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DANTE IN AMERICA 
 
 A HISTORICAL AND BIBLIOGRAPHICAL STUDY 
 
 THEODORE W. KOCH 
 
 'America, the new Ravenna of the great poet " 
 
 SCARTAZZINI 
 
 BOSTON 
 GINN AND COMPANY 
 
 (FOR THE DANTE SOCIETY) 
 1896 
 
H^NRY MORSE STCPKCMS 
 
 Copyright, 1896 
 By the DANTE SOCIETY 
 
 ALL RIGHTS RESERVED 
 
 Reprinted from the Fifteenth annual report of the Dante Society^ 
 Cambridge, Mass. 
 
 ■ 
 
m43 
 
 
 PREFACE. 
 
 Somewhat more than two years ago my valued friend and 
 former teacher, the President of our Dante Society, spoke to me 
 of the subject of the present work as a phase of American literary 
 history in which he had been interested at the time of the Dante 
 festival of 1865. For that occasion he had made a list of the more 
 important contributions from America to Dantesque literature and, 
 without keeping a copy for himself, sent it to the authorities in 
 charge of the celebration at Florence. A generation has passed 
 since then, and Dante has gained in favor with us. When Mr. 
 Norton spoke to me of his interest in the matter, he casually 
 remarked that he would like to see a resume of what had been 
 written in America about his favorite author. The suggestion thus 
 thrown out was harbored by me while engaged in other researches. 
 The subject was very attractive, and by degrees a considerable 
 number of notes and bibliographical references accumulated on 
 my hands. Learning of some comparatively unknown facts in 
 the career of Lorenzo Da Ponte, and receiving, through the 
 kindness of Miss Virginia Wilde, of New Orleans, the papers of 
 her grandfather, the late Richard Henry Wilde, I was encouraged 
 by our Secretary to continue my investigations and prepare for 
 our Society a paper on the subject. The work was intended for 
 last year's Report, but, owing to repeated interruptions, the putting 
 of it into final shape consumed the leisure moments of many 
 months, and it was at last found necessary to delay its publication 
 until the present. So many books had to be turned over in the 
 
 oil 052 
 
4 PREFACE. 
 
 making of the bibliography that an undue proportion of time was 
 spent upon this part. 
 
 In my account of what has been done in America in the way of 
 study and interpretation of Dante, I have thought it best to treat 
 only of the chief of his students, reserving for the bibliography and 
 notes other matters of minor import. The amount of space given 
 in my sketch to the several workers in this field must not be con- 
 sidered as indicative of my rating of them or their work. More is 
 said of the pioneers in the movement than is warranted by the 
 present value of their tangible results. They left us almost nothing 
 in the way of literature, but they took the initiative step and it is 
 for this reason that I have treated of them at such length. In the 
 case of Da Ponte and Wilde it seemed necessary to enter into some 
 biographical detail, as their lives are probably unknown to the 
 generality of those I count upon as my readers. Of the work of 
 the later followers of Dante, beginning with Longfellow, so much 
 has been said by others — and some of it so admirably said — that 
 it is with diffidence I have dared to say anything new, and I have 
 but seldom ventured beyond the limits of simple narration. Those 
 Avho seek for further criticism and more individual estimate than 
 I have been able to give are referred to the bibliography as an 
 
 abundant source. 
 
 T. W. K. 
 
 September /j, tSgb. 
 
CONTENTS. 
 
 PAGB 
 
 DANTE IN AMERICA 7 
 
 Introduction 7 
 
 Lorenzo Da Ponte '. . . • • lo 
 
 George Ticknor ' . . . . i8 
 
 Richard Henry Wilde 23 
 
 Henry Wadsworth Longfellow 36 
 
 Thomas William Parsons . ' 47 
 
 James Russell Lowell 53 
 
 Charles Eliot Norton .60 
 
 Conclusion 62 
 
 Appendix . . 64 
 
 AMERICAN DANTE BIBLIOGRAPHY . . . . . • 75 
 
 Index . . . M4 
 
Digitized by the Internet Archive 
 
 in 2008 with funding from 
 
 IVIicrosoft Corporation 
 
 http://www.archive.org/details/danteinamericahiOOkochrich 
 
DANTE IN AMERICA. 
 
 INTRODUCTION. 
 
 The interest in modern languages and literature which is so wide- 
 spread in America to-day is of comparatively recent origin. What 
 little there was at the end of the last century and in the beginning 
 of this is to be traced to commercial needs or to social ambitions. 
 Moreover, those who sought instruction were often compelled to 
 study under incompetent and even self-taught men who had little 
 notion of the literature, and sometimes no idea of the proper pronun- 
 ciation of the languages they professed to teach. In the colleges 
 it was not much better ; at Harvard, says Lowell, " a stray French- 
 man was caught now and then and kept as long as he could endure 
 the baiting of his pupils. After failing as a teacher of his mother- 
 tongue, he commonly turned dancing-master, a calling which public 
 opinion seems to have put on the same intellectual level with the 
 other." ^ Da Ponte tells us that on the occasion of his first visit to 
 New York, in 1805, it took him but a few days to discover that there 
 was as little known in that city of the language and literature of his 
 native country as of the language and literature of Turkey or China. 
 In Boston, in 18 15, George Ticknor found it not only difficult to get 
 a copy of Dante, but altogether impossible to get help in reading 
 it. Now all this is changed ; the study of the modern languages 
 has been placed on an equal footing with classical studies, and the 
 growth of interest in our special author is indicative of the extent of 
 the change. At present, ten of our leading colleges are offering 
 special courses in the study of the Divina Commedia ; Harvard and 
 Cornell have most excellent Dante collections, and Dantesque litera- 
 
 1 Address before the Modern Language Association, Caaibridge, Mass., 
 December, i88q. 
 
8 DANTE IN AMERICA. 
 
 ture is well represented in many public and private libraries. In 
 our larger cities lectures are frequently given on the poet and his 
 works, while among the new books and in the literary journals the 
 name of Dante is constantly recurring. 
 
 This contrast between the present interest in Dante and the small 
 following which he had in America in the early part of the century 
 indicates an advance in culture and sound literary judgment. The 
 statement that the love of Italian poetry has risen and fallen in 
 England with the rise and decay of true poetic feeling and work- 
 manship, is also, in a much more restricted measure, of course, true 
 of American letters. 
 
 Dante and his master-work have entered into the literary heritage 
 of our day, — not only of continental Europe, but also of the English- 
 speaking people at home and abroad. To trace his varied fortunes 
 before attaining to the universally acknowledged position of a world- 
 poet, is one of the most captivating and instructive pieces of research- 
 work in the history of literature. He was praised and worshipped by 
 one generation, to be neglected or altogether misunderstood — a worse 
 fate — by the next. To many people of different times Dante has 
 been but a name ; often the well-known name of a man about whom 
 a few facts, gained at second-hand, have sufficed to sate curiosity. ■ 
 Among English men of letters we find him admired and imitated 
 by Chaucer, read by Spenser, possibly known to Sackville, and 
 curiously estimated by that saucy poet of Elizabeth's day. Sir John 
 Harington, while by Francis Meres he was compared to Matthew Roy- 
 don ! Then came Milton, by whom (to his glory be it said) tribute was 
 paid to him both in prose and verse. After this, there follows a period 
 in which there is no token of Dante being esteemed worthy the atten- 
 tion of English men of culture. Thus, in 1749, Lord Chesterfield 
 writes to his son, urging him to the study of the Italian language, 
 and asserts that the only two Italian poets who merit his attention 
 are Ariosto and Tasso. Voltaire gave voice to the opinion of the 
 reading world of his day when he said of Dante : " II y a de lui une 
 vingtaine de traits qu'on sait par ccEur : cela suffit pour s'epargner 
 la peine d'examiner le reste." But with the weakening of the auto- 
 cratic sway of eighteenth-century classicism and the assertion of 
 sounder principles of literary criticism, Dante's star rose slowly and 
 
INTRODUCTION. 9 
 
 Steadily in the horizon of English letters. Gray translated a canto 
 from X\i^Divi7ia Commedia; Coleridge lectured on Dante; Byron wrote 
 his " Prophecy of Dante," and Leigh Hunt built up his " Story of 
 Rimini " on Dante's famous episode, of which he wrote in his preface 
 that it was " indeed the most cordial and refreshing one in the whole 
 of that singular poem, the Infertio . . . which, I confess, has always 
 appeared to me a kind^ of subhme nightmare." Hunt had not out- 
 grown his cramped and unsympathetic appreciation of Dante thirty 
 years later, when he wrote his "Stories from the Italian Poets." 
 Such utterances as we find there and in contemporary criticism show 
 us that this art had not yet been firmly reestablished on a scientific 
 basis. 
 
 However, the greatest factor in the fortune of Dante in England, 
 and secondarily in America, was the number of translations of his 
 work which had already beguA to appear. It was one of the hopeful 
 signs of returning-liberty and consequent right growth of appreciation. 
 He was Englished in turn by Rogers, Boyd, Cary, Dayman, Wright, 
 Cayley, and an increasing host of others, until to-day the appearance 
 of a new translation, in whole or part, has become quite an ordinary 
 literary event. Though their merits differ widely, each translation 
 has had at least its own circle of readers, and so has helped to draw 
 attention to this master-work, and to lead many to the study of the 
 original. 
 
 But while of late years Dante has had so large a following in ' 
 England, he has been no less warmly received in America. It is 
 but natural that it should be so. From England we inherited many of 
 our traditions and tastes ; when Dante came to be widely read in 
 England we welcomed him here, read him, and began to study him for 
 ourselves. The first Dante printed in America was Gary's translation, 
 Philadelphia, 1822, — six years later than Hoole's Ariosto,^ and twelve 
 years later than the same writer's Tasso.^ The selected sonnets and 
 odes translated from Petrarch by George Frederick Nott,^ were 
 
 1 Philadelphia, Henry Hudson, 18 16. 6 vols. 24°. 
 
 2 First American from the eighth London edition. Newburyport, E. Little & 
 Co., eU., 1810. 2 vols. 8°. 
 
 3 Boston, J. Belcher, 1809. 12°. Same. New York, Inskeep & Bradford, etc. 
 1809. 
 
lO DANTE JN AMERICA. 
 
 reprinted in this country as early as 1809, which is also the date of 
 the American issue of Mrs. Dobson's translation of De Sade's Life 
 of Petrarch.* This antedating of Dante in America by the other 
 three of the quattro poeti italiani is but another indication of the 
 source of our first introduction to Italian literature. Both in England 
 and America Dante came last, but seems destined to stay longest. 
 
 LORENZO DA PONTE. 
 
 The man to whom credit is due for being the first in America to 
 direct attention to the beauties of Italian literature, and expound 
 Dante to an American audience, is Lorenzo Da Ponte. This man 
 of unique character and most varied fortune is by no means so well 
 known as his personality and life would warrant. Born of Hebrew 
 parents in 1749, in Ceneda, a small city in the province of Venetia, 
 he was denied, owing to the popular prejudice against Jews, the privi- 
 lege of attendance at the common schools.^ At the age of fourteen, 
 feeling the need of greater educational advantages, he became a, 
 convert to Christianity and entered the seminary of his native town, 
 where he found a protector in the Bishop Lorenzo Da Ponte, whose 
 name he thenceforth assumed. Six years later, on the death of his 
 patron, he left Ceneda and went to the seminary at Porto Gruaro, 
 where a little later he held for two years a professorship of rhetoric. 
 His subsequent novel experiences at Venice, his banishment thence 
 and his journeying to Dresden and afterwards to Vienna in search 
 of a position as court-poet, which he secured at the latter place and 
 held for twelve years under Joseph II, his dismissal by Joseph's 
 
 1 Philadelphia, A. Finley & W. H. Hopkins, 1809. 2 vols. 16°. Same. Boston, 
 Farrand, Mallory & Co. 
 
 2 We do not know Da Ponte's real name ; he tells us very little about his 
 own family. His Hebrew origin has been questioned, and the matter has been 
 discussed /r<7 and con. There is one little argument for it which I have never 
 seen brought forward. In his discourse " SuH' Italia," of 182 1, he quotes Exodus 
 in the original Hebrew. If not brought up in the rabbinical lore, when and where 
 did he learn the language of the Pentateuch > 
 
. DA PONTE. II 
 
 successor and his departure for London, where he met with varied 
 success until compelled by the failure of the Italian theatre there 
 to seek anew his fortune in America at the age of sixty, — all 
 this is delightfully told in his " Memorie." These were printed in 
 Italian, New York, 1823, and in a revised and enlarged edition in 
 1829-30. The book is now exceedingly scarce and is mostly treas- 
 ured by those who care to know more of the librettist of Mozart's 
 " Don Giovanni " and " II Nozze di Figaro." ^ Despite faults com- 
 mon to the autobiographic writing of- the time. Da Ponte's memoirs 
 form very pleasant reading, and it is to be regretted that they are 
 not to be had complete in any but the poorly printed volumes of the 
 author's lifetime. The book has received more attention abroad than 
 here, and has been translated into both French and German.^ 
 
 1 Da Ponte tells us that on the night in which he began " Don Giovanni " he 
 started by reading a few lines from Dante's Inferno, in order, as he says, to put 
 himself into good tune ! 
 
 '^ In a copy of the French translation by M. C. D. de la Chavanne (Paris, 
 i860), belonging to the Library Company of Philadelphia, I find the following 
 MS. note : "This translation was unfortunately made from the first edition. In 
 1829 Da Ponte published in Italian a second edition for his pupils, much fuller 
 of entertaining facts and thoughts. I knew him intimately during four of his 
 years in Sunbury. A perfectly honest man, a delightful companion, unsuspicious 
 and often led into trouble by rogues. He was tall, well-built, very beautiful, and 
 of highly polished manners. He was very temperate and regular in all his ways. 
 He was thoroughly versed in Latin, which he quoted and spoke with fluency. 
 He died in New York in 1838, aged 89; hence the translator has erred in making 
 him say, p. 355, that he was then, at the publication of his first edition, in his 
 ninety-seventh year. I was his family physician four years, — et nunc 'fungor 
 inani munere.' " 
 
 S[amuel] I[ackson], 1237 Spruce St. [Phila.]. 
 
 Mr. H. E. Krehbiel, apropos of a performance of " Don Giovanni," in his 
 *' Review of the New York Musical Season, 1889-90," has written the best 
 account of Da Ponte in America ; he clears up many hitherto uncertain points. 
 For other sketches, see Dr. John W. Francis' "Old New York," 1866, pp. 254, 
 260-269 ; Samuel Ward, Jr., in the New York Mirror, August, 1838 (afterwards 
 reprinted for private circulation) ; H. T. Tuckerman in Piitnani's Magazine, 
 November, 1868, vol. xii, pp. 527-536, reprinted in the Dublin University Magazine, 
 August, 1872, vol. Ixxx, pp. 215-224 ; Mrs. Janet Ross in Macmillan'' s Magazine, 
 November, 1891, vol. Ixv, pp. 53-56 ; Prof. G. R. Carpenter in the Columbia 
 \College'\ Lite7'ary Monthly, April, 1895, vol. iii, pp. 289-292. 
 
12 DANTE IN AMERICA. 
 
 It is not within our province to discuss the different aspects of Da 
 Ponte's character. He himself confesses to a "debolezza," to which 
 he attributes his many failures. He had no aptitude for business, 
 and was constantly bringing his industrious wife to grief ; yet he 
 was always sure to be struck with fitting remorse for his faults, 
 and was not sparing in self-reproach. During the first years of his 
 residence in America, his ill-starred fate seems to have followed 
 him ; after spending a few years in New York, he embarked in various 
 business ventures in one place and another, and soon fell an easy 
 prey to unprincipled schemers. But on the 14th of August, 18 18, — 
 '*benedetto sia il giorno," says he, — he bade good-bye to his country 
 store at Sunbury, in Pennsylvania, and before long returned to New 
 York. Here a more congenial life opened to him. He installed 
 himself as bookseller and importer of Italian books and wares, and 
 eked out his income by teaching the Italian language to a rapidly 
 widening circle of cultured young men and women. He soon became 
 a favorite tutor in the best families of the city. With young ladies 
 he was particularly successful ; he has printed, without correction, a 
 number of Italian letters which he received from them, and it must be 
 said that they are of a quality to do credit to both the aptness of the 
 pupils and the efficiency of the teacher. They are of value to us in 
 furnishing ample evidence of the enthusiasm for Italian literature 
 inspired by the teaching of Da Ponte, and proving how popular an 
 author Dante was among the pupils. Some of them send prose 
 translations of passages from the Divina Commedia, and all evince 
 for the poem a fondness born of the skill and care of their instructor. 
 It is to these fair pupils that he makes this appeal in his " Orazione " 
 of 1828 : " Voi, voi mie carissime allieve, chedi sangue piu vivido, di 
 fibre piu sensibili, e di spiriti forse piii delicati, io vidi tan to sovente 
 
 Arder, gelar, languir, fremer, gioire, 
 
 alia lettura de' nostri autori, voi facilmente potete intendere e dire, 
 quanto age vole mi sarebbe abbagliare, innamorare, stordire, offrendo 
 de' saggi d' incomparabile grandezza, sublimit^, originalitk nel poema 
 di Dante." There is no doubt but that with Da Ponte teaching was 
 a labor of love, and that he was truly fond of his young pupils and 
 had their affection in return. He very prettily dedicates an edition 
 
DA PONTE. 
 
 13 
 
 of three of his librettos to " tre leggiadrissimi fiori del suo toscano 
 giardino." 
 
 Da Ponte is often brief on matters which to us seem of far greater 
 importance than the entanglements and annoyances to which he was 
 constantly subjected. We would gladly exchange some of his dis- 
 quisitions upon the worthlessness of seeming friends and the repeated 
 narration of business difficulties for a fuller account of his career as 
 librettist before coming to America, or of his pedagogical experience 
 after finally settling in our metropolis. His, however, is not the only 
 autobiography with which this fault of lack of perspective is to be 
 found. We must be thankful that he has given us an outline of his 
 method of introducing pupils to Italian literature. He tells us that 
 after he had drilled them in the rudiments of the language and had 
 read with them the best writers of Tuscan prose suited to their 
 respective attainments, he gave them the poets, beginning with 
 Metastasio and Alfieri, and leading up to Tasso, Petrarch, and 
 Dante. I translate from the second edition of his memoirs : 
 
 Although all these authors were generally loved, yet who was admired 
 and studied the most ? It was the Ghibelline. This most just admiration 
 accorded to the father and chief of our literature impelled me to study with 
 the greatest fervor that divine poem, so that I might throw light on its 
 obscurities and explain its difficult passages. I had already studied and 
 pondered the most celebrated commentators ; nevertheless, it appearing 
 to me that a place still remained for illustrations, I myself dared to make 
 some for various cantos, which one of my most cultured pupils published in 
 a journal which he was editing. Although my observations gave general 
 pleasure, yet in order to assure myself of their value I decided to send a 
 copy of them to Biagioli, truly a commentator of much merit, of whose 
 annotations I circulated more than ten copies in America. In the preface 
 appended to his first edition 1 he invites scholars of // bel paese to make 
 known to him where he may have erred through ignorance or through too 
 great ardor, and promises to receive con seno aperto their comments and 
 corrections, and report them with the names of their authors in a new 
 edition, if such were ever issued. Since, however. Signer Biagioli has 
 neither received me con seno aperto^ nor considered me worthy of a reply, 
 I knew to my shame that he neither placed me among the scholars of Italy 
 (and in this point I acknowledge him to be right), nor did he believe my 
 
 1 Paris, 1818-19. Vol. i, p. xliv. 
 
14' DANTE IN AMERICA. 
 
 observations worthy of being reported by liim. . . . Perhaps he thought it 
 strange that an insignificant language-master, who has now been living for 
 more than fifteen years in America, dares to hold opinions different from his 
 own on the interpretation of Dante. But you know well, dear Signor 
 Biagioli, that the good Homer sometimes nods, and that a man without eyes 
 found a horse-shoe which others had not found with their eyes. 
 
 Da Ponte goes on to say that the tacit judgment of so erudite a 
 philologist as Biagioli so discouraged him that he did not dare to 
 continue the work of annotation which he had begun ; nevertheless, 
 he preferred to appeal to the scholars of Italy for a decision as to 
 the merit of his ideas, and to this end he purposed appending to the 
 third volume of his memoirs a note giving the main differences 
 between his interpretations and those of Biagioli, but, I regret to say, 
 the volume comes to an end without any such note appearing. 
 
 These references to his differings with Biagioli have long been 
 known to Dantists interested in Da Ponte, but no one could tell 
 what they were or where they had been published. It was only after 
 a long search that I found them in a magazine edited by his son-in- 
 law. Professor Henry J. Anderson (the favorite pupil to whom he so 
 frequently refers), in conjunction with William Cullen Bryant and 
 Robert C. Sands. The journal came into existence in May, 1825, was 
 known as the Neiv York Review and Athenceiim Magazine^ and died on 
 entering upon its second year. As copies of it are to be found in but 
 few of our libraries, I have thought it desirable to reprint in an 
 appendix this earliest contribution from America to the textual criti- 
 cism of the Divina Commedia. 
 
 In th&Rivista Contemporatiea for May, 1861, Jacopo Bernardi wrote 
 on " La Divina Commedia interpretata per la prima volta da Lorenzo 
 Da Ponte agli Americani." He speaks of Da Ponte as an " inf aticabile 
 promulgatore delle glorie dantesche," and prints " alcune eloquenti 
 pagine che intorno all' Alighieri scriveva Lorenzo Da Ponte, quando 
 recava, insieme all' insegnamento della lingua italiana, il conoscimento 
 e I'affetto del massimo nostro scrittore in America." He gives the 
 following from Da Ponte's " Storia incredibile ma vera " of 1833 : ^ 
 
 1 Nuova Jorca, Joseph Desnoues, 1833. 16°. pp. 35. This constitutes the 
 second part of his *' Storia della compagnia dell' opera italiana condotta da 
 Giacomo Montresor in America in agosto dell' anno 1832." [New York, 1833.] 
 
DA PONTE. 
 
 15 
 
 Son passati omai venti otto anni da che vivo in America. Conobbi 
 air arrivo mio che niente vi si sapea della lingua e letteratura italiana, e 
 animate da patrio zelo e dall' amore del bene, credei che fosse cosa da me 
 r introdurvele. Se quegh, dicev' io, che porta un' erba salutifera, un fiore 
 leggiadro, una pianta di frutto raro in un paese straniero, e dalla gente 
 lodato, di quanta maggior lode non dee reputarsi degno colui che per la 
 prima volta vi porta la piii dolce di tutte le moderne favelle e la piu vasta e 
 ammirabile letteratura? Io toccava 1' anno cinquantesimo sesto quando 
 giunsi in America, e all' anno cinquantesimo nono mi posi al nobile cimento. 
 Sono ora vicino all' ottantesimo quinto, e in questo spazio di tempo, io solo, 
 io non favorito dalla fortuna, anzi da continue disavventure e peripezie 
 travagliato e sbattuto, ebbi il constante coraggio d' introdurre e questa lingua 
 e questa letteratura nella piu ampia parte del globo, d'instruire piu di due 
 mila persone, di spargerne il fulgore per tutte le sue principali cittk, di 
 eccitare 1' ammirazione e il desiderio de' suoi tesori colle pubbliche letture, 
 cogli scritti, colle autorita, coi cataloghi degli scrittori ; difenderle, se criti- 
 cate da scioli, da invidi, da ignoranti, e di elevarle a cotanta altezza, che 
 non solamente note, ma care e pregiate divennero ai piii colti e svegliati 
 della Nazione, e a' veri amatori dell' utile e dilettevole. Consecrando per 
 venticinque anni continui il tempo, le cure e gli studii alia gloria della mia 
 patria, trassi da varie parti d' Europa piu di 24,000 volumi di scelte opere ; 
 e quanto di piii mirabile ha 1' antica e moderno italica scola nelle piu gravi 
 e astruse scienze, non che nelle belle lettere ed arti, fu recato da me negli 
 Stati Uniti d' America, incominciando da Dante co' suoi migliori contem- 
 poranei e dall' immortal Galileo al La Grangia . . . fino alle odierne 
 leggiadrissime produzioni. 
 
