misc writings and speeches(米斯克说与写)-第19章
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that air of strong reality of which I have spoken。 They have a very
peculiar character。 He is perhaps the only poet whose writings would
become much less intelligible if all illustrations of this sort were expunged。
His similes are frequently rather those of a traveller than of a poet。 He
employs them not to display his ingenuity by fanciful analogies；not to
delight the reader by affording him a distant and passing glimpse of
beautiful images remote from the path in which he is proceeding； but to
give an exact idea of the objects which he is describing； by comparing
them with others generally known。 The boiling pitch in Malebolge was
like that in the Venetian arsenal：the mound on which he travelled along
the banks of Phlegethon was like that between Ghent and Bruges； but not
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so large：the cavities where the Simoniacal prelates are confined resemble
the Fonts in the Church of John at Florence。 Every reader of Dante will
recall many other illustrations of this description； which add to the
appearance of sincerity and earnestness from which the narrative derives
so much of its interest。
Many of his comparisons； again； are intended to give an exact idea of
his feelings under particular circumstances。 The delicate shades of grief；
of fear； of anger； are rarely discriminated with sufficient accuracy in the
language of the most refined nations。 A rude dialect never abounds in
nice distinctions of this kind。 Dante therefore employs the most accurate
and infinitely the most poetical mode of marking the precise state of his
mind。 Every person who has experienced the bewildering effect of
sudden bad tidings；the stupefaction；the vague doubt of the truth of our
own perceptions which they produce；will understand the following
simile：〃I was as he is who dreameth his own harm；who； dreaming；
wishes that it may be all a dream； so that he desires that which is as though
it were not。〃 This is only one out of a hundred equally striking and
expressive similitudes。 The comparisons of Homer and Milton are
magnificent digressions。 It scarcely injures their effect to detach them
from the work。 Those of Dante are very different。 They derive their
beauty from the context； and reflect beauty upon it。 His embroidery
cannot be taken out without spoiling the whole web。 I cannot dismiss
this part of the subject without advising every person who can muster
sufficient Italian to read the simile of the sheep； in the third canto of the
Purgatorio。 I think it the most perfect passage of the kind in the world；
the most imaginative； the most picturesque； and the most sweetly
expressed。
No person can have attended to the Divine Comedy without observing
how little impression the forms of the external world appear to have made
on the mind of Dante。 His temper and his situation had led him to fix his
observation almost exclusively on human nature。 The exquisite opening
of the eighth* canto of the Purgatorio affords a strong instance of this。 （I
cannot help observing that Gray's imitation of that noble line
〃Che paia 'lgiorna pianger che si muore；〃
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is one of the most striking instances of injudicious plagiarism with
which I am acquainted。 Dante did not put this strong personification at
the beginning of his description。 The imagination of the reader is so well
prepared for it by the previous lines； that it appears perfectly natural and
pathetic。 Placed as Gray has placed it； neither preceded nor followed by
anything that harmonises with it； it becomes a frigid conceit。 Woe to the
unskilful rider who ventures on the horses of Achilles！）
He leaves to others the earth； the ocean； and the sky。 His business is
with man。 To other writers； evening may be the season of dews and stars
and radiant clouds。 To Dante it is the hour of fond recollection and
passionate devotion；the hour which melts the heart of the mariner and
kindles the love of the pilgrim；the hour when the toll of the bell seems to
mourn for another day which is gone and will return no more。
The feeling of the present age has taken a direction diametrically
opposite。 The magnificence of the physical world； and its influence upon
the human mind； have been the favourite themes of our most eminent
poets。 The herd of bluestocking ladies and sonneteering gentlemen seem
to consider a strong sensibility to the 〃splendour of the grass； the glory of
the flower；〃 as an ingredient absolutely indispensable in the formation of a
poetical mind。 They treat with contempt all writers who are
unfortunately
nec ponere lucum Artifices； nec rus saturum laudare。
The orthodox poetical creed is more Catholic。 The noblest earthly
object of the contemplation of man is man himself。 The universe； and all
its fair and glorious forms； are indeed included in the wide empire of the
imagination； but she has placed her home and her sanctuary amidst the
inexhaustible varieties and the impenetrable mysteries of the mind。
In tutte parti impera； e quivi regge； Quivi e la sua cittade； e l'alto
seggio。 （Inferno； canto i。）
Othello is perhaps the greatest work in the world。 From what does it
derive its power？ From the clouds？ From the ocean？ From the
mountains？ Or from love strong as death； and jealousy cruel as the grave？
What is it that we go forth to see in Hamlet？ Is it a reed shaken with the
wind？ A small celandine？ A bed of daffodils？ Or is it to contemplate a
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mighty and wayward mind laid bare before us to the inmost recesses？ It
may perhaps be doubted whether the lakes and the hills are better fitted for
the education of a poet than the dusky streets of a huge capital。 Indeed
who is not tired to death with pure description of scenery？ Is it not the
fact； that external objects never strongly excite our feelings but when they
are contemplated in reference to man； as illustrating his destiny； or as
influencing his character？ The most beautiful object in the world； it will
be allowed； is a beautiful woman。 But who that can analyse his feelings
is not sensible that she owes her fascination less to grace of outline and
delicacy of colour； than to a thousand associations which； often
unperceived by ourselves； connect those qualities with the source of our
existence； with the nourishment of our infancy； with the passions of our
youth； with the hopes of our agewith elegance； with vivacity； with
tenderness； with the strongest
