The Atlantic Monthly, Volume 03, No. 16, February, 1859

Compare Canz. x. and xi.

10

This is, perhaps, the earliest reference in modern literature to the use of painting as a decoration for houses. It is probable that it was a recent application of the art, and resulted from the revival of interest in its works which accompanied the revival of the art. We shall have occasion again to note a reference to painting.

11

To this period, apparently, belong Sonnets xxix. and xxx. of the general collection. The last may not unlikely have been omitted in the Vita Nuova on account of the tenderness with which the death of Beatrice had invested every memory of her, preventing the insertion of a poem which might seem harsh in its expression:—

"I curse the day on which I first beheld
The light of thy betraying eyes."

12

This refers to the sonnets Dante had written about his own trouble and the conflict of his thoughts. It will be observed that the words "speak" and "speech" are used in reference to poetic compositions. In those days the poet was commonly called il dicitore in rima, "the speaker in rhyme," or simply il dicitore.

13

The epithet which Dante constantly applies to Beatrice is "most gentle," gentillisima, while other ladies are called gentile, "gentle." Here he makes the distinction between the donna and the donna gentile. The word is used with a signification similar to that which it has in our own early literature, and fuller than that which it now retains. It refers both to race, as in the phrase "of gentle birth," and to the qualities of character. "Gentleness means the same as nobleness," says Dante, in the Convito; "and by nobleness is meant the perfection of its own nature in anything." Tratt. iv. c. 14 16.

The delicacy and the dignity of meaning attaching to the word render it an epithet especially appropriate to Beatrice, as implying all that is loveliest in person and character. Its use in the Vita Nuova is the more to be remarked, as in the Divina Commedia it is never applied to Beatrice. Its appropriateness ceased with her earthly life, for there was "another glory of the celestial body."

14

This Canzone is one of the most beautiful of Dante's minor poems. We have preferred to give it in a literal translation, rather than to attempt one in which the involved rhyme of the original should be preserved, fearing lest this could not be done without sacrifice of the meaning to the form. The original must be read by those who would understand its grace of expression combined with its depth of feeling. Dante himself prized this Canzone, and represents Buonagiunta da Lucca in Purgatory as addressing him,—

"Ma di s' io veggio qui colui che fuore Trasse le nuove rime, cominciando: _Donne, ch' avete intelletto d'Amore."

"But tell me if I see him who wrote the new rhymes, beginning, 'Ladies who have intelligence of Love.'" Purgat. c. xxiv. l. 49-51.

15

Note the reference implied in these words   to the journey of Dante through Hell.

16

it is probable that Dante refers to the first of a Canzone by Guido Guinicelli, which says,

"Within the gentle heart Love always stays,"

—a verse which he may have had still in his memory when he makes Francesca da Rimini say, (Inf. v. 100,)

"Love which by gentle heart is quickly learned."

For other definitions of Love as understood by the Italian poets of the trecento, see Guido Cavalcanti's most famous and most obscure Canzone, Donna mi priega; the sonnet (No. xlii.) falsely ascribed to Dante, Molti volendo dir che fosse Amore; the sonnet by Jacopo da Lentino, Amore è un desio che vien dal core; and many others.

17

Compare with this Sonnet xl.,—

"Dagli occhi della mia donna si muove."

18

Folco Portinari died December 31, 1289.

19

Compare with this passage Sonnet xlvi., which seems to have been written on this occasion;—

"Voi, donne, che pietoso atto mostrate,"

and Sonnet xlvii.,—

"Onde venite voi, cosi pensose?"

20

In the Divina Commedia frequent reference is made to the singing of Osanna by the Angels. See Purgat. xi. 11; xxix. 51; Par. vii. 1; xxviii. 94, 118; xxxii. 135; and especially viii. 28.

21

See the charming Sonnet lii.:—

"Guido vorrei che tu, e Lappo, ed io."

22

Perhaps the spirit of the latter part of this sonnet may be better conveyed by rendering thus:—

"So pleaseth she all those approaching nigh her,
* * * * *
Which goeth saying to the soul, 'Aspire!'"

Compare the very beautiful Ballata vi. and Sonnet xlviii., beginning,

"Di donne io vidi una gentile schiera."

23

The Works of William Shakespeare. Edited, etc., by RICHARD GRANT WHITE. Vols. II., III., IV., and V. Boston: Little, Brown, & Co. 1858

24

Vol. III. p. 348, note. He grounds his belief, not on the misprinting of words, but on the misplacing of whole paragraphs. We were struck with the same thing in the original edition of Chapman's Biron's Conspiracy and Tragedy. One of the misprints which Mr. Spedding notices affords both a hint and a warning to the conjectural emendator. In the edition of The Advancement of Learning printed in 1605 occurs the word dusinesse. In a later edition this was conjecturally changed to business; but the occurrence of vertigine in the Latin translation enables Mr. Spedding to print rightly, dizziness.

25

Die Shakspere-Literatur bis Mitte 1854. Zusammengestellt und herausgegeben von P.H. SILLIG. Leipzig. 1854.