 Bernardi also quotes from an address by Da Ponte, which he says 
 was printed in New York in 1824 with other of Da Ponte's writings. 
 This portion of Bernardi's account of his fellow-countryman was 
 reprinted in the Giornale del Centenario, and Mr. Lane ^ and others, 
 reading it there with Bernardi's introductory note, drew from the 
 latter the inference that Da Ponte published a series of lectures on 
 Dante. I see no reason to believe that the following is anything 
 but an extract from an introductory lecture to a course of readings 
 from Dante, or Italian literature, and that it appeared in one of the 
 miscellanies which Da Ponte published about this time. 
 
 1 " The Dante Collections in the Harvard College and Boston Public Libraries," 
 1890, p. 60b. 
 
1 6 DANTE nV AMERICA. 
 
 . . . Qual obbligazione per6 non ha Firenze e 1' Italia tutta a questo 
 immortal cittadino per averle con quel suo maraviglioso poema data una 
 lingua tanto perfetta, clie sino dal suo cominciamento ottenne tal preminenza 
 su tutte le altre, e V ottenne mostrandosi capace fin dalla cuna di somminis- 
 trare i materiali per un edifizio si vasto, si nuovo, si vario, si sorprendente 
 come tutti dicono essere la Divina Commedia ? 
 
 Se per6 la sublimitk del soggetto, la moltiplicitk delle materie, la lonta- 
 nanza de' tempi e de' f atti, e la quantitk delle immagini e de' pensieri reconditi 
 e con voci e maniere nuove spiegati ; se finalmente la massa delle gravi ed 
 astruse dottrine contenute in un testo ora mutilato ed ora variato rese in 
 molti luoghi difficile 1' intelligenza di tal poeta, fu cosa degna dei nostri 
 maggiori, ed h simigliantemente di noi, il cercare e adottare tutti i mezzi 
 possibili per facilitarne la intelligenza, e questo non solo per 1' utilitk e pel 
 diletto che da un lavoro tanto mirabile si pu6 trarre, ma per diffondere e 
 manifestare in ogni tempo di piu in piu il merito impareggiabile d' un ingegno 
 si peregrino, e la nostra riconoscenza per la gloria che ricade da quello 
 sulla nazione italiana. ... 
 
 After sketching the rise and spread of the study of Dante in 
 the different parts of Europe, Da Ponte concludes thus : 
 
 E che fece 1' America? Mi permettano gli amici miei e della veritk di 
 darmi il vanto glorioso d' essere stato il primo a portarlo in questa cittk, a 
 leggerlo a un numero ragguardevole di quegli allievi ch' ebbi la sorte di 
 educare nella nostra lingua, afar loro gustar le bellezze maravigliose del 
 nostro primo poeta, a far ornare le biblioteche della studiosa gioventu de' 
 suoi preziosi volumi, come di quelli della lor propria lingua, a destare in uno 
 de' piu svegliati coltivatori della lingua italiana 1' onorato desiderio di dare 
 anche all' America una nuova traduzione di si grand' opera.^ Ma cio h 
 poco, signori, al mio vivissimo zelo per questo luminare della mia patria, h 
 poco alia brama che nutro d' esser utile, per quanto le mie poche forze e le 
 mie cognizioni permettono, agli abitanti onorati di una cittk che mi accolse 
 graziosamente, che secondo i desiderii miei, che ricompens6 e incoraggi in 
 varii modi le fatiche e le cure mie ; h. poco infine alia ben giusta gratitudine 
 del mio core ; ed h. per questo che ho proposto di rendere ancor piu diffusa 
 la fama del nostro poeta, leggendolo a' colti e svegliati ingegni di New 
 York ; h per questo che assunsi il dolce ed onorevole incarico di insegnare 
 
 1 We have no evidence of this having gone any farther than the praiseworthy 
 desire. Anderson is probably the person to whom reference is made. For many 
 years he held a professorship in Columbia College, and though his specialty was 
 mathematics, he was a man of broad culture and was attracted towards literature. 
 
DA PONTE. ly 
 
 la lingua creata da lui a quelli che ancor non la sanno, o che non la sanno 
 abbastanza per intendere le varie bellezze, le profonde dottrine e gli alti 
 misteri trattati con penna non hoinini data de tanto Genio. 
 
 Da Ponte was accorded the privilege of officiating at Columbia 
 College in the capacity of a private tutor ; he drew no salary from 
 the College itself, though he is commonly spoken of as having held 
 a professorship there from 1826 to 1837. " Professor sine exemplo,^' 
 says he, " cioe senza scolari e senza stipendio." Nevertheless he 
 succeeded in attracting attention to his favorite theme, and in bring- 
 ing into the library of that institution many Italian works in various 
 branches of literature. The best Italian authors were represented 
 by a collection of books which Da Ponte made and sold to the New 
 York Society Library. Through him also the Library of Congress 
 secured a superb edition of Dante and copies of the other most 
 important writers of Italy. Making due allowance for Da Ponte's 
 egotism, which sometimes prompts him to paint his own achievements 
 in rather vivid colors, — but which is not of the unpleasant kind, — 
 we must grant that we were the gainers by the misfortunes which 
 drove him to this country. The change in the state of local interest 
 in Italian literature between the time of his arrival in New York, 
 when he could find in all that city but one book written in his native 
 tongue, an old " Decamerone," and thirty years later, when his career 
 was drawing to a close, must be largely attributed to his influence, 
 even while we bear in mind the fact that the intellectual interests of 
 the people were broadening.^ 
 
 Towards the end of his life, Da Ponte was oppressed by a constant 
 fear of being deprived of the credit attaching to his various achieve- 
 ments, and of dying unwept and unhonored, — in the main, a 
 
 1 Another cultivated Italian of a half-century ago to devote himself in his later 
 years to teaching his native language in America was Piero Maroncelli, the fellow- 
 prisoner of Silvio Pellico at Spielberg. For a considerable time he lived in Cam- 
 bridge, Mass., and an English translation by Mrs. Andrews Norton, of Pellico's 
 " Le mie prigioni," with Maroncelli's additions and some of his miscellaneous 
 writings, was published there in 1836. Still another in this group was Filippo 
 Mancinelli, who published in Philadelphia, n.d., an Italian reader for the use of his 
 pupils. Of Pietro Bachi, the instructor in Italian at Harvard University from 
 1826 to 1846, I shall have something to say when I speak of Longfellow's work 
 at Harvard. 
 
1 8 DANTE IN AMERICA. 
 
 fear destined to be realized. This strain runs through all his later 
 writings, and one of his last publications is dedicated "a pochi 
 dei miei allievi ed amici che si ricordano ancora di me." ^ In the 
 preface to the same volume he utters this lament : *' lo ho instruiti 
 in 28 anni nello studio della mia lingua, che 10, E NON ALTRI, 
 introdussi in America, duemila cinquecento persone. Duemila 
 quattrocento e novanta quattro persone si sono dimenticate di me, 
 e posso dire anch' io col Reale Prof eta, dereliqtterufit 7ne amici mei'^ 
 His declining years were enveloped in obscurity, and, though we 
 cannot search out the reasons for it, we know that he died in strait- 
 ened circumstances, with but few staunch friends left him. Before 
 long the place of his burial was forgotten ; to-day it is as lost as that 
 of his former collaborator Mozart. 
 
 GEORGE TICKNOR. 
 
 George Ticknor gave an impetus to the study of Dante in this 
 country by instituting, during his occupancy (1819-35) of the chair 
 of modern languages at Harvard, a course of lectures and readings 
 devoted to the Divina Commedia and its author. The work thus 
 begun has been taken up in turn by such able interpreters of the best 
 in literature as Longfellow, Lowell, and Norton, and under their care 
 the course has naturally proved a permanent attraction among the 
 culture studies of that university. Ticknor himself was not much 
 concerned with the literary and historical significance of Dante's 
 work, but was attracted rather to its linguistic interpretation. His 
 studies were always of a linguistic and historical nature, and the 
 notes he made on the Divina Commedia have to do with the word 
 and not with the spirit of the poem. 
 
 In 18 1 5, a young man of twenty-four, Ticknor went abroad for the 
 purpose of study. He had already conceived an interest in the early 
 
 1 II Mezenzio, tragedia originale. Nuova Jorca, Joseph Desnoues, 1834. 18** 
 pp. 77+ (2). 
 
TICK NOR. 19 
 
 Italian poets, and before leaving home had sought in vain for some 
 help in reading Dante. In Germany he met with better success : 
 Herr Balhorn, a tutor to some royal family in Gottingen, offered to 
 introduce him to the Divifia Coniinedia. " Balhorn," says Ticknor, 
 " knew everything about Dante. He was not fully occupied, but he 
 could not be hired, — he was too well off to be paid in money. A 
 brother of my friend Mr. James Savage had sent me from Hamburg 
 a box of very fine Havana cigars, and I found that Herr Balhorn 
 would read and explain Dante to me and consider some of those fine 
 cigars — so rare in Germany — a full compensation ; and he con- 
 tinued the reading certainly as long, as the cigars lasted." Ticknor 
 speaks of having a copy of Dante always with him during this early 
 sojourn in Europe, and he continued to read and study him after his 
 return to America. 
 
 On entering upon his professorship at Harvard, he undertook some 
 reforms in the management of his department ; thus he insisted that 
 a speaking knowledge of the modern languages studied should always 
 be striven for. In his spirited address on the best method of teaching 
 the living languages, he remarks that " the great masters in all ages 
 and in all nations have built on the same foundations, and can be 
 successfully approached only in one way." "Who," he asks, "can 
 be aware either of the sublimity or the tenderness of Dante unless 
 he studies that unwritten language from which alone this first and 
 greatest master of Italian poetry could draw his material and inspira- 
 tion ? " Here, perhaps, we have a partial explanation for the linguis- 
 tic nature of his study of Dante. 
 
 In 183 1 he was lecturing three times a week to a special class in 
 Dante, and in one of his letters, he speaks of having spent his summer 
 vacation in the study of this one author, devoting to him often twelve 
 and fourteen hours a day, " with uninterrupted and equable pleasure." 
 "If I am not a better man for it," he writes, "and a happier one, 
 too, why I shall have misused my opportunities scandalously, as 
 many better men have done before me." 
 
 During his second residence in Europe Mr. Ticknor had the good 
 fortune to meet, at Dresden, Prince John of Saxony, " Philalethes," 
 well known to Dante students, and to attend the gatherings called for 
 the purpose of reading over and revising the first draft of Prince John's 
 
20 DANTE IN AMERICA. 
 
 translation.' The honest and candid criticism passed in this informal 
 way upon the work in its first stage brings to mind the Wednesday 
 evening assemblies of a generation later at Longfellow's home in 
 
 1 In his journal for 1836, Ticknor gives the following account of those meet- 
 ings: 
 
 January 8. I passed — by appointment made according to the court cere- 
 monies — an hour this afternoon with I'rince John. Nothing could be more 
 simple and unpretending than his manners. I wanted to see him on account of 
 his knowledge of Dante, of whose Inferno he has printed a translation with 
 very good notes ; and during the greater part of the time I was with him he was 
 occupied in showing me the books and apparatus he had collected for the study 
 of the great Italian master. Some .of them were quite curious. ... In all 
 respects I found him well informed, in some learned, and he was truly agreeable 
 because it was plain he desired to be so. 
 
 His establishment is yery elegant and luxurious, and his study, where he 
 received me, looked truly scholar-like and comfortable. Among other things he 
 showed me a beautiful collection of drawings in an album, relating to Dante, 
 which had been from time to time given to him by his family, — all original, of 
 course, and two or three by Retzsch, of the greatest vigor and beauty, and exe- 
 cuted in pencil with the most delicate finish. 
 
 January 20. I passed an hour this forenoon with Prince John, in looking over 
 the apparatus criticus he has used in his study of Dante. It was less complete 
 than I expected to find it, but more curious. I made a good many memoranda, 
 and shall turn the visit to good account. He was, I thought, free in showing me 
 everything, conscientious in confessing to some little oversights and ignorances, 
 and glad to get any hints that will be useful to him hereafter ; but, on the whole, 
 it is quite plain his study of Dante has been most thorough, and that his knowl- 
 edge and feeling of the power and beauty of the Inferno and Purgatorio are really 
 extraordinary. With the Paradiso he has not yet made a beginning, — I mean, 
 with its translation. 
 
 January 31. This evening Prince John invited four of us — Professor Forster,* 
 the translator of Petrarca, Dr. Cams, Count Baudissin, and myself — to hear 
 Tieck read a part of the unpublished translation of the Purgatorio. I went 
 punctually at six. . . . After coffee and a little conversation, we all sat down at 
 a table, and Tieck read, most admirably, five cantos, beginning with the eight- 
 eenth.! The rest of us looked over the original text, and at the end of each 
 canto observations were made on the translation. There was not, however, one 
 word of compliment offered, or the smallest flattery insinuated. On the contrary, 
 errors were pointed out fairly and honestly; and once or twice, where there was 
 a difference of opinion between the Prince and Carus, Carus adhered, even with 
 pertinacity, to his own, which, in one case, I thought was wrong. The transla- 
 
 * Five years later, in 1841, Forster published his translation of Dante's Vita Nuova. 
 t Tieck had the reputation of being at that time the best reader in Germany. 
 
TICKNOR. 2 1 
 
 Cambridge, where his friends were equally frank in expressing their 
 opinions of his work. These are two delightful instances of scholarly 
 and friendly intercourse into which small bickerings did not enter, yet 
 from which open discussion was not excluded. A memorandum made 
 by Mr. Ticknor many years later recalls the pleasure of those winter 
 evenings in Dresden : 
 
 The little meetings at Prince John's were, I believe, sometimes called 
 the "Accademia Dantesca," and extended through the years when the 
 Prince was making his translation. I went to only two or three of them, in 
 the winter of 1835-36, and never met anybody at them except Tieck, Carus, 
 and Karl Forster, though I believe other persons were occasionally there, 
 especially the M it-Regent, afterwards King Frederic. I think there are 
 notices of them in the Life of Forster, 1 846, where I am kindly remembered 
 as meeting him at the Prince's, which I never did except on these occa- 
 sions. Forster was an excellent Italian scholar, and translated, as early as 
 T807, from Dante. So was Carus, who made a plan^ of the Divina Corn- 
 media^ of which he gave me a copy, still to be found in my large paper 
 Landino. Tieck was not so exact in his Italian as they were, but was more 
 genial and agreeable. 
 
 In a letter to Prince John, Ticknor speaks of Dante as a " mare 
 magnum for adventure," and adds : " Every time I read him I make, 
 or I think I make, new discoveries." He was in the habit of jot- 
 ting down his favorite rendering of a word or passage on the margins 
 of a copy of the Venice edition of 181 1, which was his vade mecum. 
 "I bought it in Geneva in 18 17," says he to his daughter in an 
 unpublished note of 1853, "and from that time have made my chief 
 
 tion, however, was as close as anything of the sort well can be, and in general, 
 I have no doubt, most faithfully accurate. After the reading was over, and 
 refreshments had been handed around, the conversation was very gay, and fell at 
 last into downright story-telling and commerage. 
 
 February 20. I was engaged this evening at Tieck's, but we were both 
 summoned to Prince John's, where, to the same party that was there before, — viz. 
 Forster, Carus, and Baudissin, — Tieck read five more cantos of the Prince's 
 translation of the Purgatorio, XXIV-XXIX. Everything went on just as it did 
 before, and was equally creditable to all parties concerned in it, the criticisms 
 being free, full, and fair, and the spirit in which they were received that of a 
 person really disposed to profit by them. 
 
 1 A privately printed broadside, in possession of his daughter, Miss Anna E. 
 Ticknor, to whom I am indebted for many courtesies. 
 
22 DANTE IN AMERICA. 
 
 Studies of Dante in it, taking it with me on my travels in Europe then 
 and ... in 1835-38. Add to this my manuscript notes in three 
 quartos and you will have pretty much all I know about Dante." 
 
 The notes to which he refers were in the main the skeleton of his 
 lectures and class-room work at Harvard ; many of them are but 
 expansions of the marginal notes in his special copy of the poem. 
 From the fly-leaves of the three manuscript volumes we learn that the 
 notes on the Inferno were prepared at Blue Hills, July and August, 
 1832 ; those on cantos i.-xxix. of the Furgatorio at Rome, January 
 and February, 1837 ; while the remainder of the work was done at 
 Wood's Holl in July and August, 1840. His friend, Count Circourt, 
 had read the first two volumes, and expressed the hope that their con- 
 tents would be prepared for the press ; but the publication since that 
 day of the early comments and other material then not easy of access, 
 from which Ticknor drew, has made it needless. The notes are of 
 interest to us only as they show the breadth of Ticknor's scholarship. 
 The first pages are concerned with such introductory topics as the 
 political state of Italy, the state of religious power and opinion, and 
 of poetry and language in the time of Dante, together with a sketch 
 of his life in which he questions some of Boccaccio's statements. 
 Then comes a brief account of Dante's works. In his analysis of the 
 Divina Commedia he puts the question, "What kind of a poem?" and 
 makes answer that it is " no more an epic than a comedy. It is essen- 
 tially historical. [The] glories and calamities of Italy, its parties, 
 princes, and great men [are] shown in the strong light of the genius, 
 indignation, and misfortunes, the passions, prejudices, and sufferings 
 of one extraordinary man." Ticknor grasps a point which was often 
 misunderstood in his day, — that is, Dante's sense of justice. It is 
 one of the very few of Dante's personal attributes upon which he has 
 any comment whatsoever to make. He finds proof of it in the treat- 
 ment of Bocca degli Abati, of Beccaria, and of Soldanier, irrespective 
 of party, and remarks that in each case " it was the treason Dante 
 hated"; he also notes "a singular exhibition of it" in Dante's put- 
 ting Farinata among the heretics in the sixth circle, "for though a 
 Ghibelline and a saviour of his country, ... he took away from the 
 people the example of a religious chief." Of Dante's minor works, 
 Ticknor characterizes the Vita Nuova as J' mystical," the De Monar- 
 
WILDE. 
 
 23 
 
 chia as " remarkable for its clear distinction between Church and 
 State," the Setti Salmi Penitenziali 2lS "monkish," and finds fault with 
 the Convito for its "bad allegory." 
 
 RICHARD HENRY WILDE. 
 
 Another American who devoted considerable time to the study of 
 Dante, with a view to publishing what he never lived to complete, 
 was Richard Henry Wilde, of Georgia, who spent some four years in 
 Italy in the study of Italian history and literature. Mr. Wilde was a 
 man of marked strength of character and innate refinement of feeling, 
 and as he had had no academic training he endeavored, throughout 
 a busy legal and political life, to gain, by constant application to 
 books, what he had missed by lacking the opportunities of instruction 
 in youth. He is remembered chiefly for his lyric " My Life is Like 
 a Summer Rose," and for the part he had in the discovery of the 
 Bargello fresco popularly ascribed to Giotto. Others have taken to 
 themselves the greater share of the honor attaching to this latter 
 achievement. He has claim to our present consideration through 
 his unpublished " Life and Times of Dante " and " The Italian 
 Lyric Poets." 
 
 He was not a native of America, as has sometimes been stated, 
 but was born in Ireland in 1789, and came to this country in 1797, 
 spending his boyhood in Baltimore. On the death of his father the 
 family removed to Georgia, and the young man took to the study of 
 law in the few leisure moments left him by an exacting clerkship. 
 His subsequent career at the bar and in Congress commands our 
 admiration. The success with which he met enabled him to seek 
 retirement in Italy at a comparatively early age, and he sailed for 
 Europe in the summer of 1835. On his return he published in 1841 
 his work on Tasso, which was well received. Though he accepted a 
 professorship in the law department of the newly established Univer- 
 sity of Louisiana, he still hoped to find leisure to put into shape for 
 publication his "Life and Times of Dante," and to complete the 
 
2'4 DANTE IN AMERICA. 
 
 translations for "The Italian Lyric Poets"; but his life was brought 
 to an untimely close by the yellow-fever epidemic of 1847.' 
 
 It is generally understood that a preface, or foreword, should be 
 a last word coming from the author's pen, written after he has worked 
 over his subject from beginning to end and is best able to define 
 his position and make his apology. When one sits down to write 
 this proem before his book is half finished, it is pretty safe to conjec- 
 ture that all does not go well with him in his task. Now, Wilde has 
 left interesting prefaces to his two incomplete volumes. From their 
 tone it is plainly evident that their author had serious misgivings as 
 to the success with which his work would meet. It was more than 
 modesty that forced him to say in regard to his experiments in trans- 
 lation that the frequency of like folly and the strength of the tempta- 
 tion would possibly secure for his effort no worse a fate than that 
 which had attended others, — pity and neglect. In 1867, his 
 son, William Gumming Wilde, endeavored to secure a publisher 
 for the Dante volume, and, with the same end in view, added 
 biographical sketches to the unfinished portions of the volume of 
 translations. He failed, however, to find any one who would risk 
 the expense of printing, twenty-five years after their writing, two such 
 
 1 Among the editorials of the Southern and Western Magazine and Review for 
 August, 1845, ^o^' "' P- ^44' ^ short-lived venture of William Gilmore Simms, is 
 found this notice of Wilde's work : " We are pleased to learn that the life of Uante, 
 by Richard Henry Wilde, of New Orleans, is in rapid preparation for the press. 
 Mr. Wilde has had this work in hand for a considerable length of time. He has 
 bestowed the utmost pains upon it, as well in regard to the acquisition and 
 analysis of his material as in careful finish of his style. We have had the pleas- 
 ure of hearing portions of the work read, by the accomplished writer himself, and 
 we feel quite safe in making these assurances. Mr. Wilde has enjoyed many 
 advantages for the preparation of this biography — has spent several years in 
 Italy, is a master of the language, and has been an industrious explorer among its 
 ancient records. He has been fortunate in making some valuable and interesting 
 discoveries. A new portrait of Dante, exhibiting the stern and gloomy master, 
 with equal felicity and truthfulness, is, we believe, due entirely to the persevering 
 nature of his researches. We look anxiously for this work as an honorable 
 addition to American and particularly to Southern literature." Simms himself 
 knew Dante and translated the fifth canto of the Inferno into quite creditable 
 triple-rhymed English verse. 
 
 Longfellow makes mention of Wilde (" with his white floating locks ") in his 
 journal for Oct. 2, 1845. 
 
WILDE. 2^ 
 
 bulky works, left in an unfinished state and wanting in proportion. 
 Instead of weighting the lyrics with long lives of the poets, more 
 suited to an encyclopaedia than to an anthology, the translations, 
 which are chiefly of sonnets, ought to have been gone over carefully 
 and printed separately. Wilde was at his best in dealing with the 
 sonnet form; with the canzone he did not succeed so well. The 
 following is a most satisfactory translation of a favorite sonnet from 
 Dante's Canzoniere : 
 
 GUIDO VORREI CHE TU E LaPO ED lO. 
 
