The Great Events by Famous Historians [Volumes 1-14]

"Che fece per vilta il gran rifinto,"39

the idea was derived from the Cerchi in Florence.

Of his subsequent life, history tells us little more than the general character. He acted for a time in concert with the expelled party, when they attempted to force their way back to Florence; he gave them up at last in scorn and despair; but he never returned to Florence. And he found no new home for the rest of his days. Nineteen years, from his exile to his death, he was a wanderer. The character is stamped on his writings. History, tradition, documents, all scanty or dim, do but disclose him to us at different points, appearing here and there, we are not told how or why. One old record, discovered by antiquarian industry, shows him in a village church near Florence, planning with the Cerchi and the White party an attack on the Black Guelfs. In another, he appears in the Val di Magra, making peace between its small potentates; in another, as the inhabitant of a certain street in Padua. The traditions of some remote spots about Italy still connect his name with a ruined tower, a mountain glen, a cell in a convent. In the recollections of the following generation, his solemn and melancholy form mingled reluctantly, and for a while, in the brilliant court of the Scaligers; and scared the women, as a visitant of the other world, as he passed by their doors in the streets of Verona. Rumor brings him to the West—with probability to Paris, more doubtfully to Oxford. But little that is certain can be made out about the places where he was honored and admired, and, it may be, not always a welcome guest, till we find him sheltered, cherished, and then laid at last to rest, by the lords of Ravenna. There he still rests, in a small, solitary chapel, built, not by a Florentine, but a Venetian. Florence, "that mother of little love," asked for his bones, but rightly asked in vain. His place of repose is better in those remote and forsaken streets "by the shore of the Adrian Sea," hard by the last relics of the Roman Empire—the mausoleum of the children of Theodosius, and the mosaics of Justinian—than among the assembled dead of St. Croce, or amid the magnificence of Santa Maria del Fiore.

The Commedia, at the first glance, shows the traces of its author's life. It is the work of a wanderer. The very form in which it is cast is that of a journey, difficult, toilsome, perilous, and full of change. It is more than a working out of that touching phraseology of the Middle Ages in which "the way" was the technical theological expression for this mortal life; and "viator" meant man in his state of trial, as "comprehensor" meant man made perfect, having attained to his heavenly country. It is more than merely this. The writer's mind is full of the recollections and definite images of his various journeys. The permanent scenery of the inferno and purgatorio, very variously and distinctly marked, is that of travel. The descent down the sides of the Pit, and the ascent of the Sacred Mountain, show one familiar with such scenes—one who had climbed painfully in perilous passes, and grown dizzy on the brink of narrow ledges over sea or torrent. It is scenery from the gorges of the Alps and Apennines, or the terraces and precipices of the Riviera. Local reminiscences abound. The severed rocks of the Adige Valley—the waterfall of St. Benedetto; the crags of Pietra-pana and St. Leo, which overlook the plains of Lucca and Ravenna; the "fair river" that flows among the poplars between Chiaveri and Sestri; the marble quarries of Carrara; the "rough and desert ways between Lerici and Turbia," and whose towery cliffs, going sheer into the deep sea at Noli, which travellers on the Corniche road some thirty years ago may yet remember with fear. Mountain experience furnished that picture of the traveller caught in an Alpine mist and gradually climbing above it; seeing the vapors grow thin, and the sun's orb appear faintly through them; and issuing at last into sunshine on the mountain top, while the light of sunset was lost already on the shores below:

"Ai raggi, morti gia' bassi lidi,"40

or that image of the cold dull shadow over the torrent, beneath the Alpine fir:

"Un' ombra smorta Qual sotto foglie verdi e rami nigri Sovra suoi freddi rivi, l'Alpe porta;"41

or of the large snowflakes falling without wind among the mountains: