In conveying that thrilling sense of the momentousness of human destiny which beyond anything else certain historic names evoke, none can surpass him. The brief, branding lines, with which the enemies of God are engraved upon their monuments "more lasting than brass," seem to add a glory to damnation. Who can forget how that "Simonist" and "Son of Sodom" lifts his hands up out of the deepest Pit, and makes "the fig" at God? "Take it, God, for at Thee I aim it!" There is a sting of furious blasphemy in this; _personal outrage_ that goes beyond all limits.
Yet who is there, but does not feel _glad_ that the "Pistoian" uttered what he uttered--out of his Hell--to his Maker?
Is not Newman right when he says that the heart of man does not naturally "love God?"
But perhaps in the whole poem nothing is more beautiful than that great roll of honor of the unchristened Dead, who make up the company of the noble Heathen. Sad, but not unhappy, they walk to and fro in their Pagan Hades, and occupy themselves, as of old, in discoursing upon philosophy and poetry and the Mystery of Life.
Those single lines, devoted to such names, are unlike anything else in literature. That "Caesar, in armour, with Ger-Falcon eyes," challenges one's obeisance as a great shout of his own legionaries, while that "Alone, by himself, the Soldan" bows to the dust our Christian pride, as the Turbaned Commander of the Faithful, with his ghostly crescent blade, strides past, dreaming of the Desert.
It is in touches like these, surely, rather than in the Beatrice scenes or the devil scenes, that the poet is most himself.
It needs, perhaps, a certain smouldering dramatic passion, in regard to the whole spectacle of human life, to do justice to such lines. It needs also that mixture of disdain and humility which is his own paramount attribute.
And the same smouldering furnace of "reverence" characterizes Dante's use of the older literatures. No writer who has ever lived has such a dramatic sense of the "great effects" in style, and the ritual of words.
That passage, _"Thou_ art my master and my author. It is from _thee_ I learnt the beautiful style that has done me so much honour," with its reiteration of the rhythmic syllables of "honour," opens up a salutary field of aesthetic contemplation. His quotations, too, from the Psalms, and from the Roman Liturgy, become, by their imaginative inclusion, part of his own creative genius. That "Vexilla regis prodeunt Inferni!" Who can hear it without the same thrill, as when Napoleonic trumpets heralded the Emperor! In the presence of such moments the whole elaboration of the Beatrice Cult falls away. That romantic perversion of the sex instinct is but the psychic motive force. Once started on his splendid and terrible road, the poet forgets everything except the "Principle of Beauty" and the "Memory of Great Men." Parallel with these things is Dante's passion of reverence for the old historic places--provinces, cities, rivers and valleys of his native Italy. Even when he lifts up his voice to curse them, as he curses his own Firenze, it is but an inversion of the same mood. The cities where men dwelt then took to themselves living personalities; and Dante, who in love and hate was Italian of the Italians, was left indifferent by none of these. How strange to modern ears this thrill of recognition, when one exile, even among the dead, meets another, of their common citizenship of "no mean city!" Of this classic "patriotism" the world requires a Renaissance, that we may be saved from the shallowness of artificial commercial Empires. The new "inter-nationalism" is the sinister product of a generation that has grown "deracinated," that has lost its roots in the soil. It is an Anglo-Germanic thing and opposed to it the proud tenacity of the Latin race turns, even today, to what Barres calls the "worship of one's Dead."