 Guido, I would that Lapo, thou, and I 
 
 Were by some kind enchantment borne away 
 In a brave ship that o'er the sea should fly 
 
 And, spite of wind and tide, our will obey : 
 So that ne'er fickle fortune nor foul weather 
 
 Should interrupt our course or mar our peace, 
 And living free and happily together, 
 
 The wish to live so ever, might increase. 
 Vanna and Beatrice should be there 
 
 With her who o'er the thirty reigns supreme 
 (That too should be the good enchanter's care); 
 
 And love should be our everlasting theme, — 
 As much contented they our lot to share 
 
 As we our fate to blend with theirs, I deem. 
 
 The incompleteness of the work on "The Italian Lyric Poets" 
 is shown by the unfinished state in which Wilde left the portion 
 devoted to Dante. There are but two renderings beyond the one 
 just given, and no biographical sketch. In another portion of the 
 manuscript we find a translation of Boccaccio's difficult sonnet, 
 which may well be given here. 
 
 Dante Alighieri son, Minerva oscura. 
 
 Dante am I, the oracle obscure 
 
 Of wisdom and of art divinely sung. 
 
 Who formed the accents of my mother tongue. 
 
 To eloquence laconic, bold, and pure. 
 
26 DANTE IN AMERICA. 
 
 My fancy high, prompt, daring, and secure, 
 
 .Passed Tartarus, and up to Heaven sprung, 
 
 And o'er the story of my journey flung 
 A beauty destined ever to endure. 
 Florence my glorious mother was, to me 
 
 More like a step-dame, though her loving child, — 
 The fault of civil strife and calumny. 
 
 Ravenna gave me shelter when exiled, 
 And keeps my dust ; my soul to God on high 
 
 Rose from its earthly prison undefiled. 
 
 The " Life and Times of Dante" was planned to consist of two vol- 
 umes, but no more than the first was ever written. The manuscript 
 consists of about eight hundred closely written quarto sheets, the last 
 of which is dated Oct. lo, 1842. As it stands, it deals more with 
 the times in which Dante lived than with his life. A score of appen- 
 dices, to which references are made throughout the volume, are lost 
 or were never written. 
 
 Though even more unsuited for publication to-day than in 1867, 
 the work is of interest to us as outlining methods of research quite 
 common in America half a century ago, and in helping us to appre- 
 ciate the growth of American scholarship in this particular field. In 
 order to get Wilde's own account of what he endeavored to do, I print 
 a considerable portion of the preface to his "Life and Times of Dante" : 
 
 During a residence of some years in Florence, I had more leisure on 
 my hands than a busy life ever before allowed me. Part of it was occupied 
 with the study of Italian literature. As an exercise in translation and com- 
 position I wrote the " Researches and Conjectures on the Love and Mad- 
 ness of Tasso," and, while thus engaged, anxiously endeavored to obtain 
 access to the Medicean archives, with the hope of finding some inedited 
 letters, of his own and others, bearing on his story. The desired permis- 
 sion was not obtained soon enough for my purpose. It came to me at 
 length, unexpectedly, through the gracious indulgence of His Imperial and 
 Royal Highness, the Grand Duke of Tuscany, and the courtesy of his 
 ministers, among whom I am especially indebted to His Excellency Don 
 Neri de' Principi Corsini, Secretary of State. ... I was then engaged in 
 translating specimens of the Italian lyric poets, and composing short bio- 
 graphical notices of each author ; and, being much puzzled with the 
 obscurities and contradictions abounding in the ordinary lives of Dante, 
 
WILDE. 
 
 ^7 
 
 it occurred to me to seek in the archives thus fortunately opened to my 
 curiosity whatever explanations they might afford. . . . 
 
 My first step was the study of an alphabet and the still more cramped 
 and crabbed abbreviations of the notaries of the Signoria, a sort of official 
 shorthand which constantly varied, as each officer used his own. ... I 
 threw aside everything else and devoted myself assiduously to the business 
 of collecting and extracting. ... 
 
 Confident in my own resources, like an American woodsman, with my 
 axe on my shoulder, I entered the forest. Never, most assuredly, since I 
 bivouacked in my boyhood amid a wilderness lately in the possession of 
 the Indians, beside a rousing fire, the earth for my bed, the sky my canopy, 
 a saddle for my pillow, and a blanket to cover me, — never since then did 
 so deep a sense of my own insignificance and the enduring solitude of ages 
 come over me as in my first visit to the Florentine archives. Suites of 
 rooms whose large size and immense height would befit a royal palace, 
 crammed with books and folio files of papers from top to bottom, filled me 
 at once with wonder and despair. From this enormous mine the history of 
 centuries had been extracted, and yet, like mountain quarries out of which 
 cities have arisen, the materials were not missed, the mass was undi- 
 minished. . . . 
 
 For some time, like a child in a blooming meadow, I wearied myself 
 grasping at everything, weeds as well as flowers, entirely unconscious of 
 their respective value, until my hands were full and my eyes still greedy. 
 It soon became clear, however, that some one object embracing a very 
 limited period must be selected or my efforts would be merely a waste of 
 labor. The life of Dante was chosen, and as materials increased, his 
 times were added. 
 
 Here one already sees the mark of the dilettante. Wilde never 
 reached the point of trained scholarship and discriminatijon so neces- 
 sary to the investigator and historian. He had a great fund of enthu- 
 siasm, and, as Washington Irving said of him, he went about his work 
 with all the " patience and accuracy of a case hunter." In fact, he 
 shows himself the advocate by the eagerness with which he supports 
 his favorite theories in the case of certain vexed questions. Not that 
 he was a biased investigator, nor that he was unwilling to give up a 
 cherished tradition, once overthrown ; but until disproved, the pleas- 
 ing figments of time had for him the usual attraction they hold alike 
 for the poet and dilettante, and Wilde was somewhat of both. But 
 to return to his narrative. 
 
28 DANTE IN AMERICA. 
 
 While endeavoring to become familiar with the writings of the ancient 
 records, I employed my mornings at the Riformagioni, in reading the general 
 index literally through. Many references stimulated my curiosity and were 
 carefully noted, but the general result was a severe trial to my patience, 
 ending in disappointment. This and various other indices I found were 
 framed, as it is proper they should be, rather for the present administrative 
 purposes of the government than the gratification of historical or antiqua- 
 rian tastes. Accordingly they are most diffuse where 1 could have wished 
 them concise, and brief where the greatest minuteness would have been 
 acceptable. My first experiments of this sort convinced me fully that if 
 I really wished to explore the ground faithfully, there was nothing for it but 
 examine page by page and document by document every book and file that 
 related to my epoch. This was a serious task, and threatened to occupy 
 me, as in fact it did, for years. Besides, I gradually became aware how 
 utterly unqualified 1 was for my pursuit. Conversation with the archivists 
 and with various other persons of talent and education, lovers of Dante, 
 and skilled in the history of their country, who were patient and urbane 
 enough to listen to my crude notions, and answer all my vague and random 
 questions, soon convinced me how much I had to learn. It was absolutely 
 necessary that I should inform myself as far as possible of all that had 
 already been published or written in relation to my subject. Unwilling 
 wholly to forego an examination of the archives, lest accident should close 
 them on me forever, yet sensible that there were many books to be read,, 
 and in the public libraries many manuscripts to be consulted, before 1 could 
 tell what had been already found, what was still to seek, and what had often 
 been sought in vain, I resolved to make a threefold distribution of my 
 time. Two or three hours of the morning, usually from nine to twelve, were 
 given to the Riformagioni. As soon as my eyes became weary with the 
 crabbed and sometimes faded characters of ancient parchments, I betook 
 myself to the Magliabecchiana and remained until two, reading manuscripts 
 in a more modern hand. My afternoons and evenings were devoted to the 
 Commedia and other works of Dante, to Compagni, Villani, Malispini^ 
 Boccaccio, Benvenuto da Imola, Muratori, Ammirato, Tiraboschi, Andres,. 
 Lami, Pelli, Arrivabene, and a hundred others, many of whose works I 
 read again and again, and of some made a constant and profound study. 
 
 . . . Had I begun with a full understanding of the achievements of my 
 learned predecessors, assuredly I should have gone no farther. How often 
 afterward, in studying the many and huge-tomed Spogli and Zibaldoni of 
 Ferdinando Migliore, Cosimo della Rena, Senator Carlo di Tommaso 
 Strozzi, Gammurini, the anonymous volumes erroneously attributed to 
 
WILDE. 29 
 
 Borghini, and various similar collections, has the cold and bitter feeling of 
 despondency overcome me, with the self-interrogation : What after all this 
 can I hope to effect? Here are men who lived and died in the process of 
 investigating and extracting, and after amassing this immense quantity of 
 material have finished comparatively little. My ignorance thus again stood 
 my friend, until I waded so far into my undertaking that to desist would 
 have been more vexatious than to proceed, and I went on with dogged 
 obstinacy, borrowing courage from despair. . . . 
 
 I examined everything belonging to. my era in the archives, line by Hne. 
 Hence the fortunate discovery of a record establishing Dante's services as 
 one of the secret council, and his votes against furnishing troops to Boni- 
 face VIII, which, strange and almost incredible to say, had escaped all my 
 predecessors. Hence various other discoveries enabling me, as I hope, to 
 arrange and elucidate the order of events during a short, but most perplexed, 
 period of Florentine history, whose confusion all had admitted and despaired 
 of correcting. Hence a vindication in many points of the old biographers 
 and commentators, most unjustly censured. Hence the identification of one 
 of the young men poisoned during the faction of 1300, — Pigello Portinari, as 
 a brother of Beatrice and a friend of Dante. . . . Hence the satisfactory 
 solution of that hitherto unsettled question, — the poet's Roman virtue in 
 recommending the banishment of his best friend, Guido Cavalcanti, and the 
 full conviction of his own innocence, and the iniquity of the sentence 
 passed upon him by his enemies. . . . 
 
 The systematic searching which has been going on during recent 
 years has brought to light all that Wilde was able to turn up, and a 
 great deal more. The indefatigable Del Lungo has it nearly all in 
 his masterpiece of scholarly editing and annotation, '' La Cronica di 
 Dino Compagni." Wilde, however, came to some novel conclusions 
 in regard to the Pigello Portinari mentioned by Villani, and I give 
 them here for what they may be worth. Wilde has just been discuss- 
 ing the poisoning, at the hands of Ser Neri degli Abati, of some of 
 the young men imprisoned in default of the fines imposed upon them 
 for taking part in the faction fight at Remole. Ser Neri was one of 
 the keepers of the Paliazze, the prison of the nobles. 
 
 Among the innocent victims of Ser Neri degli Abati's base and murderous 
 treason was one of the family of Portinari. Giovanni Villani identifies him 
 by his Christian name, but no one has yet remarked, or at least no one has 
 yet proved, that this Pigello de' Portinari was certainly, or almost certainly, 
 
30 DANTE IN AMERICA. 
 
 a brother of Dante's Beatrice, and possibly, the very brother who was the 
 poet's intimate friend. . . . 
 
 Folco de Portinari, the father of Beatrice, was the founder of the cele- 
 brated hospital of Santa Maria Nuova, in Florence, and his will has been 
 preserved. Besides his daughter and other children, he mentions in it his 
 sons Pigello, Gherardo, and Jacobo, at that time (1287) all minors. Of 
 these Pigello was no doubt the eldest, as they would naturally be named in 
 the order of seniority ; but without some more definite evidence of his age 
 it must always remain uncertain whether he was not too young in 1298. to 
 take part in these unhappy factions. This proof has been anxiously sought 
 for and at length found. In 1294 a resolution of the Priori subrogated to 
 Pigello di Folco Portinari and others all the rights of the Comune against 
 Dino Ubertini, for whom they became security, and on account of which a 
 sentence was rendered on the seventh of the previous December. Before 
 December, 1294, therefore, Pigello was of age; and his identity is fully 
 established by his being called Pigello di Folco, — that is to say, according 
 to the Florentine usage, " the son of Folco." Even the ambiguity that would 
 arise upon the gratuitous supposition that there might be another Folco de' 
 Portinari at the time is removed by the word " quondam," showing that the 
 deceased Folco was intended. To suppose two Folchi, both deceased and 
 both leaving sons called Pigello, at the same epoch, is an outrage on all 
 probability which receives no countenance from the records of the time. In 
 none of these has any other Folco or Pigello been observed, though both 
 names were afterwards continued in the family. The latter, indeed, is by 
 no means a common baptismal appellation, and has been remarked only 
 once besides, in the person of Pigello de' Cerchi, whose house was doubtless 
 allied to the Portinari by marriage. The Canonico Cavaliere Folco Antonio 
 Maria de' Portinari, therefore, who compiled the memoirs of his family, . . , 
 though he enters into no critical examination of the facts, adopts without 
 hesitation the Pigello de' Portinari spoken of by Giovanni Villani as the son 
 of Folco mentioned in his will. 
 
 There are many other passages in this work which are well worth 
 printing, but they are mostly concerned with the times leading up to 
 Dante, and with matter introductory to a consideration of the poet 
 himself. The scope of the present sketch does not permit of the 
 fuller presentation of material from these interesting manuscripts. 
 Before leaving Wilde, however, we must review the part he had in 
 the discovery in 1840 of the portrait of Dante, to which reference 
 has already been made. • 
 
WILDE. 
 
 31 
 
 As there has been so much discussion concerning the division of 
 the credit attaching to the discovery of the Giotto fresco, it is to be 
 regretted that we do not have Wilde's own account of the movement 
 which we have all reason to believe was set on foot by him. All that 
 he says of the matter in the body of his work is that " the circum- 
 stances attending the recovery of the fresco, which have been differ- 
 ently related, according to the self-love of every narrator, are thought 
 worthy of preservation as matters of history, and have therefore been 
 embodied in the appendix." Though the latter is unhappily lost, we 
 have a disinterested account of the undertaking by Washington Irving, 
 who wrote of the discovery in the Knickerbocker Magazine for October, 
 1 84 1. The details of his narrative are corroborated, as far as they 
 go, by the letter from Signer Bezzi, to which we shall come shortly. 
 
 It was during the time he was devoting himself to Tasso, says 
 Irving, that Wilde first heard of the probable existence of the Giotto 
 fresco. His informer was Carlo Liverati, a Florentine artist of some 
 merit, who spoke with regret of the almost utter hopelessness of its 
 recovery. Wilde thought little of the matter at the time, but a few 
 years later, when engaged in the study of Dante, it was again brought to 
 his attention, and this time aroused his deepest interest. In reading 
 Domenico Moreni's notes on Filelfo's "Vita Dantis," he found men- 
 tion of the Giotto fresco, and he also learned that, some years pre- 
 viously, Luigi Scotti, keeper of the drawings in the royal galleries at 
 Florence, had made " an ineffectual attempt to set on foot a project 
 for the recovery of the lost treasure." ^ " Here," continues Irving, 
 "was a new vein of inquiry, which Wilde followed up with his usual 
 energy and sagacity." The remainder is best told in Irving's own 
 words : 
 
 For a moment he felt an impulse to undertake the enterprise ; but feared 
 that, in a foreigner from a new world, any part of which is unrepresented 
 at the Tuscan court, it might appear like an intrusion. He soon, however, 
 
 1 Moreni's note is as follows : " II nostro pittore Sig. Luigi Scotti ha veduta, ed 
 esaminata essa Cappella, e avendovi scorta qualche traccia indubitata di pittura, 
 egli stesso coUa sua gia nota pazienza non sarebbe alieno, qualora gli fosse 
 ordinate, di far risorgere essa pittura, e con essa il Ritratto del nostro immortal 
 Poeta, di cui al certo non avremmo il piu antico ne il piu simigliante." — Vita 
 Dantis, Florentiae, 1828, pp. 123, 124. 
 
33 
 
 DANTE IN AMERICA. 
 
 found a zealous coadjutor. This was one Giovanni Aubrey Bezzi, a Pied- 
 montese exile, who had long been a resident in England, and was familiar 
 with its language and literature. . . . Signor Bezzi partook deeply of the 
 enthusiasm of his countrymen for the memory of Dante, and sympathized 
 with Mr. Wilde in his eagerness to retrieve, if possible, the lost portrait. 
 They had several consultations as to the means to be adopted to effect their 
 purpose, without incurring the charge of undue officiousness. To lessen any 
 objections that might occur, they resolved to ask for nothing but permission 
 to search for the fresco painting at their own expense ; and should any 
 remains of it be found, then to propose to the nobility and gentry of Plorence 
 an association for the purpose of completing the undertaking, and effectu- 
 ally recovering the lost portrait. 
 
 For the same reason, the formal memorial addressed to the Grand Duke 
 was drawn up in the name of the Florentines, among whom were the cele- 
 brated Bartolini, President of the School of Sculpture in the Imperial and 
 Royal Academy, Signor Paolo Ferroni, of the noble family of that name, 
 who has exhibited considerable talent for painting, and Signor Gasparini, 
 also an artist. This petition was urged and supported with indefatigable 
 zeal by Signor Bezzi ; and being warmly countenanced by Count Nerli, and 
 other functionaries, met with more prompt success than had been antici- 
 pated. Signor Marini, a skilful artist, who had succeeded in similar opera- 
 tions, was employed to remove the whitewash by a process of his own, by 
 which any fresco painting that might exist beneath it would be protected 
 from injury. He set to work patiently and cautiously. In a short time he 
 met with evidence of the existence of the fresco. From under the coat of 
 whitewash the head of an angel gradually made its appearance, and was 
 pronounced to be by the pencil of Giotto. 
 
 The enterprise was now prosecuted with increased ardor. Several months 
 were expended on the task, and three sides of the chapel wall were uncovered ; 
 they were all painted in fresco by Giotto with the history of the Magdalene, 
 exhibiting her conversion, her penance, and her beatification. ^ The figures, 
 however, were all those of saints and angels : no historical portraits had yet 
 been discovered, and doubts began to be entertained whether there were any. 
 Still the recovery of an indisputable work of Giotto's was considered an 
 ample reward for any toil ; and the Ministers of the Grand Duke, acting 
 under his directions, assumed on his behalf the past charges and future 
 management of the enterprise. 
 
 1 Only a portion of the fresco is devoted to this theme ; that in which Dante's 
 portrait occurs is a Gloria and is usually spoken of as the " Paradise. " There has 
 been much discussion as to what part Giotto had in its painting. 
 
WILDE. 
 
 iZ 
 
 At length, on the uncovering of the fourth wall, the undertaking was 
 crowned with complete success. A number of historical figures were brought 
 to light, and among them the undoubted hkeness of Dante. . . . 
 
 It is not easy to appreciate the delight of Mr. Wilde and his coadjutors 
 at this triumphant result of their researches ; nor the sensation produced, 
 not merely in Florence, but throughout Italy by this discovery of a veritable 
 portrait of Dante, in the prime of his days. It was some such sensation as 
 would be produced in England by the sudden discovery of a perfectly well- 
 authenticated likeness of Shakspeare, with a difference in intensity propor- 
 tioned to the superior sensitiveness of the Italians.^ 
 
 It were useless to go all over the ground of the scattered discussion 
 which took place between 1840 and 1850, as to who was the prime 
 mover in the undertaking in question.^ Signer Bezzi and "Baron" 
 Kirkup looked after the details of uncovering the fresco, and later on, 
 Kirkup, in the absence of both Bezzi and Wilde, took to himself the 
 credit for everything. Kirkup unquestionably deserves to be remem- 
 bered with gratitude for having given us his invaluable water-color 
 sketch of the Dante portrait before it suffered from " restoration," but 
 his attempt to deprive his associates of their just share of the honor 
 attaching to the discovery was most niggardly.^ On some of the 
 
 1 "The enthusiasm of the Florentines on the announcement of the discovery 
 resembled that of their ancestors when Borgo AUegri received its name from the 
 rejoicings in sympathy with Cimabue. 'L'abbiamo, il nostra poeta!' was the 
 universal cry, and for days afterwards the Bargello was thronged with a continuous 
 succession of pilgrim visitors." — Lord Lindsay, Christian Art, 2d ed., London, 
 1886, vol. ii, p. II. 
 
 2 The chief documents in the case, so far as I know them, are as follows : Eugenio 
 Latilla's unsigned article in the Athenceum, Dec. 25, 1847, PP- 1328, 1329, and 
 a further note in the issue for May 6, 1848, p. 467, in answer to the statement of 
 Bezzi's case in the issue for Feb. 5, 1848, p. 146; Kirkup's letter in the Spectator, 
 May II, 1850, vol. xxiii, p. 452, answered by Bezzi in the issue for May 25, 1850, 
 vol. xxiii, pp. 493, 494, reprinted in the International Monthly Magazine (N. Y.), 
 July, 1850, vol. i, pp. 2-4. For Rudolf Lehman's recently asserted and very amus- 
 ing claim to the discovery, see Leader Scott's letter in the Athemriim, Mar. 30, 
 1895, pp. 414.415- 
 
 3 An interesting personage in his way, he was for nearly half a century a promi- 
 nent figure in the English colony at Florence. Miss Wilde writes me that she has 
 often heard " Baron " Kirkup described by her father as " a clever but rather 
 unscrupulous man, artistic and literary, but shallowly so." The Hawthornes 
 have left accounts of him in their journals for August, 1858. 
 
34 DANTE IN AMERICA. 
 
 engravings which he caused to be made of his sketch, he styled him- 
 self the first promoter of the discovery, and on others the discoverer 
 of the portrait. In his garbled account, Kirkup spoke of Bezzi's 
 work as " fruitless," though he granted that the latter had undertaken 
 all the labors of the petition. He claimed that it was himself who told 
 Bezzi of the existence of the fresco, and that Bezzi voluntarily united 
 with him for the necessary expenses and steps to recover it. " The 
 day after," says Kirkup, "he came to propose the junction of another 
 person of my acquaintance for this object. This was Mr. Wilde, an 
 American, whom I accepted with pleasure as our associate in the 
 affair." This is the only mention he makes of Wilde. Bezzi tells 
 quite a different story. Witness the following : 
 
 It was Mr. Wilde and not Mr, Kirkup who first spoke to me of this 
 buried treasure. Mr. Wilde, an American gentleman respected by all that 
 knew him, was then in Florence, engaged in a work on Dante and his 
 times, which unfortunately he did not live to complete. Among the 
 materials he had collected for this purpose there were some papers of the 
 antiquarian Moreni, which he was examining when I called one day (I had 
 then been three or four months in Florence) to read what he had already 
 written, as I was in the habit of doing from time to time. It was then 
 that a footnote of Moreni's met his eye, in which the writer lamented that 
 he had spent two years of his life in unceasing and unavailing efforts to 
 recover the portrait of Dante, and the other portions of the fresco of 
 Giotto in the Bargello, mentioned by Vasari ; that others before him had 
 been equally anxious and equally unsuccessful; and that he hoped that 
 better times would come {yerranno tempi migliori), and that the painting, 
 so interesting both in an artistic and historical point of view, would be 
 again sought for, and at last recovered. I did not then understand how 
 the efforts of Moreni and others could have been thus unsuccessful ; and 
 I thought that with common energy and diligence they might have ascer- 
 tained whether the painting, so clearly pointed out by Vasari, was or was 
 not in existence; several months, however, of wearisome labors in the same 
 pursuit taught me to judge more leniently of the failures of my predeces- 
 sors. Mr. Wilde put Moreni's note before me, and suggested and urged, 
 that being an Itahan by birth, though not a Florentine, and having lived 
 many years in England and among the English, I had it in my power to 
 bring two modes of influence to bear upon the research ; and that such 
 being the case I ought to undertake it. My thoughts immediately turned 
 to Mr. Kirkup, an artist who had abandoned his art to devote himself 
 
WILDE. 35 
 
 entirely to antiquarian pursuits, with whom I was well acquainted, and who, 
 having lived many years in Florence (I believe, fifteen), would weigh the 
 value of Moreni's testimony on this matter, and effectually assist me in 
 every way if I took it in hand. So I called upon him, either the same day 
 or the next ; and I found that he, like most other people, had read the 
 passage in Vasari's life of Giotto, in which it is explicitly said that the 
 portrait of Dante had been painted with others in the Palazzo del Podestk, 
 and was to be seen at the time the historian was writing; but that he had 
 not read or had not put any confidence in the note of the Florence edition 
 of Vasari published in 1832-38, in which it is stated that the Palazzo del 
 Podesta had now become a prison — the Bargello; that the chapel had 
 been turned into a dispensa (it was more like a coal-hole where the rags 
 and much of the filth of the prison was deposited); that the walls of this 
 dispensa exhibited nothing but a dirty coating, and that Moreni speaks of 
 the painting in some published work. 
 
