Benvenuto: "non exclusum, immo potius inclusum."

The Ottimo: "non tolto."

(B) to unclose or display, as in Par. xxiv, 100, but even there the connection with (A) is not distant. In Purg. xxxiii, 132, either meaning would do.

But finally-What is the actual meaning of the whole passage? [It is not, of course, mere idle sentiment.] Possibly something like this; In Convivio ii, 16, ll. 32 et seq., and especially in ibid. iii, 15, 11. 13-15, we read that the eyes of Filosofia or Sapienza are her demonstrations. Probably, therefore, the eyes of Beatrice are the convincing proof or the intellectual aspect of Theological Truths. Note especially l. 132, and compare Par. iv, 124-129.

Each ascending sphere brings a fresh accession of insight into Divine Truth, and into the truths and mysteries of Theology; and each such accession has two aspects:

(a) The revelation and passive reception of it;

and (8) The demonstration or understanding of it.

It is first revealed to and shed upon the awakened mind, which joyfully and unquestioningly welcomes it, though not understood, in trust, riore. [This is the stage reached, up to this point, in the Sphere of Mars, and of this a hint seems to be given in l. 123, una melode, che mi rapiva senza intender l' inno.] Afterwards the mind advances to the understanding of the "sweet reasonableness" of it, and this largely increases the joy first experienced in the mere recognition or reception of the same truth.

For this distinction see Par. ii, 43-45

"Lì si vedrà ciò che tenem per fede,

Non dimostrato, ma fia per sè noto,

A guisa del ver primo che l' uom crede."

Now if we call the Spheres in ascending order, (1), (2), (3) and use (a) and (B) as above, then

(1 a) is less than (2 a), and (1 ẞ) than (2 ẞ), etc.; but even (2 a) is greater than (1 ẞ), and (2 B) than (1 y), and so on throughout.

Hence, in the Sphere of Mars, the joy of the passive reception of the revelation of truth given in that Sphere is higher

than that of any revelation in the lower Sphere of the Sun, either as merely received and recognized, though senza intender (1. 123), or even as demonstrated to the satisfaction of the intellect. This is expressed in ll. 133-134. The revelation already received at the outset of the Sphere of Mars truly surpassed all whatsoever that had been experienced before (ll. 127-129), but as yet Dante had not regarded it in its intellectual or rational aspect; he had not risen above the "r" to the "dióri;" so far he had been

"Contented if he might enjoy

The things which others understand."

In other words, he had not yet turned to the eyes of Beatrice, as they presented themselves in this particular Sphere.

While my work on the first edition was in the press, I received as a gift from Mr. Haselfoot the very handsome volume which represents the second edition of his valuable work. At the end of Canto xiv of the Paradiso, there is an important note containing his views upon this difficult and much disputed passage, but I prefer those of Dr. Moore quoted above.

CANTO XV.

SPHERE OF MARS (CONTINUED)—THE MARTYRS FOR THE FAITH-THE CRUSADER CACCIAGUIDA_CONTRAST BETWEEN THE FLORENCE OF CACCIAGUIDA AND THE FLORENCE OF DANTE.

THIS Canto contains the famous and beautiful description of Florence at the commencement of the Twelfth Century. I cordially recommend to the perusal of my readers the fine metrical translation of my old college friend Mr. Edward Pember, K.C., in his work Adrastus and other Poems, London, 1897. It is one of the most successful translations of Dante that I ever read.

Benvenuto divides the Canto into three parts.

In the First Division, from ver. I to ver. 36, Dante is accosted by his ancestor Cacciaguida.

In the Second Division, from ver. 37 to ver. 87, after mutual greetings have passed between them, Dante asks Cacciaguida who he is.

In the Third Division, from ver. 88 to ver. 148, Cacciaguida names himself, and draws a vivid picture of the simplicity of the life at Florence in his time.

Division I.-We take up the scene as we left it in the last Canto. Dante and Beatrice are standing near the foot of the vast starry Cross, from which is pro

ceeding a melody that ravishes all Dante's senses. As the Canto opens, there is a pause in that melody, which would seem to have been intentionally made by the Blessed Spirits, in order that Dante might take advantage of the temporary silence, and speak for himself. Their tender and courteous manifestations of Love appear to him a good augury for those on Earth who would invoke their meditation and intercession; and well merited would be eternal damnation by all those who fail to discipline themselves to this exalted Love of Heaven.

Benigna volontade, in cui si liqua*

Sempre l'amor che drittamente spira,
Come cupidità † fa nell' iniqua,

Silenzio pose a quella dolce lira,‡

E fece quietar le sante corde,§

5

*si liqua: “idest, manifestat se" (Talice da Ricaldone); "idest, in qua liquido et clare ostenditur" (Benvenuto); "si liqua, cioè manifesta, dimostra, ed apertissimamente e in detto e in fatto si diliquida il diritto amore" (Ottimo). Most of the Commentators derive the word from the Latin liquet, "is made manifest," and this is the interpretation I follow. A few derive it from the Latin liquare, "to resolve; " but there is not much difference in the sense, whichever derivation be preferred. + Come cupidità, etc.: Compare Par. xxvii, 121-123:-"O cupidigia, che i mortali affonde

Sì sotto te, che nessuno ha potere

Di trarre gli occhi fuor delle tue onde!"

See Buti on this: "Fa l'autore similitudine per contrarie cose, dicendo che, come ne la buona volontà si manifesta l' ordinato e perfetto amore; così ne la ria volontà si dimostra lo disordinato ed imperfetto amore, lo quale l'autore chiama cupidità." lira: Compare Par. xxiii, 100-102:—

Comparata al sonar di quella lira,

Onde si coronava il bel zaffiro,

Del quale il ciel più chiaro s' inzaffira."

§ sante corde; "E perchè ha chiamato quel canto lira, ora chiama le voci degli spiriti corde, perciocchè tutta quella congregazione di quelli spiriti era come una cithara, e gli spiriti eran

Che la destra del cielo allenta e tira.*

That kindly-intentioned will,-in which is ever
manifested the Love which is breathed forth right-
fully (i.e. perfect Charity), in the same way that ill-
regulated love does (manifest itself) in the will to do
evil,-imposed silence upon that sweet minstrelsy
(lit. lyre), and caused to cease the saintly chords
(i.e. movement of the spirits), which the right hand
of Heaven relaxes and tightens.

As in a well-directed will a well-regulated and perfect Love is revealed, so in an ill-directed will is shown that ill-regulated and imperfect love which Dante styles cupidità. He calls the sacred melody of the Saints a lira, using pars pro toto, and retaining the simile of giga and arpa, which we saw in 1. 118 of the last Canto. To keep up the simile farther, he calls the voices of the Blessed Spirits corde, for, as the whole congregation of them was like a lyre, the spirits were its chords, and God was its tuner.

From the self-imposed silence of the spirits, Dante goes on to say to himself that the Saints will never be deaf to righteous prayer, and that he has a proof of it here, inasmuch as they have spontaneously suspended their chant in order that he may feel disposed to signify to them his desires. Those then who for the sake of transitory pleasures deprive themselves for ever of such love as this, deserve an endless punishment. Come saranno ai giusti preghi sorde

Quelle sustanzie,† che per darmi voglia

come corde di quella" (Landino). Casini interprets quietar as "to cause to cease moving," not "rendered silent," which is expressed in the previous line. See below.

*tira; Compare Par. x, 142 :—

"Che l' una parte l'altra tira ed urge."

+ sustanzie: Dante uses this word to express the spirits of the Blessed in Par. vii, 5, 6:—