the unseen world and other essays-第56章
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e everything new was right。 It recognized crudely the differences between one age and another； but it had a way of looking down upon all ages except the present。 This intolerance shown toward the past was indeed a measure of the crudeness with which it was comprehended。 Because Mohammed； if he had done what he did； in France and in the eighteenth century； would have been called an impostor； Voltaire； the great mouthpiece and representative of this style of criticism； portrays him as an impostor。 Recognition of the fact that different ages are different； together with inability to perceive that they ought to be different； that their differences lie in the nature of progress；this was the prominent characteristic of eighteenth…century criticism。 Of all the great men of that century； Lessing was perhaps the only one who outgrew this narrow critical habit。
Now nineteenth…century criticism not only knows that in no preceding age have men thought and behaved as they now think and behave； but it also understands that old…fashioned thinking and behaviour was in its way just as natural and sensible as that which is now new…fashioned。 It does not flippantly sneer at an ancient custom because we no longer cherish it； but with an enlightened regard for everything human； it inquires into its origin； traces its effects； and endeavours to explain its decay。 It is slow to characterize Mohammed as an impostor； because it has come to feel that Arabia in the seventh century is one thing and Europe in the nineteenth another。 It is scrupulous about branding Caesar as an usurper； because it has discovered that what Mr。 Mill calls republican liberty and what Cicero called republican liberty are widely different notions。 It does not tell us to bow down before Lucretius and Virgil as unapproachable models； while lamenting our own hopeless inferiority； nor does it tell us to set them down as half…skilled apprentices； while congratulating ourselves on our own comfortable superiority； but it tells us to study them as the exponents of an age forever gone； from which we have still many lessons to learn； though we no longer think as it thought or feel as it felt。 The eighteenth century； as represented by the characteristic passage from Voltaire； cited by Mr。 Longfellow； failed utterly to understand Dante。 To the minds of Voltaire and his contemporaries the great mediaeval poet was little else than a Titanic monstrosity；a maniac； whose ravings found rhythmical expression； his poem a grotesque medley； wherein a few beautiful verses were buried under the weight of whole cantos of nonsensical scholastic quibbling。 This view； somewhat softened； we find also in Leigh Hunt； whose whole account of Dante is an excellent specimen of this sort of criticism。 Mr。 Hunt's fine moral nature was shocked and horrified by the terrible punishments described in the 〃Inferno。〃 He did not duly consider that in Dante's time these fearful things were an indispensable part of every man's theory of the world； and； blinded by his kindly prejudices； he does not seem to have perceived that Dante； in accepting eternal torments as part and parcel of the system of nature； was nevertheless； in describing them； inspired with that ineffable tenderness of pity which； in the episodes of Francesca and of Brunetto Latini； has melted the hearts of men in past times； and will continue to do so in times to come。 〃Infinite pity； yet infinite rigour of law！ It is so Nature is made： it is so Dante discerned that she was made。〃＇57＇ This remark of the great seer of our time is what the eighteenth century could in no wise comprehend。 The men of that day failed to appreciate Dante； just as they were oppressed or disgusted at the sight of Gothic architecture； just as they pronounced the scholastic philosophy an unmeaning jargon； just as they considered mediaeval Christianity a gigantic system of charlatanry； and were wont unreservedly to characterize the Papacy as a blighting despotism。 In our time cultivated men think differently。 We have learned that the interminable hair…splitting of Aquinas and Abelard has added precision to modern thinking。＇58＇ We do not curse Gregory VII。 and Innocent III。 as enemies of the human race； but revere them as benefactors。 We can spare a morsel of hearty admiration for Becket； however strongly we may sympathize with the stalwart king who did penance for his foul murder； and we can appreciate Dante's poor opinion of Philip the Fair no less than his denunciation of Boniface VIII。 The contemplation of Gothic architecture； as we stand entranced in the sublime cathedrals of York or Rouen； awakens in our breasts a genuine response to the mighty aspirations which thus became incarnate in enduring stone。 And the poem of Dantewhich has been well likened to a great cathedralwe reverently accept； with all its quaint carvings and hieroglyphic symbols； as the authentic utterance of feelings which still exist； though they no longer choose the same form of expression。
＇57＇ Carlyle； Heroes and Hero…Worship； p。 84。
＇58＇ See my Outlines of Cosmic Philosophy； Vol。 I。 p。 123。
A century ago； therefore； a translation of Dante such as Mr。 Longfellow's would have been impossible。 The criticism of that time was in no mood for realistic reproductions of the antique。 It either superciliously neglected the antique； or else dressed it up to suit its own notions of propriety。 It was not like a seven…league boot which could fit everybody； but it was like a Procrustes…bed which everybody must be made to fit。 Its great exponent was not a Sainte…Beuve； but a Boileau。 Its typical sample of a reproduction of the antique was Pope's translation of the Iliad。 That book； we presume； everybody has read； and many of those who have read it know that； though an excellent and spirited poem； it is no more Homer than the age of Queen Anne was the age of Peisistratos。 Of the translations of Dante made during this period； the chief was unquestionably Mr。 Cary's。＇59＇ For a man born and brought up in the most unpoetical of centuries； Mr。 Cary certainly made a very good poem； though not so good as Pope's。 But it fell far short of being a reproduction of Dante。 The eighteenth…century note rings out loudly on every page of it。 Like much other poetry of the time； it is laboured and artificial。 Its sentences are often involved and occasionally obscure。 Take； for instance； Canto IV。 25…36 of the 〃Paradiso〃：
＇59＇ This work comes at the end of the eighteenth…century period； as Pope's translation of Homer comes at the beginning。
〃These are the questions which they will Urge equally； and therefore I the first Of that will treat which hath the more of gall。 Of seraphim he who is most enskied； Moses； and Samuel； and either John； Choose which thou wilt； nor even Mary's self； Have not in any other heaven their seats； Than have those spirits which so late thou saw'st； Nor more or fewer years exist； but all Make the first circle beauteous； diversely Partaking of sweet life； as more or less Afflation of eternal bliss pervades them。〃
Here Mr。 Cary not only fails to catch Dante's grand style； he does not even write a style at all。 It is too constrained and awkward to be dignified； and dignity is an indispensable element of style。 Without dignity we may write clearly； or nervously； or racily； but we have not attained to a style。 This is the second shortcoming of Mr。 Cary's translation。 Like Pope's； it fails to catch the grand style of its original。 Unlike Pope's； it frequently fails to exhibit any style。
It is hardly necessary to spend much time in proving that Mr。 Longfellow's version is far superior to Mr。 Cary's。 It is usually easy and flowing； and save in the occasional use of violent inversions； always dignified。 Sometimes； as in the episode of Ugolino； it even rises to something like the grandeur of the original：
〃When he had said this； with his eyes distorted； The wretched skull resumed he with his teeth； Which； as a dog's； upon the bone were strong。〃＇60＇
＇60＇ 〃Quand' ebbe detto cio； eon gli occhi torti Riprese il teschio misero coi denti； Che furo all' osso； come d'un can； forti。〃 Inferno； XXXIII。 76。
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