 Mr. Kirkup, however ignorant, or culpably negligent, or a little of both, 
 he might previously have been on the subject, yet when I brought it before 
 him, he at once admitted its importance and made a liberal offer of money, 
 if any should be needed, to carry out the experiment. Thus encouraged 
 by Mr. Wilde and Mr. Kirkup, I sought out and found among English, 
 American, and Italian friends and acquaintances many that were ready to 
 assist the plan. Then it was that I drew up a memorial to the Grand 
 Duke; not because I am an "advocate," as your correspondent [Mr. 
 Kirkup] is pleased to call me, for that is not the case, but simply because, 
 having taken pains to organize the means of working out the common 
 object, the cooperators thought I could best represent what this common 
 object was. . . . The answer was favorable, and I was referred to Mar- 
 chese Nerli, and to the Director of the Academy to make the necessary 
 arrangements. 
 
 If these accounts by Irving and Bezzi do nothing else, they assur- 
 edly make invalid the too common statement that the fresco was dis- 
 covered by Kirkup. Bezzi v^ras given credit for his management of 
 the affair by Mrs. Jameson, by Eastlake in his notes to " Kugler's 
 Handbook of Painting," and by Landor in a letter to the London 
 Examiner^ Aug. 16, 1840. Wilde's part in the undertaking has 
 been largely lost sight of. Grovi'e and Gavalacaselle speak of " the 
 willingness of an intelligent American, Mr. Henry Wild" \jic\ to 
 assist in getting the permission of the government authorities ; but 
 most writers, including Alessandro D'Ancona, Lord Lindsay, F. G. 
 
36 DANTE IN AMERICA. 
 
 Stephens, H. Quilter, and the makers of many of the encyclopaedias 
 of art and of biography, in referring to the discovery, make no 
 mention of Wilde, even as a party to the undertaking. Yet, as Bezzi 
 said in a letter printed in the Athenceu?n, Feb. 5, 1848, "it was 
 originally and principally at the suggestion and by the encourage- 
 ment of Mr. Wilde " that he endeavored to secure permission from 
 the government, and cooperation among interested individuals. 
 Though it seems impossible to-day to determine exactly how much 
 each of the three had to do with the affair in its inception, yet the 
 statements here brought together certainly call for a more equal 
 distribution of the honor attaching to the discovery. 
 
 HENRY WADSWORTH LONGFELLOW. 
 
 Although the early American students of Dante were not without 
 their influence in creating a local and limited interest in their author, 
 yet they left but little lasting incitement to the study of him. They 
 did not succeed in bringing Dante before the American reading pub- 
 lic, or in giving him the audience he merited. To Longellow this 
 honor chiefly belongs. No one in America has done so much in the 
 service of this master. The homage paid by the first of our poets to 
 Italy's chiefest singer of rhymes is a significant bond of union. 
 
 Longfellow's interest in modern languages and literature began 
 with his student days at Bowdoin College. In one of his letters to 
 his father he speaks of his intention to understand French pretty 
 thoroughly before leaving Bowdoin, and looks forward to spending a 
 year at Harvard in the study o£ history and polite literature, hoping 
 at the same time to study Italian, without which he felt that he would 
 "be shut out from one of the most beautiful departments of letters." 
 After graduation, instead of going to Cambridge, he went abroad to 
 prepare himself for a professorship in his alma mater. During the 
 period of his foreign study it was the modern languages which 
 absorbed his attention,^ and his first publications, on entering upon 
 
 ^ Longfellow took his first Italian lessons in Paris in 1826 from De' Ferranti, 
 "guitarist to his majesty, the Roi des Beiges.''^ (Journal, Oct. 31, 1846.) 
 
LONGFELLOW. 
 
 37 
 
 his duties at Bowdoin, were connected with his class-room work in 
 French, Spanish, and ItaHan. 
 
 Longfellow early took to the translating as well as the writing of 
 poetry. Diffident at the start as to the publication of verse of his 
 own composing, he felt surer of his work when the expression alone 
 was his and the thought itself belonged to some poet of a foreign 
 tongue. Yet he did not worship his exotic author with such a reli- 
 gious zeal as to attempt to transfer his very word and phrase. He 
 had found where the difficulties of translating lay, and he sought to 
 give the effect of the original by a free handling of his material. In 
 the preface to his translation of the "Coplas" of Don Jorge Manrique, 
 published in 1833, he compared the art of the translator to that of 
 the sculptor, who, unable to represent in the cold marble the living 
 beauty of the human eye, has recourse to such devices as sinking the 
 eye deeper and making the brow above it more prominent than it is 
 in the living model, thus gaining more of the effect of the original 
 than he could have done by an exact copy. So with the translator, 
 said the young Longfellow : " As there are certain beauties of thought 
 and expression in a good original which cannot be represented in the 
 less flexible material of another language, he, too, at times may be 
 permitted to transgress the rigid truth of language, and remedy the 
 defect, as far as such defect can be remedied, by slight and judicious 
 embellishments." Therefore he felt justified in occasionally making 
 use of "an additional epithet or a more forcible turn of expression." 
 This was where the young translator erred. His verse was graceful, 
 his rhythm true, but he often fell short of the simplicity of his origi- 
 nal through the liberties he allowed himself. Such a straightforward 
 and unaffected epitome of life as 
 
 Partimos quando nascemos, 
 
 Andamos mientras vivimos, 
 
 Y allegamos 
 
 Al tiempo, que fenescemos ; 
 
 Asi que quando morimos, 
 
 Descansamos. 
 
 becomes modernized by him into the pretty but sentimental lines : 
 
 Our cradle is the starting-place, 
 In life we run the onward race. 
 
38 DANTE IN AMERICA. 
 
 And reach the goal, 
 When in the mansions of the blest 
 Death leaves to its eternal rest 
 
 The weary soul. 
 
 Fortunately he did not long indulge himself in this license. We 
 shall see how, later in life, his views concerning the ethics of the 
 translator's art were radically changed. His "Voices of the Night," 
 published but six years after the above, contain three fragments from 
 the Purgatorio^ which evince more than the beginning of the change. 
 With a certain justice he always allowed himself greater freedom in 
 translating from the lyric poets than from Dante, but the excuse for 
 this is apparent. 
 
 As the successor of Professor Ticknor at Harvard College, it fell 
 to Longfellow's lot to lecture on Dante, among other topics. Long- 
 fellow made Dante far more of a literary study for the pupils than his 
 predecessor had done. He left the linguistic work> to the competent 
 instructor Bachi, who drilled the young men in the rudiments of 
 Italian and read with them many of the best writers. " Before the 
 college course was over," says the Rev. Edward Everett Hale, one of 
 his students, " Longfellow read, nominally as lectures, the whole of 
 Dante with us, and we were well prepared for this by what we had 
 read with Bachi." ^ 
 
 " I was so fortunate," wrote Mr. Hale to the editor of the Christian 
 Union in 1881, "as to be in the first section which Mr. Longfellow 
 
 1 In a letter of recent date, Mr. Hale writes me as follows : *' Do not let your 
 notice of Dante in Cambridge pass without fitting reference to Pietro Bachi, who 
 was the Italian teacher from 1826 to 1846. Bachi was a well-educated Italian 
 gentleman, who came over here, — I know not why, for I always thought he must 
 have been wretched here. But everybody liked him, not to say loved him. It 
 was understood amongst us youngsters that he had married a wife who was in some 
 sort inferior to him in social position. I do not know how this was, but I do know 
 that he never seemed to visit freely in general society, as, for instance, Bokum did, 
 who was the German teacher. What I do know is that we all had a great regard 
 for him, and that his work in the Italian department was excellent. As a critic of 
 Dante, he had exactly the gift which a good teacher ought to have in interesting 
 wide-awake young men in this study. And I can say to you that when we came 
 to hear Longfellow lecture, we were more than prepared for his lectures by the 
 very thorough work which Bachi had done in this same subject with us." 
 
LONGFELLOW. 3g 
 
 instructed personally when he came to Cambridge in 1836. Perhaps 
 I best illustrate the method of his instruction when I say that I think 
 every man in that section would now say that he was on intimate 
 terms with Mr. Longfellow. From the first he chose to take with us 
 the relation of a personal friend a few years older than we were. . . . 
 Besides [directing the department of modern languages] he lectured 
 on authors or more general subjects. I think attendance was volun- 
 tary, but I know we never missed a lecture. I have full notes of his 
 lectures on Dante's Divina Commedia^ which, confirm my recollections, 
 namely, that he read the whole to us in English and explained what- 
 ever he thought needed comment. I have often referred to these 
 notes since, and though I suppose that he included all that he thought 
 worth while in his notes to his translation of Dante, I know that until 
 that was published I could find no such reservoir of comment on the 
 poem." For nearly twenty years Longfellow continued this class- 
 room work, and the suggestion of translating the whole of the Divi?ia 
 Commedia probably came to him while thus explaining the poem to 
 beginners in Italian literature. Certain it is that the fragmentary 
 translations, to which we have referred, were written, with others of 
 favorite passages, in an interleaved copy of the poem, used as a 
 note-book for his lectures and class-room readings from Dante. 
 Longfellow's journal during this time contains many scattered 
 references to his growing interest in Dante. With increasing years 
 and ripening appreciation, the full significance of the life and work 
 of the great Florentine grew upon him. From the position of a much 
 esteemed author, Dante came to be an important factor in Longfellow's 
 inmost life. Early in the forties he began, with the Furgatorio, the 
 systematic translating of the Commedia, and though he was to lay 
 it aside for many years before he resumed the task and carried it 
 to completion, the spirit of his work was always the same. In a 
 letter of 1843 he speaks of "the divine Dante" with whom he was 
 accustomed to begin the morning. 
 
 His next ten years were years of fruitful activity in original work. 
 The translating from the Purgatorio was suspended for the time being, 
 yet Dante was never far from his thoughts, as his sonnet of 1848, his 
 translation of Schelling's essay on the Divi?ia Commedia, and the con- 
 tinued notes in his journal go to show. In the latter part of 1852 there 
 
40 
 
 DANTE IN AMERICA. 
 
 came over Longfellow a sense of intellectual exhaustion, and he felt 
 that he might as well put his lyre aside. "It seems to me that I shall 
 never write anything more," said he. In 1853 he wrote but one poem. 
 On the first day of February of that year he has this to record : " In 
 weariness of spirit and despair of writing anything original, I turned 
 again to-day to dear old Dante, and resumed my translation of the 
 Purgatorio where I had left it in 1843. I find great delight in the work. 
 It diffused its benediction through the day." For a week or two 
 a canto was translated almost daily, thus finishing the Purgatorio, — 
 the only literary event in this year of his life. But a period of active 
 original production speedily followed, and the translation of the 
 Divina Commedia was suspended for another space of almost ten years. 
 It is to be noted that as when in the creative mood Longfellow 
 translated but little or nothing, so when devoting himself to Dante 
 he held his powers of original composition in abeyance. 
 
 The tragic death of Longfellow's wife in 1861 meant for him a 
 break not only in his work but in his very life. The deep under- 
 current of the man's nature showed itself to but few ; he was " to 
 the eyes of others, outwardly, calm ; but inwardly bleeding to death." 
 We could ask for no more convincing proof of what Dante meant to 
 Longfellow than that in this time of need he resumed his work upon 
 the translation. We have no words of his own telling of the con- 
 solation he found there ; the subject was too sacred for him to 
 write of even in his journal. There is an indirect reference to it 
 in the first of the sonnets prefaced to his translation. He compares 
 the Divina Commedia to a vast cathedral and says : 
 
 I enter here from day to day. 
 And leave my burden at this minster gate. 
 
 He soon became absorbed in his Dante and received new courage 
 from communing with him. Whole fortnights were given up to 
 nothing but the translation, and within a few months after the work 
 was fully under way, he was able to record its completion in the 
 rough. Then came the labor of polishing and revising, with which 
 he was to be occupied for several years. This portion of his task 
 became irksome to him ; he says that he sometimes felt tempted to 
 
LONGFELLOW. 41 
 
 inscribe upon his work the Hne found upon an oar cast on the coast 
 
 of Iceland, — 
 
 Oft war ek dasa dur ek dro thick. 
 Oft was I weary when I tugged at thee. 
 
 And then again he writes : " How I am weary of correcting and 
 weighing and criticising my translation ! It takes more time than 
 it did to make it." He had gone over his translation very carefully 
 so as to have it "all of one piece," and after he received the proof 
 from the printer he went over it again to note possible lapses from 
 the literal sense of Dante's words. In the latter revision he enjoyed 
 the helpful cooperation of his friends, Mr. Lowell and Mr. Norton, 
 with the occasional counsel of George W. Greene, James T. Fields, 
 William Dean Howells, and others. From September, 1865, to May, 
 1867, Longfellow devoted his Wednesday evenings to the giving of 
 final touches, and he was at home to all who cared to hear him read 
 a canto from his proof sheets and to take part in the general criti- . 
 cism of his work. There is no question as to the benefit which 
 Longfellow derived from the meetings of this " Dante Club," as 
 they called the informal gatherings. Not only were changes made 
 in the translation on the basis of suggestions offered, but the friendly 
 interest shown in the undertaking also lessened the tedium of revi- 
 sion ; an air of charming conviviality was cast about these meetings, 
 and Longfellow took heart and soon could speak of the Dante Club 
 as going " singing on its way." 
 
 In 1865 the six hundredth anniversary of Dante's birth was cele- 
 brated in Florence, and attracted wide attention wherever the poet's 
 works were esteemed. Of the many publications issued in honor 
 of the event, four were sent out from America, — Professor Norton's 
 essay "On the Original Portraits of Dante," Professor Botta's 
 "Dante as Philosopher, Patriot, and Poet," Dr. Parsons' " Seventeen 
 Cantos of the Inferno^'' and the privately printed text of Longfellow's 
 translation of the Inferno. The books were sent to George P. Marsh, 
 the well-known scholar, who was at that time the American Min- 
 ister to Italy. In forwarding Longfellow's volume to the Italian 
 committee in charge of the centenary, Mr. Marsh wrote : " I am 
 persuaded that the committee will receive this first American repro- 
 duction of the great poem — a translation most valuable as well for , 
 
42 
 
 DANTE IN AMERICA. 
 
 its felicity of expression as for the exactness with which my dis- 
 tinguished compatriot has had the ability to render, in a language 
 so foreign to that of the original, the thought of Dante's sovereign 
 genius — as a contribution most fitting the solemnity of the cen- 
 tenary, and at the same time as a worthy homage from the New 
 World to one of the chief glories of the country of its discoverer." 
 
 The next year, 1866, saw the private issuing of the translation of 
 the Purgatorio^ and the following year that of the Paradiso. During 
 the early part of 1867 the three volumes were published, with the 
 addition of notes and illustrative material. They were awaited with 
 interest by all who knew of their preparation. Shortly before their 
 appearance, the historian Milman wrote : " We may expect great 
 things from one who has added so much to our English poetry, and 
 has such varied command of our language." When the volumes 
 were finally launched, they attracted immediate and widespread 
 attention. To one friend Longfellow writes: "The only .merit my 
 book has is that it is exactly what Dante says, and not what the 
 translator imagines he might have said if he had been an English- 
 man. In other words, while making it rhythmic, I have endeavored 
 to make it also as literal as a prose translation." He sends the 
 books to his old friend Ferdinand Freiligrath, and in a note says : 
 " Of what I have been through during the last six years, I dare not 
 venture to write even to you ; it is almost too much for any man to 
 bear and live. I have taken refuge in this translation of the Divine 
 Comedy." 
 
 With the exception of the sonnets prefacing each canticle, there 
 is in the entire work no word of introduction or explanation, nothing 
 to tell of the translator's aim or motive. Longfellow at first thought 
 of three poems of homage as fly-leaf mottoes for the three parts of 
 the Commedia, — translations of single sonnets by Boccaccio and 
 Michael Angelo, and a new sonnet of his own composing. Later 
 on he changed his plan and wrote for us the six superb sonnets 
 which express so nobly his feelings towards Dante. These sonnets 
 are masterpieces of construction built on the Italian rhyme scheme ; 
 four of them are fashioned after the strictest type. One must search 
 long to find their equal for technique, thought, and imagery. They 
 are the only personal notes in the three copious volumes, and must 
 
LONGFELLOW. 43 
 
 serve as preface and apology. Though we should have been only 
 too glad to have had from the poet's pen a connected account of 
 his study of Dante, we have been able to draw from his scattered 
 references to the subject all that we need know, and we can count 
 ourselves more than repaid by having these poems in little which 
 speak so much. 
 
 Longfellow had no ambition to shine as a commentator on Dante ; 
 he was concerned only with the translation of the poet, and the 
 notes he made for his work were almost entirely for purposes of 
 illustration. He drew a very sharp line between translation and 
 comment. In his " Table-Talk " he gives it as his opinion that " the 
 business of a translator is to report what his author says, not to 
 explain what he means : that is the work of the commentator. What 
 an author says and how he says it — that is the problem of the trans- 
 lator." ^ Passages permitting of two interpretations in the original 
 retain their double significance in Longfellow's rendition. The 
 ambiguous saying of Francesca — 
 
 Ma solo un punto fu quel che ci vinse — 
 
 is allowed to remain equally ambiguous : 
 
 But one point only was it that o'ercame us. 
 
 The translator does not consider it his office to say whether punto 
 means a point in time or a point in Lanciotto's tale ; he leaves the 
 decision to the commentator and the reader. Wherever possible 
 Longfellow adopts a locution with as manifold a significance as 
 Dante's own words, and thus gives us the privilege of interpreting 
 for ourselves.^ 
 
 1 Life, 1891, vol. ill, p. 411. 
 
 2 This some would claim as a fault, arguing that ambiguity is a defect in compo- 
 sition which the translator should avoid reproducing by the exercise of his judg- 
 ment in the selection of an expression giving the most probable meaning of his 
 author. An early exponent of the school of literalists was M. Huet, Bishop of 
 Avranches, who, in his "De optimo genere interpretandi " [London, 1684, p. 27], 
 gives a rule supporting the custom which Longfellow follows : Verbum ambigue 
 dictum est, et duplicem adfnittit explicationem. Certe res in medio posita ut erat, 
 ita debuit consistere, et verbtim anceps ancipiti verba reddi, ipsaque sententice am- 
 biguitas reprcesentari. 
 
44 DANTE /A AMERICA. 
 
 On the appearance of the completed work, George Ticknor wrote 
 a letter of appreciation, in which he touched on a point of great 
 moment in treating of the merits of any translation. *' Whether 
 you have not encumbered yourself," said he, "with heavier and 
 more embarrassing conditions than permit the free poetical move- 
 ment which an absolutely English reader covets, is a question which 
 must be settled by the popular voice as separate from that of scho- 
 lastic lovers of Dante. On that bench of judges I can never be 
 competent to sit ; I shall always read your translation with the 
 original ringing in my ears." The question arises, was Ticknor 
 right in thinking that his intimate acquaintance with the text of 
 Dante disqualified him as a critic of Longfellow's work? Who 
 are to decide whether the translator has done his work faithfully 
 and well ? Is a translation to stand only upon so much of its merit 
 as can be seen by the reader who knows not the original } I take 
 it that qualifications of as varied a nature are needed for the pass- 
 ing of a safe judgment upon a rendering of Dante as those Matthew 
 Arnold asked of the tribunal to which he would bring a verse trans- 
 lation of Homer. That ringing of the original in his ears, which 
 Ticknor thought incapacitated him, would in my opinion be the first 
 essential of a competent judge ; but with this scholarly attainment 
 there must go critical acumen and poetical feeling. Lowell, in whom 
 these requisites were combined in a marked degree, but who had no . 
 great fondness for foreign works done into English, regarded Long- 
 fellow's translation " not as the best possible, by any means, but as the 
 best probable." " Nobody who is intimate with the original," says he 
 in one of his letters, " will find any translation of the Divine Comedy 
 more refreshing than cobs. Has not Dante himself told us that no 
 poetry can be translated .'' But after all is said, I think Mr. Long- 
 fellow's the best thus far, as being the most accurate. It is to be 
 looked on, I think, as measured prose — like our version of Job, for 
 example, though without the mastery of measure in which our Bible 
 translators are unmatched except by Milton ; I mean where they 
 are at their best, as in Job, the songs of Deborah and Barak, the 
 death of Sisera, and some parts of the Psalms. Mr. Longfellow is 
 not a scholar in the German sense of the word, — that is to say, he 
 is no pedant ; but he certainly is a scholar in another and perhaps 
 
LONGFELLOW. 45 
 
 a higher sense ; I mean in range of acquirement and the flavor that 
 comes of it." 
 
 It is hardly possible to speak of Longfellow's translation without 
 bringing up the vexed question as to what is the most adequate 
 method of translating poetry, whether it is best to aim at literalness 
 within the limits prescribed by verse, or to regard free poetical 
 movement as of paramount importance, valuing the spirit above 
 the letter, or yet, in despair of reproducing anything like the rhyth- 
 mical effect of the original, to take' refuge in a carefully executed 
 prose translation. As it so happens that we find each of the three 
 methods represented in the work done by our American translators 
 of Dante, we shall briefly review here, and under what we have to 
 say of Dr. Parsons and Professor Norton, the arguments which these 
 several translators have made, or hinted at, in support of their 
 respective theories. 
 
 No one recognized more fully than Longfellow the arduousness 
 of the task to which he had set himself. He quotes approvingly 
 the sayings of both Dante and Cervantes about the linguistic impos- 
 sibility of transferring the melody of verse from one language to 
 another. "The difliculty," said Longfellow, "lies chiefly in the 
 color of words. Is the Italian 'ruscelletto gorgolioso' fully rendered 
 by ' gurgling brooklet ' ? Or the Spanish ' pajaros vocingleros ' by 
 ' garrulous birds ' ? Something is wanting." Yet after his apprentice 
 days he never tried to supply that " something " by resorting to a 
 new word or using a different expression from that of his author. 
 Faithfulness to his original is the fundamental principle of all his 
 mature work. " A great many people think," says he in one of his let- 
 ters, " that a translation ought not to be too faithful ; that the writer 
 should put himself into it as well as his original ; that it should be 
 Homer & Co., or Dante & Co. ; and that what the foreign author 
 really says should be falsified or modified if thereby the smoothness 
 of the verse can be improved. On the contrary, I maintain that a 
 translator, like the witness on the stand, should hold up his right 
 hand and swear to 'tell the truth, the whole truth, and nothing but 
 the truth.' " Longfellow accepted as a foregone conclusion that 
 such strict fidelity to the text before him would rob his ver 
 much fluidity, ease, and grace of construction ; but this is the price 
 
46 DANTE JN AMERICA. 
 
 which the man of one language must pay for the privilege of read- 
 ing the exact matter of Dante in English verse. 
 
