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ΠΑΝΤΟ Τ.

sublime source (1). After what I have said in my Preface, I refrain from ever noticing M. Cary's translation excepting where I find it literally defective; yet on this one occasion, it may be allowed me, in justice to my Author, to regret that it is possible for much literal exactness to co exist with so complete a dearth of the spirit and melody of the original. Yet even literally, he is not more happy than M. Ginguené in translating Galeotto, "love's purveyors. Once more we here find Francesca repeating with complacency that her companion will never leave her: piteous then is it to behold a late commentator labouring to spoil this charming poetry by making this constancy of Paul be an increase of their punishment (3), and not a consolation; as if his faithful presence were like that of an ever-tormenting fiend, instead of being, as it truly is, a sweet, soothing circumstance that sheds enchantment over the entire passage.

Z. — CXXXVIII.

This is that closing line of Francesca's speech to which I already alluded, as most delicate and sublime: sublime, from the multitudinous imagery

dovrà

(2) Questo che ormai in eterno, per sua e mia maggiore pena, essermi indivisibil compagno. Poggiali, Ed. Livorno, 1807. Vol. 3. p. 74.

CANTO V.

'it suggests of all her woes, and joys, and errors (to whatever extent we choose to draw these last); and delicate to such a degree, that, if it be true that they imply the glowing crime of adultery, it may most fairly be asserted, that never, before, or since, was an iniquitous idea conveyed in sounds so free from any thing that could be considered unbecoming of a lady's, or even of a seraph's lip. Aquino in his Latin version has paraphrased them prettily enough:

Distulimus post hæc sontes evolvere chartas;

Sontes? heu miseram! gravius nocuere remotæ. It is displeasing to criticise details of a production which we unaffectedly admire as a whole still 1 will not permit myself to conceal my opinion of Mr. Hunt's miscarriage in the imitation of this

verse:

"The world was all forgot, the struggle o'er, "Desperate the joy that day we read no more." Now in this way there is no longer the least inuendo: that day we read no more' is certainly verbally an accurate translation; but what information does it convey? The original is pregnant with information: so much so, that, besides its obvious allusion to scenes of blood and distress, many consider it as so eloquent that it affords a sufficient proof of actual adultery; although totally unsupported by any other testimony, as we have seen Boccaccio affirms. The preceding parts of Mr. Hunt's couplet disclose in flaming terms all that

CANTO Y.

was to be learnt; and therefore this its close retains neither the delicacy nor the sublimity of the Italian text. It is the effect of the transposition : for in the DIVINE COMEDY the same expressions are full of mystery, but placed, as they are in the STORY OF RIMINI, after all mystery is removed, they add nothing to the sense of the passage, and almost appear to be halting up for the sole purpose of filling a vacancy in the measure. The feebleness of Mr. Cary's translation here proceeds from its verbal infidelity: for he interpolates "in its leaves, "which gives the line a verbosity quite in contrast with the characteristic simplicity of the text (1). M. Ginguené succeeds better, for he follows it verbatim, ce jour-là nous n'en lumes pas davantage.

This (I repeat) is the verse which Boccaccio asserts to be the only foundation whereon the accusation of adultery against Francesca rests; and which he thinks insufficient to prove either that she was guilty of such a crime, or that Dante thought so. And, fairly weighed, does it indeed imply any such enormity? The answer ought not to be influenced by the circumstance of the poet's putting them here in Tartarus, or the hell-of-thedamned; for an impure thought, much more a

CANTO V.

criminal kiss, is denounced by the Roman Church as a mortal transgression, if unrepented of; so that our Author, not making them repent, might place them in their actual situation without any idea of branding them with an incestuous adultery. To whatever slight extent they erred, their death was the consequence of that error; and this is quite enough to render the line infinitely affecting, without condemning the brother and sister-in-law beyond what can be established hy history. It may be inquired, how one so rigorous as Dante in proportioning penalties to faults could consign the pair to Tartarus for such a venial misdemeanor as a kiss; because, although the real guilt of that, as well as of every transgression, even the most heinous, depends less upon the act itself, than upon the mental disposition of the actor, yet of this internal disposition in another no one can have knowledge; so that if a poet, for example sake, is permitted to make awards on appearances, he is bound to use that permission in an exemplary manner, and not to present us with sentences that appear harsh. But (first remarking that the lovers, though within Tartarus, are in the uppermost, and therefore least severe circle of it, and that they are even accompanied by Achilles and other glorious personages) the question may fairly be retorted by another,

where else could he have placed them? Not in any other part of his hell certainly. In its vestibule would have been

CANTO V

ignominious: Elysium has nothing in common with them as Christians: a lower circle would have been worse. In Purgatory? But that were to strip them of what confers their chief poetic dig. nity, constancy; for the tenants of Purgatory are repentant sinners. In Paradise? But that were to deprive them of our pity; for no such feeling can be excited by the blissful Saints in Paradise. It follows that he had no choice, and that he must have placed them in this identical circle of hell, or rejected altogether the idea of uniting inseparably the name of Francesca da Rimini with some of the holiest of mortal emotions admiration, sympathy, and pity. Dante, aware that his readers would receive his judgments, not as beyond appeal, but as quite fanciful, hoped probably to engage them to question the propriety of blaming so sternly his friend's youthful daughter; and to doubt whether, on finding her error circumscribed to a single kiss, that kiss could have been received. by her with that entire consciousness which alone could render it highly guilty; or whether the shedding of her life-blood was not, in truth, a perfect reparation of that her lenient offence. Dante by this even inculcates an additional moral; for he keeps us in mind of deeds being to be estimated by (what is beyond the poet's power to descry) the interior of the doer; and thus habituates us to weigh the poet's decisions, and not hesitate to reverse them, whenever they appear unsatisfactory