misc writings and speeches(米斯克说与写)-第11章
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debased by the admixture of innumerable barbarous words and idioms；
was still cultivated with superstitious veneration； and received； in the last
stage of corruption； more honours than it had deserved in the period of its
life and vigour。 It was the language of the cabinet； of the university； of
the church。 It was employed by all who aspired to distinction in the
higher walks of poetry。 In compassion to the ignorance of his mistress； a
cavalier might now and then proclaim his passion in Tuscan or Proven 嘺 l
rhymes。 The vulgar might occasionally be edified by a pious allegory in
the popular jargon。 But no writer had conceived it possible that the
dialect of peasants and market…women should possess sufficient energy
and precision for a majestic and durable work。 Dante adventured first。
He detected the rich treasures of thought and diction which still lay latent
in their ore。 He refined them into purity。 He burnished them into
splendour。 He fitted them for every purpose of use and magnificence。
And he has thus acquired the glory； not only of producing the finest
narrative poem of modern times but also of creating a language；
distinguished by unrivalled melody； and peculiarly capable of furnishing
to lofty and passionate thoughts their appropriate garb of severe and
concise expression。
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To many this may appear a singular panegyric on the Italian tongue。
Indeed the great majority of the young gentlemen and young ladies； who；
when they are asked whether they read Italian； answer 〃yes；〃 never go
beyond the stories at the end of their grammar；The Pastor Fido；or an
act of Artaserse。 They could as soon read a Babylonian brick as a canto
of Dante。 Hence it is a general opinion； among those who know little or
nothing of the subject； that this admirable language is adapted only to the
effeminate cant of sonnetteers； musicians； and connoisseurs。
The fact is that Dante and Petrarch have been the Oromasdes and
Arimanes of Italian literature。 I wish not to detract from the merits of
Petrarch。 No one can doubt that his poems exhibit； amidst some
imbecility and more affectation； much elegance； ingenuity； and tenderness。
They present us with a mixture which can only be compared to the
whimsical concert described by the humorous poet of Modena：
〃S'udian gli usignuoli； al primo albore； Egli asini cantar versi
d'amore。〃 （Tassoni； Secchia Rapita； canto i。 stanza 6。）
I am not； however； at present speaking of the intrinsic excellencies of
his writings； which I shall take another opportunity to examine； but of the
effect which they produced on the literature of Italy。 The florid and
luxurious charms of his style enticed the poets and the public from the
contemplation of nobler and sterner models。 In truth； though a rude state
of society is that in which great original works are most frequently
produced； it is also that in which they are worst appreciated。 This may
appear paradoxical； but it is proved by experience； and is consistent with
reason。 To be without any received canons of taste is good for the few
who can create； but bad for the many who can only imitate and judge。
Great and active minds cannot remain at rest。 In a cultivated age they are
too often contented to move on in the beaten path。 But where no path
exists they will make one。 Thus the Iliad； the Odyssey； the Divine
Comedy； appeared in dark and half barbarous times： and thus of the few
original works which have been produced in more polished ages we owe a
large proportion to men in low stations and of uninformed minds。 I will
instance； in our own language； the Pilgrim's Progress and Robinson
Crusoe。 Of all the prose works of fiction which we possess； these are； I
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will not say the best； but the most peculiar； the most unprecedented； the
most inimitable。 Had Bunyan and Defoe been educated gentlemen； they
would probably have published translations and imitations of French
romances 〃by a person of quality。〃 I am not sure that we should have had
Lear if Shakspeare had been able to read Sophocles。
But these circumstances； while they foster genius； are unfavourable to
the science of criticism。 Men judge by comparison。 They are unable to
estimate the grandeur of an object when there is no standard by which they
can measure it。 One of the French philosophers （I beg Gerard's pardon）；
who accompanied Napoleon to Egypt； tells us that； when he first visited
the great Pyramid； he was surprised to see it so diminutive。 It stood
alone in a boundless plain。 There was nothing near it from which he
could calculate its magnitude。 But when the camp was pitched beside it；
and the tents appeared like diminutive specks around its base； he then
perceived the immensity of this mightiest work of man。 In the same
manner； it is not till a crowd of petty writers has sprung up that the merit
of the great masterspirits of literature is understood。
We have indeed ample proof that Dante was highly admired in his own
and the following age。 I wish that we had equal proof that he was
admired for his excellencies。 But it is a remarkable corroboration of
what has been said； that this great man seems to have been utterly unable
to appreciate himself。 In his treatise 〃De Vulgari Eloquentia〃 he talks
with satisfaction of what he has done for Italian literature； of the purity
and correctness of his style。 〃Cependant；〃 says a favourite writer of
mine；（Sismondi； Literature du Midi de l'Europe。） 〃il n'est ni pur； ni correct；
mais il est createur。〃 Considering the difficulties with which Dante had
to struggle； we may perhaps be more inclined than the French critic to
allow him this praise。 Still it is by no means his highest or most peculiar
title to applause。 It is scarcely necessary to say that those qualities which
escaped the notice of the poet himself were not likely to attract the
attention of the commentators。 The fact is； that； while the public homage
was paid to some absurdities with which his works may be justly charged；
and to many more which were falsely imputed to them； while lecturers
were paid to expound and eulogise his physics； his metaphysics； his
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theology； all bad of their kindwhile annotators laboured to detect
allegorical meanings of which the author never dreamed； the great powers
of his imagination； and the incomparable force of his style； were neither
admired nor imitated。 Arimanes had prevailed。 The Divine Comedy
was to that age what St。 Paul's Cathedral was to Omai。 The poor
Otaheitean stared listlessly for a moment at the huge cupola； and ran into a
toyshop to play with beads。 Italy； too； was charmed with literary trinkets；
and played with them for four centuries。
From the time of Petrarch to the appearance of Alfieri's tragedies； we
may trace in almost every page of Italian literature the influence of those
celebrated sonnets which； from the nature both of their beauties and their
faults； were peculiarly unfit to be models for general imitation。 Almost
all the poets of that period； however different in the degree and quality of
their talents； are characterised by great exaggeration； and as a necessary
consequence； great coldness of sentiment； by a passion for frivolous and
tawdry ornament； and； above all； by an extreme feebleness and diffuseness
of style。 Tasso； Marino； Guarini； Metastasio； and a crowd of writers of
inferior merit and celebrity； were spell…bound in the enchanted gardens of
a gaudy and meretricious Alcina； who concealed debility and deformity
beneath the deceitful semblance of loveliness and health。 Ariosto； the
great Ariosto himself； like his own Ruggiero； stooped for a time to linger
amidst the magic flowers and fountains； and to caress the gay and painted
sorceress。 But to him； as to his own Ruggiero； had been given the
omnipotent ring and the winged courser； which bore him from the paradise
of deception to the regions of light and nature。
The evil of which I speak was not confined to the graver poets。 It
infected satire； comedy； burlesque。 No person can admire more than I do
the great masterpieces of wit and humour which Italy has produced。 Still
I cannot but discern and lament a great deficiency； which is common to
them all。 I find in them abundance of ingenuity； of droll naivete； of
profound and just reflection； of happy expression。 Manners； characters；
opinions； are treated with 〃a most learned spirit of human dealing。〃 But
something is still wanting。 We read； and we admire； and we yawn。 We
look in vain for the bacchanalian fury which inspired the comedy of
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Athens； for the fierce and withering scorn which animates the invectives
of Juvenal and Dryden； or even for the compact and pointed diction which
adds zest to the verses of Pope and Boileau。 There is no enthusiasm； no
energy； no condensation； nothing which springs from stron