 Then, too, Longfellow was fully acquainted with the rhythmic 
 
 erence between the two languages. He knew that even though 
 he preserved the metrical scheme of the terza rtma, the rhythm of 
 his lines would vary from that of the Italian, owing to the different 
 time-values of the syllables that make up the corresponding English 
 and Italian words. He therefore not only gave up terza rima, but 
 he discarded rhyme altogether. " In translating Dante," said he, 
 
 omething must be relinquished. Shall it be the beautiful rhyme 
 that blossoms all along the line like a honeysuckle on the hedge ? 
 It must be, in order to retain something more precious than rhyme, 
 namely, fidelity, truth, — the life of the hedge itself." The freedom 
 and independence gained by choosing blank verse gave Longfellow 
 a wide latitude in which to seek for the best words to reproduce 
 the Italian passage before him. Though English, through its 
 poverty in rhyme-words, is ill fitted for compositions with the triple 
 rhyme, yet by virtue of its pliability, it is admirably suited to the 
 needs of epic and narrative poetry in blank verse. But as blank 
 verse is one of the grandest of English meters, so also is it one of 
 the most difficult in which to obtain marked success , and we cannot 
 look for the same excellence in its lines when the English poet is 
 bound to the exact matter of another's speech as when he is free to 
 range over the wide fields of thought and expression. Naturally, a 
 literal translation in blank verse will not have all the ease of original 
 composition ; and in this Longfellow's Dante is no exception. 
 
 Beginners in the study of Divina Commedia in English often attri- 
 bute to a translation many of the difficulties with which they meet in 
 the first reading. They have yet to learn that the obscurities are 
 shared by the Italian original. The poem is not easy reading for even 
 the native of Tuscany. To the objections sometimes urged against 
 Longfellow's rendering on the ground that it is hard to follow, we would 
 give answer that Longfellow did not aim at making a handbook for the 
 study of Dante. He strove merely for a reproduction in English 
 blank verse of what Dante had said in most mellifluous Italian terza 
 rima. There his task ended, and what is thought of his accomplish- 
 ment can be gathered from the words of some representative critics. 
 
PARSONS. 
 
 47 
 
 Lowell's opinion we have already had. Professor Norton, who 
 according to his own statement was not disposed to *' substitute com- 
 mendation for criticism," expressed himself of the opinion that Long- 
 fellow's was the best existing translation of Dante. In speaking of the 
 work, shortly after its appearance, he said : "No one acquainted with 
 the extraordinary felicity of Mr. Longfellow's versions of the poetry of 
 other languages — a felicity which was one of the proofs of his origi- 
 nal genius — can have doubted that his success would be great in 
 any task to which he might set himself. But the measure of success 
 he has attained can hardly fail to surprise even those who have the 
 highest confidence in his achievements." No less emphatic were 
 the words of William Dean Howells. " Opening the book," said he, 
 "we stand face to face with the poet, and when his voice ceases 
 we may well marvel if he has not sung to us in his own Tuscan." 
 And John Fiske, after quoting Sainte-Beuve's epigram, "Z^ belle 
 destmee de ne pouvoir plus mourir^ sinon avec un immortel ! " says : 
 " Apart from Mr. Longfellow's other titles to undying fame, such a 
 destiny is surely marked out for him, and throughout the English 
 portions of the world, his name will always be associated with that 
 of the great Florentine." 
 
 THOMAS WILLIAM PARSONS. 
 
 America had in Parsons a poet of very high order, whose free 
 fancy and exquisite workmanship have not won for him the wide 
 popularity which his contributions to our literature merit. True, 
 he neither sought nor cared for renown ; it was only at the solici- 
 tation of friends that he was induced to make several partial collec- 
 tions of his poems^ and these were for the most part privately printed. 
 Dr. Holmes, in answer to a letter asking whether he could explain 
 why so true a poet as Parsons had not fame commensurate with his 
 genius, wrote : " Parsons is appreciated by scholars ; his genius is 
 recognized widely in Europe, and his poems are greatly admired 
 there. A great part of his literary work is in translations, and this, 
 while perhaps it should, does not always gain for the writer the fame 
 corresponding to the value of the work. In his lifelong devotion 
 
48 DANTE IN AMERICA. 
 
 to Dante, by the absorbing study he has given him, I attribute his 
 felicity of style, the exquisite literary art that characterizes his work. 
 He does not, with his fine poetical genius, give us poems often 
 enough. Some of his poems have the most pathetic tenderness, 
 grace, music, and finished art, and they rank with the best of our or 
 any other period. His translation of Dante will carry his name to 
 posterity as a noble and monumental achievement."^ 
 
 He was a sensitive and impressionable youth, and a journey to Italy 
 at the age of seventeen had much to do with the moulding of his likes 
 and studies in after life. This first visit to Florence and his early 
 introduction to Dante are recalled in the opening lines of his poem, 
 " La Pineta Distrutta." 
 
 Farewell, Ravenna's forest ! and farewell 
 
 For aye through coming centuries to the sound. 
 
 Over blue Adria, of the lyric pines. 
 
 And Chiassi's bird-song keeping burden sweet 
 
 To their low moan as once to Dante's lines. 
 
 Which, when my step first felt Italian ground, 
 
 I strove to follow, carried by the spell 
 
 Of that sad Florentine whose native street 
 
 (At morn and midnight) where he used to dwell, 
 
 My father bade me pace with reverent feet.^ 
 
 In another place, speaking of this same visit to Florence, he tells 
 us that it was " there, in the venerable Borgo Sant' Apostolo, conse- 
 crated, in my imagination, by a verse of Dante's, in the ancient 
 House of the Acciaiuoli, and in the home of a learned lady who 
 bore the name of the poet, I became enamoured of the Divina Com- 
 mediar A few years later the young enthusiast essayed a literal 
 line-for-line version of his newly found treasure. With the hope- 
 fulness of youth he aspired even to the triple rhyme, but he soon 
 discovered that he had aimed too high, and must content him- 
 self with some measure less exacting and more in accord with the 
 
 1 The Bostonian, June, 1895. 
 
 2 "The delicate involution or inversion of these lines," writes Miss Guiney, "is 
 a good instance of a marked literary peculiarity of Dr. Parsons, which none of our 
 poets shared with him. I have no doubt he got this graceful Latinism directly 
 from Dante, as he had it from Virgil." 
 
PA /i SONS. 
 
 49 
 
 restrictions imposed upon him by his task. He therefore espoused 
 the quatrain, used with such good effect by Dryden and Gray, which 
 he felt to be the nearest approach to the " lengthened harmony " of 
 the terza rima recognizable by English ears. 
 
 Parsons was twenty-four years of age when, in 1843, he issued his 
 translation of the first ten cantos of the Inferno, a modest little 
 volume in brown boards. The translation was prefaced by the 
 " Lines on a Bust of Dante," which have since become famous, and 
 have been gathered into the anthologies. In reviews of the book, 
 this poem was singled out for special mention. Longfellow showed 
 his appreciation by including it in " The Estray," a collection 
 of poems edited by him and published in 1847. The translation 
 itself was received with some qualifications of approval ; its grace 
 and finish were quite generally admired-, but exception was taken to 
 the frequent divergence from Dante's word and manner. The trans- 
 lator was advised by more than one well-meaning reviewer to study 
 Dante more closely. Among the last words written by the then 
 very aged Gary are those of a letter to the young American poet : 
 
 Sir February 26, 1844. 
 
 Many thanks from an old brother translator for your kind considera- 
 tion in sending him your version of the first ten cantos of the Inferno. 
 I received it only a day or two since and have read it twice with much 
 pleasure. It appears to me to possess in a remarkable degree the fluency, 
 vivacity, and harmony of original composition. This unavoidably is 
 effected at the expense of some departure from Dante's grave and sedate 
 character, though his general meaning is faithfully given. The form of 
 rhymes you have adopted is probably the best our language can afford for 
 the purpose : the terza rhna would often be found totally unmanageable. 
 
 If you persevere in your intention of going on with the remainder of 
 the Divina Commedia, there is great hope of your producing a work that 
 will please a numerous class of readers ; and you will render a good ser- 
 vice to the cause of our common literature. I remain, sir. 
 
 Your very faithful humble servant, 
 
 H. F. Gary. 
 
 Although Dr. Parsons kept the work constantly in mind, and was 
 urged by his friends to continue his translation, he did not live (though 
 he lived long enough !) to complete the Purgatorio, and the Paradiso is 
 
5© DANTE IN AMERICA, 
 
 represented but by a few fragments.^ His was not the nature to be 
 tied down to such a service, unless the inspiration of the moment 
 impelled him to it. His own Muse was constantly claiming his 
 thought and leading him afield. He excused himself for entertaining 
 his own fancies in the lines — 
 
 Friends must be patient when I do these things, 
 Wasting an hour that might be better given 
 To work — in following Dante far as heaven. 
 For when unbid the spirit inly sings. 
 And will not be controlled by other's mood. 
 That hour is oft the harvest time that brings 
 The best thought uppermost : if then subdued 
 To serve a master, my own goddess flies, 
 And inspiration cometh not if sought, 
 And second best is only half way good. 
 
 Longfellow's description of Dr. Parsons as the "Poet" of the 
 " Wayside Inn " is a happy analysis of the man's make-up : 
 
 A poet, too, was there, whose verse 
 
 Was tender, musical, and terse : 
 
 The inspiration, the delight. 
 
 The gleam, the glory, the swift flight 
 
 Of thoughts so sudden that they seem 
 
 The revelations of a dream. 
 
 All these were his ; but with them came 
 
 No envy of another's fame ; 
 
 He did not find his sleep less sweet 
 
 For music in some neighboring street, 
 
 Nor rustling hear in every breeze 
 
 The laurels of Miltiades. 
 
 Honor and blessings on his head 
 
 While Hving, good report when dead, 
 
 Who, not too eager for renown. 
 
 Accepts, but does not clutch, the crown ! 
 
 1 " Though Dr. Parsons was a ripe scholar," said one who knew him well, 
 "familiar with all classic literature, and had no life, as it were, outside these 
 patrician friendships, — yet Dante was truly the Only One to him. Longfellow, 
 and even our dear Lowell, had, after all, other heroes. I think Parsons' mind 
 was more dominated by Dante, and infused with his thought, than theirs." 
 
.P4KS01VS.. 
 
 Under date of June 2, 1867, Longfellow makes mention in his j ^ 
 journal of a call from Parsons, and a talk they had about theories of 1 
 translation. What a pity to have no record of that conversation ! \ 
 The third and last volume of Longfellow's Dante was to appear that I 
 month, and Dr. Parsons had just completed his translation of the 1 
 Inferno. The whole subject of the translating of poetry must have 
 been very fresh in the minds of both, and it would be instructive to 
 know what each had to say in favor of his theory^-'aftexjie had given it 
 so thorough a trial. Both had changed somewhat in theTl'-'eiftinions 
 regarding the translator's art, since their first attempts at it ma 
 years before. The more famous poet had become stricter in his 
 tenets concerning literalness ; while the other, after an early endeavor 
 at an exact verbal rendering in terza rima, had soon abandoned this 
 foreign metrical form as unsuited to the genius of our language, and 
 had taken to the freer rendering and more fluent lines of the version 
 he has left us. Longfellow, in a series of disconnected remarks scat- 
 tered throughout his journal and letters, has given us his reasons for 
 the views he held on the art of translating, but Dr. Parsons has told 
 us nothing. 
 
 Though Parsons never gave us his theories, his practices proclaimed 
 his principles. It is of the nature of poetry that the idea shall be en- 
 rapport with the form into which it is cast, and the truer the poetry, 
 the closer the bond. The whole problem of translating verse into 
 verse turns upon the question of transferring this harmony between 
 thought and form, of reproducing, as near as the changed conditions 
 will allow, the same relation between the verse and its content as 
 existed in the original. Now, Dante's style, which Lowell speaks of^\ 
 as being " parsimonious in the number of its words, goldenly suffi- 
 cient in the value of them," renders him a superlatively difficult 
 author to translate literally into easy-flowing English verse. With 
 the choice of his meter was determined in large part the nature of 
 Parsons' version. Even though he strove to follow Dante closely, he 
 must constantly be called upon to compress three of his author's lines 
 into two of his own, or amplify the same into an entire quatrain. 
 But interpolation falsifies the original, dilation weakens the sense, 
 and with Dante abridgment is not to be thought of. However, in 
 weighing the demands of fidelity to the text against the claims of 
 
52 DANTE IN AMERICA. 
 
 rhythm and idiomatic English, Parsons is sure to think most of the 
 construction of his lines. Careful finish is characteristic of his 
 verse, and even in translation he cannot forego his delight in this, 
 though it be at the expense of his author's exact words. Yet Dante's 
 every thought is precious to Parsons, and he is not one of those trans- 
 lators who hope to improve upon their original. Taken largely, there 
 is, in his version, no wide departure from the sense and purport of the 
 original ; but Dante's distinctive style is wanting, and a new foreign 
 spirit is infused into the rifacimento. It is as if Parsons had heeded 
 the counsel of Sir John Denham, who says of the translator, " it is 
 not his business alone to translate language into language, but poesie 
 into poesie ; and poesie is of so subtle a spirit, that in pouring out of 
 one language into another it will all evaporate ; and if a new spirit is 
 not added in the transfusion, there will remain nothing but a caput 
 mortuum" 
 
 Parsons is one of that long line of English translators, headed by 
 King Alfred, who strove to follow Boethius, " now word for word, now 
 spirit for spirit." To this company belonged Pope, who held that 
 "the fire of a poem is what a translator should principally regard," 
 and Dryden, with his belief that " it would be unreasonable to limit a 
 translator to the narrow compass of his author's words." The class 
 has had many apologists, in many tongues. An ardent advocate of 
 their principles is Schlegel, the German translator of Shakespeare, 
 who strove to " follow, step by step, the letter of the sense, and yet 
 catch part of the innumerable, indescribable beauties which do not 
 lie in the letter, but hover about it like an intellectual spirit." A 
 worthy object, it may be ; but just how is the translator to catch the 
 particular charm of his foreign poet ? The spirit of poetry is of an 
 evanescent nature, and eludes the pursuer like a will-o'-the-wisp. 
 There is the ever-present danger of the translator's being wrong in 
 his personal estimate of what constitutes the spirit of his author, and, 
 even if he judged aright, would he be able to reproduce the charac- 
 teristic tone by this method of sketching in of added color ? The 
 tendency towards realism, which is seen so widely in the literature 
 of to-day, is averse to this method of portrayal, and prefers the more 
 faithful and impersonal work of the metaphrast, hoping that some 
 suggestion of the spirit may accompany the translated words. And 
 
LOWELL. 23 
 
 with the great poets the precise word is often a matter of much 
 moment. The minor and the lyric poets will admit of freer hand- 
 ling. In the Divina Commedia particularly does every word carry 
 with it its own peculiar significance. 
 
 Parsons, it is granted, has a much higher ideal of the office of the 
 translator than had the early English representatives of his school 
 whom we have quoted, and he is too much of a modern to disregard 
 so unconcernedly the text before him. He has many happy render- 
 ings of the sense of his author, and his English is of so rare a type 
 that it cannot but please ; and because of its merits as an English 
 poem, his translation will never want for admirers. By virtue of its 
 melody, it charms the reader and holds his attention. Years ago 
 Professor Norton spoke of it as a work which of its kind "can hardly 
 be too warmly praised ; nor is it to detract from its praise to say that 
 though free, it is not more poetic than the literal version of its 
 author's brother-poet [Longfellow]." Beyond this oppositeness in 
 the methods pursued by the two translators is the added difference 
 of their diction, — a natural consequence of their different positions. 
 While Longfellow seeks for words of Romance origin. Parsons delights 
 in plain Saxon phrases. The Italian constantly shines through Long- 
 fellow's rendering ; but Parsons' lines are read with but little sugges- 
 tion of their being from a foreign original. As a memorial to Dante, 
 and especially as a contribution to American literature, the work of 
 Dr. Parsons will always be cherished. He has been granted the 
 prayer with which he closed the completed first canticle, " Tantus 
 labor non sit cassus,'' and he himself received into the circle of those 
 who do honor to the divine poet. 
 
 JAMES RUSSELL LOWELL. 
 
 It is no exaggeration to say that, in the understanding of Dante, 
 few of any time or country have surpassed our own genuinely Ameri- 
 can Lowell. His appreciation was of the keenest, and his ability, as 
 a critic, of the highest order. Poet and scholar, he combined happily 
 the insight of the one with the trained judgment of the other. As 
 
54 
 
 DANTE IN AMERICA. 
 
 the fruit of a long study of Dante, he has left us an essay which, as 
 Mr. Norton says, '* makes other writing about the poet and the poem 
 seem ineffectual and superfluous." This essay, as printed in his col- 
 lected works, is made up of a biographical sketch published in the 
 ••New American Encyclopaedia" (1859), ^"^ ^^ ^ magazine article 
 written in 1872, in the heat of summer and all the bustle preceding a 
 departure for Europe. The two articles were afterwards skilfully 
 blended, and though the resulting essay lacks of necessity some of 
 the unity of form which we expect from such a writer as Lowell, it 
 has what is wanting to so many essays on the same theme, — a distinct 
 picture of who Dante was, a clear and concise estimate of what he 
 believed, and an admirable account of the life he lived and the books 
 he wrote. ^ 
 
 Lowell was a most assiduous reader. He not only read widely, but 
 his favorite books he read and re-read. He always went to the 
 original sources, and had little use for diluted information. He found 
 translations disenchanting, and thought them at best " but an imita- 
 tion of natural flowers in cambric or wax." •' It is precisely those 
 works," he remarked in a college lecture, "which are most character- 
 istic, which most deepen and widen the mind, which quicken the 
 sense of beauty, which beckon the imagination — it is precisely those 
 which are untranslatable, nay, which are so in exact proportion as 
 they are masterly. This is especially true of the great poets, the 
 glow of whose genius fuses the word and the idea into a rich 
 Corinthian metal which no imitation can replace." For commentators 
 of the usual run Lowell had nothing but maledictions. He sees the 
 Italians forever twitching at Dante's sleeve and " trying to make him 
 
 1 " One need not be a Dantean scholar to comprehend the scope and strength 
 of this prolonged, cumulative, coherent analysis of the Florentine's career, fortified 
 by citations, and enriched with knowledge of Italian history, literature, atmos- 
 phere, at the close of the thirteenth century, such as few living men possess." — 
 E. C. Stedman, Poets of America. 
 
 Of this essay Dr. Holmes said in a letter to Lowell, " It serves a great pur- 
 pose, quite independently of its value with reference to Dante and his readers ; 
 it shows our young American scholars that they need not be provincial in their 
 way of thought or their scholarship because they happen to be born or bred in an 
 outlying district of the great world of letters." — J. S. Morse, Jr., Life and Letters 
 of O. W. Holmes, ii, p. 116. 
 
LOWELL. 
 
 55 
 
 say he is of their way of thinking. Of their way indeed ! One 
 would think he might be free of them, at least, in Paradise." It was 
 to the author's own words that Lowell continually went and would 
 have others go. He believed that one might get a thoroughly good 
 education out of a work like Dante's, if read in the right way, inquir- 
 ingly, and with constant self-interrogation. It was in this manner 
 that he himself became so intimately acquainted with the Divina 
 Commedia. In one of his college lectures he has given an outline of 
 the spread of his interest when once 'it had been awakened : 
 
 One is sometimes asked by young men to recommend to them a course 
 of reading. My advice would always be to confine yourself to the supreme 
 books in whatever literature ; still better to choose some one great author 
 and grow thoroughly familiar with him. For as all roads lead to Rome, 
 so they all likewise lead thence ; and you will find that in order to under- 
 stand perfectly and weigh exactly any really vital piece of literature, you 
 will be gradually and pleasantly persuaded to studies and explorations of 
 which you little dreamed when you began, and will find yourselves scholars 
 before you are aware of it. If I may be allowed a personal explanation, it 
 was my own profound admiration for the Divina Cominedia of Dante that 
 lured me into what litde learning I possess. For remember there is noth- 
 ing less fruitful than scholarship for the sake of mere scholarship, nor any- 
 thing more wearisome in the attainment. But the moment you have an 
 object and a center, attention is quickened — the mother of memory ; and 
 whatever you acquire groups and arranges itself in an order which is lucid 
 because it is everywhere in an intelligent relation to an object of constant 
 and growing interest. Thus, as respects Dante, I asked myself. What 
 are his points of likeness or unlikeness with the authors of classical an- 
 tiquity? In how far is either of these an advantage or defect? What 
 and how much modern literature had preceded him ? How much was he 
 indebted to it? How far had the Italian language been subdued and sup- 
 pled to the uses of poetry or prose before his time ? How much did he 
 color the style or thought of the authors who followed him ? Is it a fault 
 or a merit that he is so thoroughly impregnated with the opinions, passions, 
 and even prejudices, not only of his own age, but his country ? To what 
 extent is a certain freedom of opinion, which he shows sometimes on points 
 of religious doctrine, to be attributed to the humanizing influences of the 
 Crusades in enlarging the horizon of the Western mind by bringing it in 
 contact with other races, religions, and social arrangements ? These and 
 a hundred other questions were constant stimulants to thought and inquiry, 
 
56 
 
 DANTE IN AMERICA. 
 
 stimulants such as no merely objectless and, so to speak, impersonal study 
 could have supplied. 
 
 It was a somewhat similar course which Lowell followed in his 
 class-room instruction at Harvard. Some of those who read the 
 modern authors under him remember with pleasure the originality of 
 his method of imparting information, the sprightliness of his digres- 
 sive talks, and the exceeding profit with which they pursued their 
 work under his inspiring guidance. He was more of a poet than an 
 accepted professor of the modern languages, and he spoke to his pupils 
 of the great poets as poets, and not as fruitful ground for the study 
 of philology.^ His delightful rambles into the provinces of the 
 man of letters and the moral philosopher, his talks on style and the 
 problems of all times, constituted a vital charm in the minds of the 
 students who each year chose to study under him. This exceptional, 
 unacademic mode of procedure was very effective under his hand- 
 ling. " It made a romance of the hour," says Henry James. " It 
 made even a picture of the scene ; it was an unforgettable initiation. 
 . . . He was so steeped in history and literature that to some yearn- 
 ing young persons he made the taste of knowledge sweeter, almost, 
 than it was ever to be again. He was redolent, intellectually speak- 
 ing, of Italy and Spain ; he had lived in long intimacy with Dante 
 and Calderon ; he embodied, to envious aspirants, the happy intel- 
 lectual fortune : independent years in a full library, years of acqui- 
 sition, without haste and without rest, a robust love of study, which 
 went socially arm in arm with a robust love of life. This love of 
 life was so strong in him that he could lose himself in little diver- 
 sions, as well as in big books." 
 
