea, within sight of a new world. So must the heathen fail of salvation, though some oracular impulse bring them near the goal.

How easy is success, on the other hand, to the ministers of grace! From the mouth of the Tiber, where the souls of Christians congregate after death, a light skiff, piloted by an angel, and propelled only by his white wings, skims the sea swiftly towards the mountain of purgatory, there deposits the spirits it carries, and is back at the mouth of the Tiber again on the same day. So much for the approach to purgatory. When a spirit lands it finds the skirts of the mountain broad and spreading, but the slope soon becomes hard and precipitous. When he has passed the narrow gate of repentance, he must stay upon each of the ledges that encircle the mountain at various heights, until one of his sins is purged, and then upon the next ledge above, if he has been guilty also of the sin that is atoned for there. The mountain is so high as to lift its head into the sphere of the moon, above the reach of terrestrial tempests. The top, which is a broad circular plain, contains the Garden of Eden, watered by the rivers Lethe and Eunoe, one to heal all painful memories, and the other to bring all good thoughts to clearness. From this place, which literally touches the lowest heaven, the upward flight is easy from sphere to sphere.

The astronomy of Dante’s day fell in beautifully with his poetic task. It described and measured a firmament that would still be identified with the posthumous heaven of the saints. The whirling invisible spheres of that astronomy had the earth for their centre. The sublime complexities of this Ptolemaic system were day and night before Dante’s mind. He loves to tell us in what constellation the sun is rising or setting, and what portion of the sky is then over the antipodes; he carries in his mind an orrery that shows him, at any given moment, the position of every star.

Such a constant dragging in of astronomical lore may seem to us puerile or pedantic; but for Dante the astronomical situation had the charm of a landscape, literally full of the most wonderful lights and shadows; and it also had the charm of a hard-won discovery that unveiled the secrets of nature. To think straight, to see things as they are, or as they might naturally be, interested him more than to fancy things impossible; and in this he shows, not want of imagination, but true imaginative power and imaginative maturity. It is those of us who are too feeble to conceive and master the real world, or too cowardly to face it, that run away from it to those cheap fictions that alone seem to us fine enough for poetry or for religion. In Dante the fancy is not empty or arbitrary; it is serious, fed on the study of real things. It adopts their tendency and divines their true destiny. His art is, in the original Greek sense, an imitation or rehearsal of nature, an anticipation of fate. For this reason curious details of science or theology enter as a matter of course into his verse. With the straightforward faith and simplicity of his age he devours these interesting images, which help him to clarify the mysteries of this world.

There is a kind of sensualism or aestheticism that has decreed in our day that theory is not poetical; as if all the images and emotions that enter a cultivated mind were not saturated with theory. The prevalence of such a sensualism or aestheticism would alone suffice to explain the impotence of the arts. The life of theory is not less human or less emotional than the life of sense; it is more typically human and more keenly emotional. Philosophy is a more intense sort of experience than common life is, just as pure and subtle music, heard in retirement, is something keener and more intense than the howling of storms or the rumble of cities. For this reason philosophy, when a poet is not mindless, enters inevitably into his poetry, since it has entered into his life; or rather, the detail of things and the detail of ideas pass equally into his verse, when both alike lie in the path that has led him to his ideal. To object to theory in poetry would be like objecting to words there; for words, too, are symbols without the sensuous character of the things they stand for; and yet it is only by the net of new connections which words throw over things, in recalling them, that poetry arises at all. Poetry is an attenuation, a rehandling, an echo of crude experience; it is itself a theoretic vision of things at arm’s length.

Never before or since has a poet lived in so large a landscape as Dante; for our infinite times and distances are of little poetic value while we have no graphic image of what may fill them. Dante’s spaces were filled; they enlarged to the limits of human imagination, the habitations and destinies of mankind. Although the saints did not literally inhabit the spheres, but the empyrean beyond, yet each spirit could be manifested in that sphere the genius of which was most akin to his own. In Dante’s vision spirits appear as points of light, from which voices also flow sometimes, as well as radiance. Further than reporting their words (which are usually about the things of earth) Dante tells us little about them. He has indeed, at the end, a vision of a celestial rose; tier upon tier of saints are seated as in an amphitheatre, and the Deity overarches them in the form of a triple rainbow, with a semblance of man in the midst. But this is avowedly a mere symbol, a somewhat conventional picture to which Dante has recourse unwillingly, for want of a better image to render his mystical intention. What may perhaps help us to divine this intention is the fact, just mentioned, that according to him the celestial spheres are not the real seat of any human soul; that the pure rise through them with increasing ease and velocity, the nearer they come to God; and that the eyes of Beatrice--the revelation of God to man--are only mirrors, shedding merely reflected beauty and light.