 Of the reminiscences of Lowell as a teacher, given by his students, 
 none touch so closely on the subject in hand as the sketch written 
 by Professor Barrett Wendell, and we therefore press into service the 
 latter's excellent account of Lowell's method of conducting the study 
 of Dante : 
 
 1 " He had the good fortune to be born before the linguistic age, and the good 
 taste to have been an early representative of the literary study which disregards 
 specialism and ranges free over the goodly pastures of literature." — Saturday 
 Review, Feb. 27, 1892. 
 
LOWELL. 
 
 57 
 
 In my Junior year, a lecture of Professor Norton's excited in me a wish to 
 read Uante under Mr. Lowell. I did not know a word of Italian, though; and 
 I was firmly resolved to waste no more time on elementary grammar. With- 
 out much hope of a favorable reception, then, I applied for admission to the 
 course. Mr. Lowell received me in one of the small recitation-rooms in 
 the upper story of University Hall. . . . He listened to my application 
 kindly, . . . and . . . told me to come in to the course and see what I 
 could do with Dante. 
 
 To that time my experience of academic teaching had led me to the 
 belief that the only way to study a classic text in any language was to 
 scrutinize every syllable with a care undisturbed by consideration of any 
 more of the context than was grammatically related to it. Any real 
 reading I had done, I had had to do without a teacher. Mr. Lowell never 
 gave us less than a canto to read ; and often gave us two or three. He 
 never, from the beginning, bothered us with a particle of linguistic irrele- 
 vance. Here before us was a great poem — a lasting expression of what 
 human life had meant to a human being, dead and gone these five centuries. 
 Let us try, as best we might, to see what life had meant to this man ; let us 
 see what relation his experience, great and small, bore to ours ; and, now and 
 then, let us pause for a moment to notice how wonderfully beautiful his 
 expression of this experience was. Let us read, as sympathetically as we 
 could make ourselves read, the words of one who was as much a man as 
 we, only vastly greater in his knowledge of wisdom and of beauty. That 
 was the spirit of Mr. Lowell's teaching. It opened to some of us a new 
 world. In a month I could read Dante better than I ever learned to read 
 Greek, or Latin, or German. 
 
 His method of teaching was all his own. The class was small — not 
 above ten or a dozen ; and he generally began by making each student 
 translate a few lines, interrupting now and then with suggestions of the 
 poetic value of passages which were being rendered in a style too exasper- 
 atingly prosaic. Now and again, some word or some passage would 
 suggest to him a line of thought — sometimes very earnest, sometimes para- 
 doxically comical — that it would never have suggested to any one else. 
 And he would lean back in his chair, and talk away across country till he 
 felt like stopping ; or he would thrust his hands into the pockets of his 
 rather shabby sack-coat, and pace the end of the room with his heavy laced 
 boots, and look at nothing in particular, and discourse of things in general. 
 We gave up note-books in a week. Our business was not to cram lifeless 
 detail, but to absorb as much as we might of the spirit of his exuberant 
 literary vitality. And through it all he was always a quiz ; you never knew 
 
58 DANTE IN AMERICA. 
 
 what he was going to do or to say next. One whimsical digression I have 
 always remembered, chiefly for the amiable atrocity of the pun. Some 
 mention of wings had been made in the text, whereupon Mr. Lowell ob- 
 served that he had always had a liking for wings : he had lately observed 
 that some were being added to the ugliest house in Cambridge, and he 
 cherished hopes that they might fly away with it. I remember, too, how 
 one tremendous passage in the Inferno started him off in a disquisition 
 concerning canker-worms, and other less mentionable — if more diverting — 
 vermin. And then, all of a sudden, he soared up into the clouds, and 
 pounced down on the text again, and asked the next man to translate. You 
 could not always be sure when he was in earnest ; but there was never a 
 moment when he let you forget that you were a human being in a human 
 world, and that Dante had been one, too. One or two of us, among our- 
 selves, nicknamed him "sweet wag "; I like the name still. 
 
 After a month or two, he found that we were not advancing fast enough. 
 So he fell into a way of making us read one canto to him, and then reading 
 the next to us. If we wished to interrupt him, we were as free to do so as 
 he was to interrupt us. There was one man in the class, I remember, who 
 liked to read out-of-the-way books, and who used to break in on Mr. 
 Lowell's translation with questions about Gabriel Harvey and other such 
 worthies, rather humorously copying Mr. Lowell's own irrelevancies ; but he 
 could never get hold of anything so out of the way that Mr. Lowell had not 
 read it, or at least could not talk about it as easily as if he had read it 
 often. So, in a single college year, we read through the Divine Comedy, 
 and the Vita Nuova, and dipped into the Convito and the lesser writings of 
 Dante. And more than one of us learned to love them always. 
 
 We have already seen how many attractions Dante had for Lowell. 
 "The more you study him," says he, in one of his letters, "the more 
 sides you find, and yet the ray from him is always white light. I 
 learn continually to prize him more as man, poet, artist, moralist, and 
 teacher." As a man, Dante was for Lowell the preeminent figure of 
 mediaeval Italy, and he sometimes felt that Italian history of that day 
 was chiefly of value so far as it furnished material for explanatory 
 footnotes to Dante's greatest work. The young Florentine, who 
 upon the very entrance into manhood had a fixed conception of the 
 meaning and purport of life, and the exile, who in his last days could 
 build out of his broken career that "three-arched bridge, still firm 
 against the wash and wear of ages," guided and inspired him. The 
 
LOWELL. 5g 
 
 applicability of Dante's teaching to the practical conduct of our 
 own lives, the fact that Dante's poem is the allegory of a human 
 life, impressed Lowell very strongly. "Whatever subsidiary inter- 
 pretations the poem is capable of," said he, " its great and primary 
 value is as the autobiography of a human soul, of yours and mine it 
 may be, as well as Dante's. In that lie its profound meaning and 
 its permanent force." 
 
 As a moraUst and teacher, Dante stood apart in Lowell's mind from 
 the other truly great men of letter's. Shakespeare was for him the 
 most comprehensive intellect, but Dante the highest spiritual nature 
 that has found expression in rhythmical form. "Dante," says he, 
 " penetrates to the moral core of those who once fairly come within 
 his sphere, and possesses them wholly." In his attitude towards this 
 chosen hero of his, we catch a glimpse of the graver side of Lowell's 
 nature, a phase in his well-rounded character which readers often lose 
 sight of, through the abounding fun and wit they find within his _^ 
 pages.^ Lowell was true to his New England inheritance, and he 
 shares with her other representative writers their healthy moral tone. ^' I 
 He and Longfellow had much in common in their appreciation of ' 
 Dante ; the elevating and sustaining influence of the Divine Comedy 
 was deeply felt by both of them. It was when he mourned the death 
 of his wife that Longfellow turned for solace to the translating of 
 Dante. Lowell speaks of loving Dante because " he is not merely a 
 great poet, but an influence, part of the soul's resources in time of 
 trouble." With the sacred imagery and religious tone of Longfel- y^ 
 low's sonnets on translating the Divina Commedia, compare the fol- 
 lowing words from Lowell : " As the Gothic cathedral, then, is the 
 type of the Christian idea, so is it also of Dante's poem, . . . Com- 
 plete and harmonious in design as his work is, it is yet no pagan 
 temple enshrining a type of the human made divine by triumph of 
 corporeal beauty ; it is not a private chapel housing a single saint 
 and dedicated to one chosen bloom of Christian piety or devotion ; it 
 
 1 " Mr. Lowell, the jester, though he keeps slyly nudging Mr. Lowell, the critic, 
 and occasionally interrupting his master's serious discourse with the privileged 
 impertinence of motley, is still a person of secondary interest, and it is with his 
 master's utterances that we are chiefly concerned." — William Watson, Exansions 
 in Criticism. 
 
6o DANTE IN AMERICA. 
 
 is truly a cathedral, over whose altar hangs the emblem of suffering, 
 of the divine made human, to teach the beauty of adversity, the 
 eternal presence of the spiritual, — not overhanging and threatening, 
 but informing and sustaining the material. In this cathedral of 
 Dante's there are side-chapels, as is fit, with altars to all Christian 
 virtues and perfections; but the great impression of its leading thought 
 is that of aspiration, forever and ever. In the three divisions of the 
 poem we may trace something more than a fancied analogy with a 
 Christian basilica. There is, first, the ethnic forecourt, then the pur- 
 gatorial middle space, and last the holy of holies dedicated to the 
 eternal presence of the mediatorial God." Lowell's worship of Dante 
 was never blind adoration ; the critic within him never slumbered, 
 else he could not have so laid hold of the essential traits of his 
 author. He saw clearly, that though Dante was a great figure in the 
 thought and statesmanship of the age in which he lived, it was as 
 poet that he had the strongest claim upon posterity. Underlying the 
 many-sided character of Dante, Lowell always saw the poet, " irra- 
 diating and vivifying, gleaming through in a picturesque phrase, or 
 touching things unexpectedly with that ideal light which softens and 
 subdues like distance in the landscape." Making every deduction 
 for the dry patches of mediaeval physics and metaphysics in the 
 Divma Commedia, Lowell considered Dante the first of descriptive 
 as well as of moral poets. 
 
 CHARLES ELIOT NORTON. 
 
 The last American Dante student of whom we shall speak is Mr» 
 Norton, the friend of the three New England interpreters whose 
 work we have just been reviewing, and himself a careful translator 
 of Dante. Though the present occasion does not admit of a detailed 
 account of Mr. Norton's services toward the spreading of Dantesque 
 studies in America, yet our sketch would be incomplete without 
 some passing reference to his work in this field. 
 
 Mr. Norton's earliest contribution to Dante literature appeared in 
 the Atlantic Monthly for 1859, and consisted of an essay on the 
 
NORTON. 6 1 
 
 Vita Nuova, accompanied by specimen translations. In 1867 the 
 completed translation was published, together with some additional 
 comment. At that time the Vita Nuova was just beginning to 
 receive the attention from English students warranted by its impor- 
 tance in Dante's literary history and development, and Mr. Norton's 
 volume was therefore welcome.^ It is more literal than Rossetti's 
 version, with which it was almost contemporaneous. In 1891-92 
 Mr. Norton published a prose translation of the Divina Commedia, 
 — a translation in which the principles of his early work again rule. 
 
 It is only of recent years that the literal prose rendering of 
 poetical work has received due recognition from the literary critic. 
 Early associations act as powerful sources of prejudice, and there 
 are many who after their college days are unable to regard a prose 
 version in any other light than that of a "crib." This is unjust to 
 such excellent work as the translations of Homer by Butcher, Leaf, 
 Lang, Myers, and Palmer, and of Dante by Carlyle, Butler, and 
 Norton. Some of these men are masters of English prose, but this 
 is not the prime reason for their adoption of it as the vehicle of 
 their authors' thoughts. They all grant that they leave unattempted 
 half the problem of translation, but it is from no want of effort, no 
 slackness of endeavor; they have chosen prose rather from a press- 
 ing sense that the charm which the genius of the poet has given to 
 his verse is intransmutable. Yet the best of these translators into 
 prose pay great attention to their English, and endeavor to please 
 the ear while satisfying the exacting mind of a realistic age. The 
 absence of care about rhythm and rhyme makes it possible for a 
 literal prose translation to be so much easier of comprehension and 
 assimilation at the first reading. 
 
 It is interesting to note how all the translators of Dante into 
 English prose, even with their divergent conceptions as to the best 
 means of attaining a common end, pay tribute to Dr. John Carlyle, 
 the first to enter the field. Appreciating the excellence of Dr. Car- 
 
 1 The earliest complete translation of the Vita Nuova into English was that by 
 Joseph Garrow, published in Florence in 1846. Dean Plumptre, with character- 
 istic carelessness, speaks of the translator as an American. Mr. Francis Boott, 
 of Cambridge, Mass., who knew Garrow in Florence, assures me there is no 
 doubt of Garrow having been an Irishman. 
 
62 DANTE IN AMERICA. 
 
 lyle's rendering of the Inferno; Mr. Butler began his translation with 
 the second canticle. Dugdale's Ftirgatorio was undertaken in the 
 hope that it might serve as a companion volume to Dr. Carlyle's In- 
 ferno. '* Had Dr. Carlyle made a version of the whole poem," says 
 Professor Norton in his preface, " I should hardly have cared to 
 attempt a new one. His conception of what a translation should be 
 is very much the same as my own." Of the barrenness of prose 
 as a medium for thoughts born of a poet's mind and couched in 
 the noblest verse, no one could be more conscious than Professor 
 Norton, and he translates with the hope that the " imagination may 
 mould the prose as it moulded the verse." 
 
 For the past ten years Mr. Norton has given instruction in Dante 
 as part of his regular duties of Professor in Harvard College. In 
 1894 he delivered the Turnbull Lectures on poetry at Johns Hopkins 
 University, choosing Dante for his theme. 
 
 A few more indications of the hold which Dante has taken on 
 American scholarship and we are done with this part of our subject. 
 That America should have the oldest of the existing Dante societies 
 is a flattering proof of the seriousness of the interest shown here in 
 his work. Mr. Norton was one of its founders ; the Dante books 
 which he had collected for his own use were given to the Harvard 
 College Library, and formed the nucleus of the collection since 
 maintained by the Dante Society. By the support and encourage- 
 ment which this society gave to the publication of Dr. Fay's 
 " Concordance," it has earned the gratitude of all students. This 
 monument of diligence and care is an achievement of which the 
 compiler can well feel proud. " I have often thought," writes Dr. 
 Moore, " that the most generally useful commentary on the Divina 
 Commedia in existence is the invaluable ' Concordance ' of Dr. Fay." ^ 
 Scartazzini, who admits with gratitude that he daily finds need to 
 consult this work, says that " its value can only be recognized and 
 estimated after a lengthened use of it. It is certain that this at any 
 rate will never grow dusty in the library of a student of Dante." 
 
 Americans have made many other contributions of a varied nature 
 to Dantean literature, mostly livres de vulgarisation; but the future 
 
 1 " Studies in Dante," 1896, p. 45. 
 
CONCLUSION. 63 
 
 should be more productive than the past. The scholar of to-day 
 has vastly greater facilities for carrying on his researches in America 
 than had the student of a generation — yes, or even a decade ago. 
 The Dante library at Harvard is now not his only rich resource. At 
 Cornell University the student can find what is in some respects the 
 most remarkable Dante collection in the world. Books have been 
 gathered there from the four quarters to take their place in the cos- 
 mopolitan literature of the Divina Commedia and its author ; its 
 all-round completeness and bibliographical rarities are a delight to 
 both the student and bibliophile. The donor, Mr. Willard Fiske, 
 has said in a private letter of recent date: "My own collection is a 
 surprise even to myself. I began it with the idea of sending to 
 Cornell some two or three hundred of the more useful Dante works, 
 that the student might have at least something to begin on. But my 
 interest grew as the books turned up, until the collection became 
 what it is." Then, too, the rich Italian library of the late Francis 
 C. Macauley has recently been bequeathed to the University of 
 Pennsylvania, and, with its wealth of early editions, may be expected 
 to fill out in some measure the unavoidable gaps of the other two 
 American collections. 
 
 Thus happily situated, Americans ought to grow familiar with 
 Dante; but, as Lowell said, his life and work have in them a meaning 
 of such depth as "few men have meaning enough in themselves 
 wholly to penetrate." It is to be regretted that there is no hope of 
 Dante ever taking the place of a popular author with us, of be- 
 coming one of our intimates. He would leave us a sense of the 
 emptiness of much of that which we make our boast, and would 
 teach us the instability of national position and the permanence of 
 moral worth alone. But the great reading public cares little for 
 instruction, and is given to avoiding those books in which it suspects 
 reproof or correction. Those, however, who have come within the 
 spell of Dante's poetry, his thought, and his ideals, are conscious 
 of the enrichment of their lives and the ennobling of their own 
 aspirations. 
 
APPENDIX. 
 
 I. CRITIQUE ON CERTAIN PASSAGES IN DANTE. — Da Ponte. 
 
 First Paper.^ 
 
 In the course of my investigations of the difficulties which the language 
 and manner of Dante occasionally present, I have been led to believe that 
 in ten or twelve instances at least, in the Inferno alone, modes of interpre- 
 tation might be offered which would reconcile the objections of the critics, 
 and remove all doubts of the meaning of the author. Of these I now sub- 
 join the first, reserving the others for another opportunity. 
 
 Inf. i. 29-30. 
 
 Ripresi via per la piaggia deserta, 
 
 Sicche 11 pie fermo sempre era il piu basso. 
 
 In order to ascertain the actual situation, position, and movement of 
 Dante, we ought to go back to verse 1 3 : 
 
 Ma poi ch' io fui appie del coUe giunto 
 L^ eve terminava quella valle, 
 
 and to give to the expression appie del colle a signification similar to that 
 conveyed by the following line from one of Petrarch's sonnets : 
 
 Appie de' colli ove la bella vesta. 
 
 1 " We recommend to the curious in Italian literature, and particularly to the 
 admirers of the Divina Commedia, the following proposed interpretations of 
 several very difficult passages in the Inferno of Dante. They are decidedly the 
 best explanations we have seen of the passages referred to, on which, by the way, 
 whole volumes have been written. With regard to the new reading of che i for 
 cK' ei, the merest novice in Italian will acknowledge the improvement ; and it is 
 really surprising that a correction so simple, and so perfectly satisfactory, should 
 not have been suggested by any of the Dantesque commentators, who for five 
 hundred years have been striving to outdo each other in variae lectiones and new 
 interpretations. The other explanations are ingenious and most probably correct." 
 — [Editorial note in the N'ew York Review and Athenceum Magazine, probably by 
 Anderson.] 
 
APPENDIX. 
 
 6S 
 
 Here every one will admit that the poet does not speak of a place actually 
 
 adjoining, but merely of a place very near the foot of the hills, in which 
 
 place Laura was born, and where, too, the five ^ernici, supposed to be 
 
 referred to by the poet, ranged while they lived " unhindered and unhurt." 
 
 There appear to me to be two good reasons for this interpretation. 
 
 First, Dante in order to express perfect contact, makes use elsewhere of a 
 
 much stronger expression. I refer to the 1 34th verse of the 1 7th canto of 
 
 the Inferno. 
 
 Apple appie della stagliata rocca. 
 
 Secondly, if Dante had been actually at the foot of the hill, in the strict sense 
 of the word, he could not possibly have seen its summit ^ "clad in the sun's 
 bright rays." Let us now examine how this construction agrees with the 
 context. 
 
 Dante, " in the middle of the way of life," finds himself in the forest of 
 Error, He cannot tell how he came there, but merely recollects that a 
 moment previous he was " oppressed with sleep," that is, in a state of intel- 
 lectual unconsciousness, arising from the violence of his passions. In this 
 " rugged, wild, and gloomy " forest, he loses his way and soon after finds 
 himself (he either will not or cannot tell how) at the foot of a hill bound- 
 ing this valley or forest. Alarmed at this, he raises his eyes to the summit 
 of the hill and there sees the rays of the sun. Allor fu la paura un poco 
 queta, and he turns round to look upon the pass che non lascib giammai 
 persona viva, that is, lascio passar, or in other words, the pass which no 
 living soul ever omitted or was exempted from passing. Then 
 
 Riprese via per la piaggia deserta, 
 
 and this brings us to the difficulty. 
 
 It would be difficult to persuade me that \ks\s> piaggia deserta means the 
 beginning of the ascent. Dante says expressly that he resumed his pre- 
 vious way, or walked again along the piaggia, 
 
 Sicche il pie fermo sempre era il piu basso, 
 
 and then began to ascend. This ascent is, moreover, announced by an 
 emphatic Ed ecco, denoting that then, and not till then, did the rise begin. 
 To conclude — 
 
 Ripresi via per la piaggia deserta, 
 
 1 Spalle certainly means the summit of the hill, and not the quasi sommita, as 
 Biagioli wishes us to believe ; because if the sun's rays had reached the side of 
 the hill, the forest would not have been dark, nor would the poet have been 
 obliged to raise his eyes to see the light. — Da P. 
 
66 APPENDIX. 
 
 I resumed my way along the solitary plain (where alone // pi^ fermo 
 sempre i il piU basso), and walked toward the hill, — that is, toward the 
 seat of truth ; but in such a way that my firm foot was always lower than 
 the other. This I take to mean : I still continued in the path of error, not 
 daring to ascend the hill of truth. After going a short distance, and just 
 as I had reached the beginning of the rise, my further progress is opposed 
 by Pleasure, Pride, and Avarice, so much so that (to repeat Dante's y^« de 
 mots)^ 
 
 Back to return at every turn I turned. 
 
 In this way the literal sense is abundantly perspicuous, and the allegorical 
 extremely apt and beautiful.^ 
 
 Second Paper.* 
 
 Among the arguments I offered, in my last communication, to support 
 the interpretation I proposed, of the 30th line of the 1st canto of Dante's 
 Inferno^ I omitted to call your attention to the 31st line : 
 
 And lo ! not far from the hill's first ascent, 
 
 ^ It is not Da Ponte's intention to xazk^ piaggia the equivalent oi piano, which 
 ordinarily is its direct opposite in meaning, but to interpret the word in its poetical 
 signification of " quasivoglia luogo." In this sense, as is remarked in the " Voca- 
 bolario degli Accademici della Crusca," the word is equivalent to the VaXvaplaga 
 tractus, or the Greek x'^P«» ^J^d is used thus in Petrarch's lines : 
 
 Cesare taccio, che per ogni piaggia 
 
 Fece 1' erbe sanguigne, 
 and again 
 
 Consumando mi vo di piaggia in piaggia 
 
 II di pensoso, poi piango la notte. 
 
 Dante uses the word half a dozen times in the Commedia, thrice in an unmistak- 
 able sense. From its primary meaning of hillside or slope, the word derives its 
 secondary meaning of the bank of a river or the shore of an ocean ; it occurs with 
 the latter signification in Inf. iii. 92, Purg. ii. 50, xvii. 78. Da Ponte would, of 
 course, translate the piaggia of Inf. ii. 62, in the same manner as in the line in 
 the first canto. The only other occurrence of the word in the Commedia is in 
 
 Purg. iv. 34-35 : 
 
 Poichfe noi fummo in su 1' orlo supremo 
 Dell' alta ripa, alia scoverta piaggia. 
 
 By different commentators and translators scoverta piaggia here has been variously 
 understood as referring to the ridge of the mountain in full view, the unobstructed 
 mountain side or slope, and the open country or lea beyond. — T. W. K. 
 
 2 «' We again call the attention of amateurs to this critique. In the present in- 
 stance the explanation offered is one of the happiest we have ever seen." — [Eds.] 
 
APPENDIX. 
 
 67 
 
 which not only points out the place of the first appearance of the panther, 
 but shows conclusively that Dante had not yet reached the " cominciar dell' 
 erta," — the beginning or foot of the ascent ; because the interjection ecco is 
 almost always used to denote the time and place of the first appearance of 
 a new object, or the first occurrence of a new event. If Dante was 
 prevented from going further by the " panther," when this panther was only 
 " quasi al cominciar dell' erta," it follows, of course, that Dante had not yet 
 arrived at the foot of the hill, his progress toward it being intercepted by 
 the panther. 
 
 I now pass on to another passage which appears to me to have been 
 strangely misunderstood. 
 
 Inf. iii. 109-111. 
 
 Caron dimonio, con occhi di bragia 
 Loro accennando tutte le raccoglie, 
 Batte col remo qualunque s' adagia. 
 
 The commentators have uniformly made batte an active verb, and have 
 agreed to consider this last line as meaning that Charon, impatient at the 
 delay, 
 
 Beats soundly with his oar the loitering shades ! 
 
 Let us see how this strange commentary is supported by the context. At 
 verse 71, Dante, seeing a great number of souls collecting on the bank of 
 a river, turns to his conductor, saying, 
 
 Master, give me to know what souls are these, 
 And what is that which makes them seem (for so 
 Even through this feeble light to me they seem) 
 In such swift haste to pass from shore to shore. 
 
 At verses 1 1 1 , 117, these souls, which according to the commentators 
 require the stimulus of Charon's oar (a long oar, by the way, he must have 
 had), are described in the beautiful similitudes of Dante, as hastening to 
 the boat 
 
 Like autumn foliage dropping to the ground. 
 
 Or falcons stooping to the fowler's call.i 
 
 Again, at verse 1 24, Virgil says that these lazy souls who, like asses at a 
 
 1 Come d' autunno si levan le foglie 
 
 L' una appresso dell' altra, infin che '1 ramo 
 Rende alia terra tutte le sue spoglie ; 
 Similemente il mal seme d' Adamo 
 Gittansi di quel lito ad una ad una 
 Per cenni, com' augel per suo richiamo. 
 
68 APPENDIX, 
 
 ferry, must, it seems, be beaten with an oar to make them move, are always 
 eager to get over ; because, to use the poet's own strong language. 
 
 The justice of their Judge so pricks them on, 
 That fear is lost in longing. 
 
 Surely such a commentary has no need of comment. The following is the 
 explanation I would offer. Charon, says the poet. 
 
 With eyes of fire and guiding glance of sign, 
 Gathers them all together. 
 
 With what sign? The answer, one would think, was obvious enough : 
 "the grim ferryman" batte col remo^ strikes with his oar, — and then — 
 qualunque s' adagia — each one takes his seat in Charon's barque,^ and 
 that willingly, and even eagerly ; because, in the words of Dante, above 
 
 translated, 
 
 La divina giustizia gli sprona 
 SI che la tema si volge in disio.^ 
 
 Third Paper. 
 Inf. v. 77-78. 
 
 Vedrai quando saranno 
 Piii press© a noi ; e tu allor gli prega 
 Per queir amor ch' ei mena ; e quel verranno. 
 
 Thou shalt see, 
 When they are nearer ; then adjure them by 
 That love which is their lord, and they will come. 
 
 Venturi tells us that ei is here taken in the sense of eglmoj but yet, he adds 
 with great gravity, you cannot say eino instead of eglinoj whereupon he utters 
 maledictions against the absurdities of grammar. Volpi, I believe, has 
 closed his eyes upon this passage, as well as the Avignon editor,* who on 
 
 1 This is certainly one of the significations of adagiarsi, which means not only 
 to walk adagio or slowly, but to sit a suo agio — at one's ease — in a convenient 
 or reclining posture. This is, in all probability, the meaning of the word as it 
 occurs in Petrarch, Part I, Canzone v, st. iii, v. 10, 
 
 II Pastor, etc., 
 
 Ivi senza pensier s' adagia e dorme. — Da P. 
 
 2 For a recent statement of the various interpretations of this passage, see the 
 chapter on " L' adagiarsi delle anime " in O. Antognoni's " Saggio di studj sopra 
 la Commedia di Dante," Livorno, 1893, and the discussion occasioned by G. 
 Marufii's note in " Giornale dantesco," 1893, ^^^' ^' PP- 217-218. — T. W. K. 
 
 * " La divina commedia, con argomenti ed annotazioni scelte dai migliori com- 
 mentatori." Avignone, 18 16. 3 vol. 24°. 
 
APPENDIX. 69 
 
 more occasions than one shows himself marvelously clever in getting around 
 a difficulty. Lombardi has recourse to a ridiculous paraphrasis,i and 
 Biagioli thinks cK' ei mena means ch' ei menu msieme, which might answer 
 if we make ei the nominative case singular, referring to ainore. It is 
 certainly very singular, that amidst such a variety of explanations, not a 
 commentator among them all appears to have suspected the interpretation 
 which I take to be undoubtedly the true one, and which one would think is 
 almost as obvious as it is completely satisfactory. To have the right read- 
 ing, it is not necessary to alter a letter or a stop ; in the word ei detach the 
 i from the e and everything is clear : 
 
 E tu gli prega 
 Per queir amor che i mena, e quel verranno.^ 
 
 The pronoun i is then in the objective case plural, for li or gli., and this is 
 so far from being a harsh construction that we have the authority of Dante 
 himself for this identical license : 
 
 La sconoscente vita che i fe sozzi. 
 
 Inf. vu. 53. , 
 
 In the same way another sentence, which has been considered an obscure 
 one, is made perfectly intelligible. Let the i8th verse of the i8th canto of 
 the Inferno be printed thus : 
 
 Infino al pozzo che i tronca e raccogli ; 
 
 and all the forced and far-fetched explanations of the commentators fall to 
 the ground as useless or absurd. 
 
 Inf. ix. 7-8. 
 
 Pure a noi converra vincer la pugna, 
 
 Comminci6 ei — se non — tal ne s' offerse. , 
 
 1 " Sincope d' elli, adoperato dagli antichi nel retto case e nell' obbliquo, equi- 
 vale qui a loro, — ch' ei mena, dice cosi invece di dire, cW e loro cagione d'' essere da 
 quell a bufera dtmenati." 
 
 2 This reading is now quite generally adopted. Barlolommeo Perazzini gave 
 it in his " Corectiones et adnotationes," originally published in 1775, in a miscel- 
 laneous volume long since a rarity, and reprinted by Scolari in his " Intorno alle 
 Epistole latine di Dante," Venice, 1844. " Sic legendum censet," says Perazzini, 
 "erud. Joseph Thomasellius heic et ubique similis locus occurrat, cum nusquam ei 
 occusativum invenire sit. Et quidem apud Vellutellum ita legimus: 
 
 Per queir amore, che i mena, et ei verranno." 
 Since about 1835, in the case of the passage cited by Da Ponte, as well as in the 
 similar ones of Par. xii. 26, and xxix. 4, che i has been given in all but the care- 
 lessly edited texts and the reprints of old works. — T. W. K. 
 
70 APPENDIX. 
 
 The commentators, without exception, consider the pronoun tal as referring 
 here to Beatrice. With all due respect to that " donna gentile," I cannot 
 help thinking that the Angel is the person here alluded to, and that for three 
 reasons : First, because the lady Beatrice did not offer any personal assist- 
 ance to Dante, but merely solicited in his behalf the services of Virgil, and, 
 after having thus addressed him. 
 
 Or muovi, e con la tua parola ornata 
 E con ci6 ch' e mestieri al sue compare 
 L' ajuta si ch' io ne sia consolata, 
 
 she then told him her name and her desire to return to the place she had 
 left, and concluded by assuring him that she would not forget to speak 
 well of him when she went back to Heaven. 
 
 Quando sar6 d' avanti al Signer mio 
 Di te mi loder6 sovente a lui. 
 
 Secondly, because ne j' offerse does not so much signify " offered her assist- 
 ance," as "made her appearance to us," and seems to have reference to the 
 
 passage, 
 
 E gik di quk da lei discende 1' erta 
 
 Passando per li cerchi senza scorta 
 
 Tal che per lui ci fia la terra aperta. 
 
 And thirdly, because tal ne j' offerse^ with ne in the plural number, is 
 scarcely compatible with the interpretation hitherto received, but peculiarly 
 appropriate to the one I have proposed. Beatrice appeared only to Virgil, 
 but the Angel was then descending to present himself before Virgil while 
 Dante was with him, as appears by the verses we have quoted above. 
 
 How the aposiopesis, se non, is to be supplied, it is perhaps not very 
 easy to determine. But it is probable that Virgil was on the point of say- 
 ing something disagreeable to Dante, or at least calculated to increase his 
 apprehensions ; for instance, " if Beatrice has not deceived us," " if Heaven 
 has not altered its decrees," or something similar ; and then suddenly cor- 
 recting himself, or recollecting the promises of the Angel, finished his 
 sentence in the tone and language of encouragement. 
 
 I add a short remark on the third line of the first canto : 
 
 Che la diritta via era smarrita. 
 
 To say that che has in this place the meaning of talmente che ox perocchi 
 ox perch} ^ which is the explanation almost universally given, is certainly a 
 mistake. Biagioli is the only annotator who has pointed out the error and 
 inconsistency of this interpretation. He agrees with Volpi that there is 
 here an ellipsis of the preposition /;/, but neither he nor Volpi adduce any 
 
APPENDIX. 71 
 
 classical authority for the use of che in the sense of in che. There exists, 
 however, a remarkable and conclusive instance of this kind in Petrarch, 
 Part I, son, ii, v. i : 
 
 Era 11 giorno che al Sol si scoloraro. 
 Dante himself furnishes another example, Inf. i. 1 1 : 
 
 Tanto era pien di sonno in su quel punto 
 
 Che la verace via abbandonai. t t~v t» 
 
 L. Da Ponte. 
 
 II. WILLIAM HICKLING PRESCOTT. 
 
 Da Ponte was an ardent advocate of everything Italian, and he 
 fervently resented any imputations, fancied or real, upon the honor 
 of his native country, whether it concerned letters, music, manners, 
 or morals. So sensitive was he in this matter that at the time of the 
 trial of Queen Caroline, when aspersions were cast upon the Italian 
 character, he felt called upon to address an ode to George IV; and again 
 in 1824 when our own historian, Prescott, published in the North 
 American Review an article on "Italian Narrative Poetry," Da Ponte 
 thought he saw a slighting estimate of the genius of his fellow- 
 countrymen, and forthwith issued a reply. That Da Ponte misunder- 
 stood the position taken by Prescott is plainly evident to us of to-day, 
 and that Prescott had a real fondness for the Italian authors his 
 writings and letters go to show. One of these letters is concerned 
 with his first impressions of Dante, and I shall cite a considerable 
 portion of it, because of its interest as one of the earliest American 
 estimates of the great Florentine. The letter is dated 1824, and was 
 written to George Ticknor, who printed it in his biography of his 
 friend, stating that Prescott " never ceased to talk of Dante in the 
 same tone of admiration in which he thus broke forth in the first 
 study of him, — a noteworthy circumstance, because owing to the 
 imperfect vision that so crippled and curtailed his studies, he was 
 never afterwards able to refresh his first impressions, except, as he 
 did it from time to time, by reading a few favorite passages, or lis- 
 tening to them." It is to be remembered that this is but a familiar 
 letter to a friend, and though the writer must have given the subject 
 some thought, he himself would doubtless have polished and revised 
 his estimate before printing it. 
 
72 APPENDIX. 
 
 I have finished the Paradiso of Dante, and feel as if I had made a most 
 important addition to the small store of my acquisitions. To have read the 
 Inferno is not to have read Dante ; his genius shows itself under so very 
 different an aspect in each of his three poems. The Inferno will always be 
 the most popular, because it is the most — indeed the only one that is at 
 all — entertaining. Human nature is so delightfully constituted that it can 
 never derive half the pleasure from any relation of happiness that it does 
 from one of misery and extreme suffering. Then there is a great deal of 
 narrative, of action in the Inferno^ and very little in the two other parts. 
 Notwithstanding all this, I think the impression produced on the mind of 
 the reader by the two latter portions of the work much the most pleasing. 
 You impute a finer, a more exquisite (I do not mean a more powerful), 
 intellectual character to the poet, and, to my notion, a character more deeply 
 touched with a true poetical feeling. 
 
 The Inferno consists of a series of pictures of the most ingenious, the 
 most acute, and sometimes the most disgusting bodily sufferings. I could 
 wish that Dante had made more use of the mind as a source and a means of 
 anguish. Once he has done it with beautiful effect, in the description of a 
 Barattiere, I believe,^ who compares his miserable state in hell with his 
 pleasant residence on the banks of the Arno, and draws additional anguish 
 from the comparison. In general, the sufferings he inflicts are of a purely 
 physical nature. His devils and bad spirits, with one or two exceptions, 
 which I remember you pointed out, are much inferior in moral grandeur to 
 Milton's. How inferior that stupendous, overgrown Satan of his to the 
 sublime spirit of Milton, not yet stripped of all its original brightness. I 
 must say that I turn with more delight to the faultless tale of Francesca da 
 Polenta than to that of Ugolino, or of any other in the poem. Perhaps it 
 is in part from its being in such a dark setting, that it seems so exquisite 
 by contrast. The long talks in the Purgatorio and the dismal disputations 
 in the Paradiso certainly lie very heavy on these parts of the work ; but 
 then this very inaction brings out some of the most conspicuous beauties in 
 Dante's composition. 
 
 In the Purgatorio we have, in the first ten cantos, the most delicious 
 descriptions of natural scenery, and we feel like one who has escaped from 
 a dungeon into a rich and beautiful country. In the latter portions of it he 
 often indulges in a noble tone of moral reflection. I look upon the Purga- 
 
 1 " My friend says, with some hesitation, 'a Barattiere, I believe.^ It was in fact 
 a • Falsificatore ' — a counterfeiter — and not a barrator or peculator. The barrators 
 are found in the twenty-first canto of the Inferno ; but the beautiful passage here 
 alluded to is in the thirtieth." — G. T. 
 
APPENDIX. 
 
 73 
 
 ^orio, full of sober meditation and sweet description, as more a VAnglaise 
 than any other part of the Comfnedia. In the Paradiso his shocking argu- 
 mentations are now and then enlivened by the pepper and salt of his political 
 indignation, but at first they both discouraged and disgusted me, and I 
 thought I should make quick work of the business. But upon reading 
 further, — thinking more of it, — I could not help admiring the genius which 
 he has shown in bearing up under so oppressive a subject. It is so much 
 easier to describe gradations of pain than of pleasure, — but more especially 
 when this pleasure must be of a purely intellectual nature. It is like a 
 painter sitting down to paint the soul. The Scriptures have not done it 
 successfully. They paint the physical tortures of hell, fire, brimstone, etc., 
 but in heaven the only joys, i.e.^ animal joys, are singing and dancing, which 
 to few people convey a notion of high delight and to many are positively 
 disagreeable. 
 
 Let any one consider how difficult, nay impossible, it is to give an entertain- 
 ing picture of purely intellectual delight. The two highest kinds of pure 
 spiritual gratification which, I take it, a man can feel, — at least, I esteem 
 it so, — are that arising from a consciousness of a reciprocated passion (I 
 speak as a lover), and, second, one of a much more philosophic cast, that 
 arising from the successful exertion of his own understanding (as in compo- 
 sition, for instance). Now Dante's pleasures in the Paradiso are derived 
 from these sources. Not that he pretends to write books there, but then 
 he disputes like a doctor upon his own studies, — subjects most interesting 
 to him, but unfortunately to no one else. . . . 
 
 In all this, however, there was a great want of action, and Dante was 
 forced, as in the Purgatorio, to give vent to his magnificent imagination in 
 other ways. He has therefore made use of all the meagre hints suggested 
 metaphorically by the Scriptures, and we have the three ingredients, light, 
 music, and dancing, in every possible and impossible degree of diversity. 
 The Inferno is a sort of tragedy, full of action and characters, all well pre- 
 served. The Paradiso is a great melodrama, where little is said, but the 
 chief skill bestowed upon the machinery, — the getting up, — and certainly 
 there never was such a getting up, anywhere. Every canto blazes with a 
 new and increased effulgence. The very reading of it by another strained 
 my poor eyes. And yet, you never become tired of these gorgeous illustra- 
 tions, — it is the descriptions that fatigue. 
 
 Another beauty, in which he indulges more freely in the last than in the 
 other parts, is his unrivalled similes. I should think you might glean from 
 the Paradiso at least one hundred all new and appropriate, fitting, as he 
 says, "like a ring to a finger," and most beautiful. Where are there any 
 comparisons so beautiful 1 
 
74 APPENDIX. 
 
 I must say I was disappointed with the last canto ; but then, as the 
 Irishman said, I expected to be. For what mortal mind could give a por- 
 trait of the Deity ? * The most conspicuous quality in Dante, to my notion, 
 is simplicity. In this I think him superior to any work I ever read, unless 
 it be some parts of the Scriptures. Homer's allusions, as far as I recollect, 
 are not taken from as simple and familiar, yet not vulgar objects, as are 
 Dante's, — from the most common, intimate relations of domestic life, for 
 instance, to which Dante often with great sweetness of nature alludes. 
 
 I think it was a fortunate thing for the world that the first poem in 
 modern times was founded on a subject growing out of the Christian 
 religion, or more properly on that religion itself, and that it was written by 
 a man deeply penetrated with the spirit of its sternest creed. The religion 
 indeed would have had its influence sooner or later upon literature. But 
 then a work like Dante's, showing so early the whole extent of its powers, 
 must have had an incalculable influence over the intellectual world, — an 
 influence upon literature almost as remarkable as that exerted by the 
 revelation of Christianity upon the moral world. 
 
 It is to Prescott's credit that he saw, at his first reading, the points 
 in which the Purgatorio and the Paradiso are superior to the Inferno. 
 This is often not seen by the reader until he knows well the entire 
 poem. In other things, however, Prescott shows himself but a novi- 
 tiate. For example, he has extravagant praise to bestow on Gary's 
 translation, expressing himself of the opinion that " Dante would 
 have given him a place in his ninth heaven, if he could have foreseen 
 his translation." He does not quite approve of the liberties Gary 
 takes, yet commends him for giving " the spirit of the original, the 
 true Dantesque manner." We must not be surprised at this over- 
 estimate of Gary ; Coleridge, Southey, and Macaulay went equally 
 wide of the mark in their estimates of him. Would that it were 
 possible for any translation to give at once the spirit and the manner 
 of the original. 
 
 ^ " No such personification can be effected without the illustration from physi- 
 cal objects, and how degrading are these to our conceptions of Omnipotence ! 
 The repeated failures of the Italians who have attempted this in the arts of design 
 are still more conspicuous. Even the genius of Raphael has only furnished 
 another proof of the impotence of his art." — From Prescott's reply to Da Ponte. 
 
 Lowell, on the contrary, finds nothing in all poetry approaching the imaginative 
 grandeur of Dante's vision of God. 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 Note. — The plan of the present list calls for but little explanation. Its 
 purpose is for historical rather than scholarly or literary ends. It aims at com- 
 pleteness (but, of course, does not attain it), and many of the items have no 
 value or interest apart from that derived from their date or authorship. The 
 style of entry adopted vi'as fixed upon only after considerable thought. In 
 deciding various questions of form, I have been favored with the opinions of Mr. 
 W. C. Lane. 
 
 No notice is taken of the purely eclectic literature (except when the article or 
 review is of American origin), nor of American reprints of English works contain- 
 ing essays on, translations from, or homage to Dante ; only when the latter have 
 been printed separately in this country do they come within the scope of the 
 present list. Thus, Byron's " Prophecy of Dante," Philadelphia, 1821, is entered, 
 but no mention is made of the same poem as embodied in the four- volume edition 
 of Byron's works printed in New York the same year. Reissues of American 
 works from stereotyped plates, although commonly spoken of by the publishers 
 as separate editions, are here, as far as practicable, referred to under the notice 
 of the first appearance of the work in that form or edition ; otherwise we should 
 have a score of entries for Longfellow's translation. No mention is made of 
 English works, printed in England, and for trade purposes bound in this country 
 with the imprint of an American publisher. Of the numerous " editions " of 
 Gary's translation bearing the imprint of American publishers, I have only 
 entered such as I could assure myself have been printed in this country from 
 type or from American plates. Copies of nearly all these trade ventures in Gary 
 are to be found in the Harvard Gollege Library ; a list of them was given in the 
 last report of the Dante Society. 
 
 Reviews of American works are grouped together under the entry of the book 
 in question. Notices and short reviews of foreign works are grouped together 
 chronologically, forming footnotes to the domestic literature of the respective 
 years. Works by American authors published abroad are regularly included, 
 as are also foreign articles on American writers. The earlier entries are furnished 
 with fuller notes than the more familiar literature of recent years seemed to call 
 for. I have carried the bibliography into Ganada, Mexico, and South America, 
 but here the entries must, I am sure, be very incomplete. 
 
 When the books referred to are neither in the Harvard Gollege Library 
 (HGL), nor in the Boston Public Library (BPL), I have generally indicated, by 
 
76 AMERICAN DANTE BIBLIOGRAPHY. 
 
 means of abbreviations, the location of a copy. Thus, AL is the Astor Library, 
 BA the Boston Athenaeum, BM the British Museum, BUL the Brown University 
 Library (Harris Collection of American Poetry), CCL the Columbia College 
 Library, CUL the Cornell University Library (Fiske Dante Collection), LL the 
 Lenox Library, ML the Marsh Library of the University of Vermont, PHS the 
 Pennsylvania Historical Society, and PLC the Philadelphia Library Company. 
 
 1807. 
 
 II canto xxxiii [vv. 1-84] di Dante. Recitato dalla Signora E. B. (/« 
 Storia compendiosa della vita di Lorenzo da Ponte, scritta da lui 
 medesimo. A cui si aggiunge la prima letteraria conversazione tenuta 
 in sua casa, 11 giorno 10 di marzo, dell' anno 1807, in New York, con- 
 sistente in alcune composizioni italiane, si in verso che in prosa, tradotte 
 in inglese da' suoi allievi. New York, /. Riley ^ Co. 1807. 12°. 
 PP- 50-S3-) 
 
 With this note : " The translation of this divine piece of poetry . . . will be 
 published in the second conversazione." I have never seen a second part and 
 do not believe it was ever issued. The above is Da Ponte's first American 
 publication ; Sabin makes no mention of it. The New York Historical Society 
 has long had a copy and the BPL has recently been presented with one by 
 Mr. Allen A. Brown. 
 
 [Welles, Benjamin.] Dante Alighieri. (/« the Monthly anthology. 
 (Boston.) May, 1807. vol. iv, pp. 253-255.) 
 
 1816. 
 
 Character, (The) of Dante. {In the Portfolio. July, 1816. pp. 61-63.) 
 In an extended review of Sismondi's work " On the literature of the south 
 of Europe." 
 
 Hunt, (James Henry) Leigh. The story of Rimini ; a poem. Boston, Wells 
 (Sr» Lilly; Philadelphia, M. Carey. 1816. 16°. pp. xvi + 85. 
 
 CUL ; PLC. 
 
 Reviewed [by William Tudor] in the North American review^ July, 18 16, 
 vol. iii, pp. 272-283 ; — in the Portfolio, Dec. 1817, p. 517. 
 
 " The * Story of Rimini ' had not long appeared when I received a copy of 
 it, which looked like witchcraft. It was the identical poem, in type and appear- 
 ance, bound in calf, and sent me without any explanation ; but it was a little 
 smaller. I turned it over a dozen times, wondering what it could be, and how 
 it could have originated. The simple solution of the puzzle I did not consider. 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 17 
 
 till I had summoned other persons to partake of my astonishment. At length 
 we consulted the title-page, and there saw the names of ' Wells & Lilly, 
 Boston, and M. Carey, Philadelphia.' — Hunt's "Autobiography," London, 
 i86o, p. 231. 
 
 1819. 
 
 [Gray, John Chipman.] Dante. (/« the North American review. Mar. 
 1 81 9. vol. viii, pp. 322-347.) 
 
 Reprinted in his " Essays, agricultural and literary." Boston, Little, 
 Brown dr' Co. 1856. 12°. pp. 253-302. 
 
 1821. 
 
 Byron, George Gordon Noel Byron, 6th baron. The prophecy of Dante ; 
 a poem. Philadelphia, M. Carey fir» Sons. 1821. 12°. pp. 48. 
 
 Reviewed in the Literary gazette (Phila.), June 9, 1821, vol. i, pp. 353-355 ; 
 — in the Literary and scientific repository (Phila.), 1821, vol. iii, pp. 95-98. 
 
 La profezia di Dante. Tradotta in terza rima da L[orenzo] da 
 
 PONTE. Nuova Jorca, R. fir* W. A. Bartow. 1821. 24°. pp. 72. 
 
 BM ; CCL. 
 The English original and Italian translation are given on opposite pages. 
 There is a prefatory letter to Lord Byron, and a dedication of the book to 
 Miss Julia Livingston. Pp. 63-70 are given up to the translator's notes, 
 while the last two pages of the volume contain a list of subscribers to the 
 book, — very helpful in showing what excellent patronage Da Ponte enjoyed 
 at this time of his life. The copy in the CCL belonged to Bishop Manton 
 Eastburn, one of the subscribers. 
 
 1822. 
 
 The Vision ; or Hell, Purgatory, and Paradise, of Dante Alighieri. Trans- 
 lated by Henry Francis Gary. Philadelphia, Samuel Bradford. 
 1822. 2 vol. 24°. Frontisps. 
 
 Published as vols, xlv, xlvi of " The works of the English poets," edited by 
 Robert Walsh, Jr. HCL has a second copy with the added imprint " New 
 York, Ja7?ies Eastburn ; Boston, Charles Ewer dr^ Timothy Bedlington" issued 
 as vols, vi, vii of the translated poets in the series. 
 
 Byron, George Gordon Noel Byron, 6th baron. La profezia di Dante. 
 Tradotta in terza rima da L[orenzo] da Ponte. Seconda edizione, 
 con note ed aggiunte di varie poesie originali. Nuova Jorca, R. ^ W. 
 A. Bartow. 1822. 24°. pp. 96-l-(6). Frontisp. CCL ; ML. 
 
jS AMERICAN DANTE BIBLJOGKAPIIY, 
 
 With a portrait of Da Ponte, N. Rogers, ////jr., M. Pekenino, sc Pp. 1-70 
 are from the plates of the first edition ; the remainder of the volume is taken 
 up with additional translations from Byron, a Latin and an English version of 
 the poetical portion of Da Ponte's letter to Byron, together with some original 
 verse, and the list of subscribers. The last page is numbered 100 by mistake. 
 A copy in the possession of Mr. Norton lacks the portrait. 
 
 Carefully reviewed in the Literary and scientific repository, 1822, vol. iv, 
 pp. 310-319, by an anonymous writer who knew well both his English and 
 Italian and pointed out a number of liberties taken by the translator. To this 
 was probably due the change of title to " Libera traduzione della profezia di 
 Dante," when printed in Da Ponte's " Memorie," 2da ed., 1829-30, vol. iii, 
 part ii, pp. 1-38. The translation and the letter to Byron are reprinted in Da 
 Ponte's " Memorie, compendiate da Jacopo Bernardi, e scritti vari in prosa e 
 poesia," Firenze, succ. Le Monnier, 187 1, sm. 8°, pp. 243-271. 
 
 1825. 
 
 Ponte, Lorenzo da. Critique on certain passages in Dante. (/« the New 
 York review and Athenaeum magazine. 1825. vol. i, pp. 156-158, 
 241-242, 325-327.) BA ; CCL ; CUL. 
 
 Reprinted in the Appendix to the present work. 
 
 1827. 
 
 Ponte, Lorenzo da. Storia della lingua e letteratura italiana in New York. 
 Con alcune lettere italiane, francesi, e spagnuole, dalle damigelle della 
 sua triplice classe. E due lettera ad rem del Sig. T. Matthias all' autore. 
 New York, Gray fir» Bunce. I'^i'j. 24°. pp. xxv + 80 + 12 + (3). 
 
 AL ; LC ; NYSL. 
 
 Some of the letters speak of the interest felt in Dante, and Da Ponte prints 
 part of a prose rendering of the first canto of the Inferno which had been sent 
 him by a pupil. The letters are reprinted in Bernardi's abridgement of the 
 "Memorie," 1871, pp. 1 17-144; (see under 1822). 
 
 1830. 
 
 Featherstonhaugh, George William. The death of Ugolino ; a tragedy. 
 Philadelphia, C«r<?j fir» Z^«. 1830. 8°. pp. 116. 
 
 " Many years ago the author translated the whole of the Divina Commedia 
 into blank verse, upon a suggestion in the Edinburgh Review. He was pre- 
 paring it for the press when the able and faithful translation of Mr. Gary 
 appeared. The work was then laid by with other rejectamenta. Amongst 
 some papers unexpectedly preserved from a painful catastrophe, a selection of 
 translated passages from Dante's great poem was found. The terrible images 
 
AMERICAN DANTE BIBLIOGRAPHY. 79 
 
 with which the thirty-third canto of the Inferno is pregnant led the author 
 gradually into the idea of raising a tragedy out of the ruins of his translation, 
 in the which he might preserve some favorite passages, the only memorial to 
 the author of his former labors. They will be easily recognized by those who 
 are familiar with the Uivina Commedia." — Preface. 
 
 The above is the only edition of this drama. The author was an English- 
 man who spent many years in this country in the employ of our government 
 as " United States geologist." In 1834 he published in Washington, D. C, a 
 translation of Manzoni's " I promessi sposi." 
 
 *^* There was published in Philadelphia, Turner 6^ Fisher, n. d. (also 
 New York, Samuel French, n. d.), " Ugolino ; a tragedy in three acts," by 
 Junius Brutus Booth, first acted at the Chestnut Street Theatre in Philadelphia, 
 April 20, 1825. The scene is laid in Venice, and the story has no connection 
 with that of Dante. 
 
 1831. 
 
 Dante. (Jn the Philadelphia album and Ladies' literary portfolio. April 
 16, 1831. vol. V, pp. 123-124.) PHS. 
 
 Contains a comparison of Milton with Dante. 
 
 Griffin, Edward Dorr. Dante. (/« his Remains, compiled by Francis 
 Griffin. Nt^ York, G. &^ C. &^ H. Carvill, etc. 1831. 8°. pp. 326- 
 337-) 
 
 With original translations in blank verse of some fragments of the Inferno, 
 including the Ugolino episode, xxxiii. 1-75 ; quoted in the review [by W. C. 
 Bryant] of the above work in the North American review, Jan. 1832, vol. 
 xxxiv, pp. 142-144. 
 
 "In 1830 the Rev. E. D. Griffin gave a course of lectures at Columbia 
 College on Roman, Italian, and English literature, devoting at least one lecture 
 to Dante ; but the course was soon ended by his early death." — P. C. Knapp, 
 Jr., in "Encyclopaedia americana," 1884. 
 
 M[artin], J. L. [Lines on Inf. v. 121-123,] " Nessun maggior dolore che 
 ricordarsi del tempo felice nella miseria." (Jn his Native bards ; a 
 satirical effusion, with other occasional pieces. Philadelphia, E. L. 
 Carey &^ A. Hart. 1831. 12°. pp. 102-103.) BUL. 
 
 1832. 
 
 Dante. {In the American monthly review (Cambridge, Mass.), April, 1832. 
 vol. i, pp. 344-345-) 
 
 An account of a copy of the 1477 edition of the Divina Commedia presented 
 to the HCL by Mr. O. Rich of London, Eng. 
 
8o AMERICAN DANTE BIBLIOGRAPHY. 
 
 1833. 
 
 [Inglis, Miss Frances, afterwards Madame Calderon de la Barca.] 
 Dante. (/// the North American review. Oct. 1833. vol. xxxvii, pp. 
 50-536.) 
 Contains original translations in blank verse of a number of short passages. 
 
 Ponte, Lorenzo L. da. [Florence in the time of Dante.] {In his History 
 of the Florentine republic. New York, Collins fir» Hannay. 1833. 
 12°. vol. i, pp. 71-100.) 
 
 The author was a son of Lorenzo Da Ponte and held a professorship in the 
 University of the City of New York. 
 
 S. Translations of Dante. (/« the New England magazine. Dec. 1833. 
 vol. V, pp. 474-480.) 
 
 Contains a review of Cary and gives some original fragmentary renderings. 
 
 v., U. de. Italian literature : Dante. {In the Shnnt. Jan. 1833. vol. ii, 
 PP- 35-39) ^^' 
 
 The magazine was " conducted by a number of undergraduates in Amherst 
 College." 
 
 1835. 
 
 Niebuhr, Barthold Georg. [Essay on the allegory in the first canto of 
 Dante, translated from the MS. by Francis Lieber.] {In Lieber, F. 
 Reminiscences of an intercourse with Mr. Niebuhr, the historian, during 
 a residence with him in Rome in the years 1822 and 1823. Philadel- 
 phia, C^r^^/, Z^« 6^ ^/^^c^ar^Z. 1835. sm. 8°. pp. 189-192.) 
 
 Reprinted in Lieber's " Reminiscences, addresses, and essays." Philadel- 
 phia,/. B. Lippincott &> Co. 1881. 8°. pp. 146-148. 
 
 1836. 
 
 Dante's Beatrice. By the author of ' The affianced one.' {In the Token 
 and Atlantic souvenir. Boston, Charles Bowen. 1836. 16°. pp. 10 5- 
 112.) 
 
 With John Cheney's engraving of Washington Allston's " Beatrice," opp. 
 p. 105. 
 
 Goodrich, Samuel Griswold. Dante's Beatrice, as painted by AUston and 
 engraved by Cheney. {In his The outcast and other poems. Boston, 
 Russell, Shattuck fir» Williams. 1836. 12°. p. 192.) 
 With the engraving on the opposite page. 
 
AMERICAN DANTE BIBLIOGRAPHY. 8 1 
 
 On AUston's painting, see also Margaret Fuller's article, "The AUston 
 Exhibition," in the Dial, July, 1840, no. i, p. 81, reprinted in her "Essays on 
 literature and art," New York, Wiley ^ Putnam, 1846, pt. ii, pp. 109, 117- 
 118; Elizabeth Palmer Peabody's "Last evening with Allston, and other 
 papers," Boston, D. Lothrop &> Co., 1887, pp. 46-49. 
 
 1839. 
 
 The celestial pilot [Purg. ii. 13-51]. The terrestial paradise [Purg. 
 xxviii. 1-33]. Beatrice [Purg. xxx. 13-33, 85-99'; ^^xi, 13-21]. 
 [Translated by Henry Wadsworth Longfellow.] (In Longfel- 
 low, H. W. Voices of the night. Cambridge, /oAn Owen. 1839. 
 16°. pp. 99-108.) 
 
 Reprinted with some slight changes in later editions and in his complete 
 works ; also in his " Poets and poetry of Europe," 1845. The revised version 
 is given in the 1893 edition of Longfellow's " Poetical works," vol. vi, pp. 233-~ 
 341, with footnote readings from the original rendering, and "for the conven- 
 ience of the reader, who may wish to make the comparison, the final form of 
 the passages, as presented in the complete translation of the Purgatorio, is 
 subjoined in small type." 
 
 " These translations are of interest in many respects, but especially as 
 showing that Mr. Longfellow had already adopted the principle of literal, verse 
 for verse, unrhymed translation, which he adhered to when he undertook the 
 task of translating the whole of the Divine Comedy. The versions are of 
 great beauty, and are embodied with little change in the complete work. But 
 it is well worth while to compare the passages as they stand in the * Voices of 
 the night,' and in their place in the translation of the Divine Comedy, in order 
 to note the later revision which the poet gave to them, and to mark the signs 
 it affords of increased simplicity, literalness, and perfected art. The com- 
 parison is an instructive study of the refinement of poetic expression. The 
 last touch, the hardest part of the artist's task according to the proverb of the 
 Greek sculptor, perfects the work." — C. E. Norton, " First annual report of 
 the Dante Society," 1882, p. 19. 
 
 Homer, Dante, Rabelais and Shakespeare. By an apprentice of the law. 
 (/« /^^ Corsair. 1839. vol. i, pp. 609-611.) LL. 
 
 The magazine was a New York venture edited by N. P. Willis and T. O. 
 Porter. 
 
 1840. 
 
 [Clarke,] S[arah]. Dante; [poem]. (In the Dial. July, 1840. vol. i, 
 p. 136.) 
 
 One of several scraps thrown into the last pages of the first number of the 
 Dial. Under date of July 5, 1840, Margaret Fuller writes thus to Emerson 
 concerning this feature of the first issue : " Did you observe the absurdity of 
 
82 AMERICAN DANTE BIBLIOGRAPHY. 
 
 the last two pages ? These are things they had to fill up blanks, and which, 
 thinking 'twas pity such beautiful thoughts should be lost, they put in for 
 climax ! " 
 
 1841. 
 
 [Carlyle on Dante.] {In Arcturus,(New York). 1841. vol. i, pp. 356- 
 
 357.) BA. 
 
 Notes of a lecture given by Thomas Carlyle in May, 1839, in a series of 
 lectures on the revolutions of modern Europe. 
 
 Durante Alighieri, or Dante. By a new contributor. (/« the Knicker- 
 bocker magazine. Oct. 1841. vol. xviii, pp. 275-287.) 
 
 A fanciful sketch of Dante's life, with a translation of the first sonnet of 
 the " Vita nuova." 
 
 [Irving, Washington.] American researches in Italy. — Life of Tasso. 
 Recovery of a lost portrait of Dante. (Jn the Knickerbocker. Oct. 
 1 841. vol. xviii, pp. 319-322.) 
 
 Signed " G. C." (Geoffrey Crayon). An account of the Italian studies of 
 R. H. Wilde, cited in the body of the present work, pp. 31-33. 
 
 [Parsons, Thomas William.] On a bust of Dante. (Jn the Advertiser 
 and patriot, (Boston). Oct. 7, 1841.) 
 
 The poem is signed " P. P. P." This is the earliest printed version. In 
 1843 i* appeared in the author's " First ten cantos of the Inferno " in revised 
 form, with the addition of the stanza beginning " Not wholly such his haggard 
 look." 
 
 The poem is quoted in the Knickerbocker magazine^ 1843, ^^l. xxii, p. 175, 
 and again in 1854, vol. xliv, pp. 514-515 ; "and," remarks the editor, " we are 
 the more glad to do this because we perceive the same exquisite lines, in 
 journals of wide circulation, wrongfully attributed to the pen of Gerald 
 Massey." Noticed in Putnam's magazine, July, 1855, ^°^- ^^' P- S^- 
 
 Reprinted in Parsons' "Poems," 1854, pp. 47-49; — i" his "Seventeen 
 cantos of the Inferno," 1865, pp. [ix]-xi; — in his " The old house at Sudbury,'* 
 1870, pp. 1 1 2-1 14 ; — in his " Poems," 1893, pp. 1-3. Also in the AthencEum, 
 Mar. 23, 1844, p. 268 ; — in " The estray " [edited by H. W. Longfellow], 1847, 
 pp. 60-63; — in Griswold's "Poets and poetry of America," 1850, p. 466; 
 
 — in Duyckinck's "Cyclopaedia of American literature," 1855, v°^- "' P- ^42; 
 
 — (incomplete) in the Spectator, July 18, 1868, vol. xli, p. 855; — in Under- 
 wood's "Handbook of English literature: American authors," 1873, PP- 45^- 
 4^2; — in W. J. Linton's "Poetry of America," 1878, pp. 186-187; — in the 
 Century magazine, Feb. 1884, vol. xxvii, pp. 574-575; — i" C. A. Dana's 
 "Household book of poetry," new ed., 1884, pp. 418-419; — in the Century 
 magazine, July, 1894, vol. xlviii, p. 324; — in the Italian gazette (Florence), 
 
AMERICAN DANTE BIBLIOGRAPHY. 83 
 
 Nov. 17, 1894 (CUL) ; — in A. B. Simonds' "American song," 1894, pp. 225- 
 227 ; — in W. C. Bryant's " New library of poetry and song," revised and 
 enlarged [1895], P- 90^- ^^ vStedman and Hutchinson's " Library of Ameri- 
 can literature," 1889, vol. vii, pp. 389-390, Dr. Parsons' final revision of the 
 poem is given from a manuscript of 1888. . 
 
 Translated into Italian : " Versi sopra un busto di Dante tradotti dall' 
 inglese dal generale Masi." [With the English original.] Palermo, Lao. 
 1872. 8°. pp. 9. 
 
 See also the Critic, Feb. 16, 1889, vol. xiv, p. 79. 
 
 T., M. Dante. (/;z the Iris, or literary messenger, (New York). May, 
 1841. vol. i, pp. 341-352.) CUL; LL. 
 
 A sketch of Dante's life and work. 
 
 1843. 
 
 The first ten cantos of the Inferno of Dante Alighieri. Newly translated 
 into English verse [by Thomas William Parsons]. Boston, William 
 D. Ticknor. 1843. 8°. pp. 83. Port. 
 
 The portrait is an outline engraving of a bust of Dante, D. C. Johnston, sc. 
 
 Reviewed in the Knickerbocker magazine, Aug. 1843, vol. xxii, p. 175 ; — 
 [by C. C. Felton] in the North American review, Oct. 1843, ^o^- '^ii* PP- 49^- 
 499 ; — in the Athenceum, Mar. 23, 1844, pp. 267-269 ; — with many other 
 Dantesque works, in the Westminster review, Jan. 1861, new series, vol. xix, 
 pp. 201-231. 
 
 See also [Ward, S. G.] Translation of Dante. 1844. 
 
 Selections from the translation were given in Longfellow's " Poets and 
 poetry of Europe," 1845. Further volumes of the translation were printed in 
 1865, 1867, 1872, 1893. 
 
 1844. 
 
 [Ward, Samuel Gray.] Translation of Dante. {In the Dial. Jan. 1844. 
 vol. iv, pp. 285-290.) 
 
 A review of Parsons' " First ten cantos," 1843. 
 
 1845. 
 
 The Vision: or Hell, Purgatory, and Paradise of Dante Alighieri. Trans- 
 lated by Henry Francis Gary. With the life of Dante, chronological 
 view of his age, additional notes, and index. Illustrated with twelve 
 engravings from designs by John Flaxman. From the last corrected 
 London edition [1844]. New York, D. Appleton 6^ Co. 1845. 16°. 
 pp. 587. Port. 2iX\.A plates. 
 
84 AMERICAN DANTE BIBLIOGRAPHY. 
 
 The portrait of Dante, engraved by Phillibrown, is from the Giotto fresco 
 after restoration. 
 
 Reissued in 1851, 1853, 1859, 1863, ^869, 1890, and perhaps other years, 
 without any change other than the date and imprint, some having added 
 "Philadelphia, Geo. S. App/eton." Reviewed in the American review, a Whig 
 journaly April, 1846, vol. iii, p. 453. 
 
 Beatrice [Par. xxiii. 1-34]. [Translated by Francis Calley Gray,] 
 (/« Longfellow, H. W., editor. Poets and poetry of Europe. Philadel- 
 phia, Gz^vy <Sr» //^r/. 1845. 4°. p. 524.) 
 
 In terza rima. The translator has left some unpublished fragmentary ren- 
 derings from Dante which I have not seen. 
 
 Boccaccio, Giovanni. Dante ; [sonnet]. [Translated by Francis Calley 
 Gray.] (/// Longfellow, H. W., editor. Poets and poetry of Europe. 
 Philadelphia, Gzr^j ^ //^r/. 1845. 4°- P- 534) 
 
 The sonnet is the one beginning " Dante Alighieri son, Minerva oscura," 
 and is reprinted in " Poems of places, edited by H. W. Longfellow. — Italy," 
 Boston,/. R. Osgood, 1877, vol. ii, pp. 66-67 ; — in N. C. Hunt's "The poetry 
 of other lands," Philadelphia, Porter &^ Coates (cop. 1883), p. 165; — in S. 
 Waddington's " The sonnets of Europe," London, Walter Scott, 1886, p. 40. 
 
 [Goodrich, Samuel Griswold.] Literature, ancient and modern, with spec- 
 imens. By the author of Peter Parley's Tales. New York, John Allen. 
 1845. 16°. pp.336, 
 pp. 165-175, Dante. 
 
 Longfellow, Henry Wadsworth. Dante Alighieri. {In his Poets and 
 poetry of Europe. Philadelphia, Gzr^y/ 6- iY^r/. 1845. 4° PP- 5^2- 
 524.) 
 
 An original essay on the life and writings of Dante, followed by selected 
 translations by Charles Lyell, Lord Byron, T. W. Parsons, and I. C. Wright, 
 with Longfellow's own translations of 1839. Two translations by F. C. Gray, 
 one of Par. xxiii, 1-34, and a sonnet from Boccaccio, were published here for 
 the first time ; see supra. 
 
 This portion of the volume noticed [by Francis Bowen] in the review of 
 the above in the North American review, July, 1845, ^°^' 1*^' PP- 225-227; — 
 [by C. C. Felton] in the Christian examiner, Sept. 1845, ^°^- xxxix, pp. 235- 
 236. 
 
 Longfellow, Henry Wadsworth. Dante ; [sonnet]. (/« his The belfry of 
 Bruges and other poems. Cambridge, John Owen. 1845. ^^^' PP- 
 111-112.) 
 
AMERICAN DANTE BIBLIOGRAPHY. 85 
 
 Beginning " Tuscan, that wanderest through the realms of gloom." Re- 
 printed in all later editions and in his complete works ; also in Philip Schaff' s 
 " Literature and poetry," 1890, p. 343; — in A. B. Simonds' " American song," 
 1894, p. 76. 
 
 Translated into German by Hermann Simon, in his " Sammtliche poetische 
 Werke von H. W. Longfellow," Leipzig, P. Reclani [1883], vol. i, p. 142. 
 Translated into Italian by Caterino Frattini, in his " Per le faustissime nozze 
 Melati-Nicoletti," Este, G. Longo, 1867, p. 9; — by Ettore Marcucci in his 
 " Versi," Firenze, G. Barbera, 1880, p. 241 (CUL). 
 
 1846. 
 
 [Brown, Samuel Gilman.] Dante. (Jn the North American review. 
 April, 1846. vol. Ixii, pp. 323-350.) 
 
 Printed as a review of the edition of Gary published in the previous year 
 by D. Appleton. Reprinted, without the reference to the American edition, 
 and with one or two other editorial changes, in " Gharacteristics of men of 
 genius ; a series of biographical, historical, and critical essays, selected chiefly 
 from the North American review." Boston, Otis, Broaders dr' Co.; London, 
 etc. 1847. 2 V. This collection was printed in England, and the editor, John 
 Ghapman, added J. E. Taylor's translations of poems on Dante by Michael 
 Angelo and Ludwig Uhland. 
 
 Dante. (Jn the Southern literary messenger. Sept. 1846. vol. xii, pp. 
 
 545-552.) BA ; PHS. 
 
 A general article, with an excursus upon Dante's place in modern literature, 
 
 a review of Gary's translation, and a very free original rendering of the 
 
 Ugolino episode. 
 
 Schaf [f], Philip. Dante ; an address on the Divina commedia delivered 
 before the Goethean literary society of Marshall college at its anniver- 
 sary, Aug. 28, 1846. Translated [from the German] for the occasion 
 by Jeremiah H. Good. {In Marshall college: Goethean literary 
 society. The Goethean hall, or the anniversary of Goethe's birthday in 
 Mercersburg (Pa.). Chambersburg (Pa.). 1846. 8°. pp. 19-47.) 
 
 " Written at a time when the author knew more Italian, but less English 
 than afterwards." — Schaff' s " Literature and poetry," 1890, p. 335. 
 
 1847. 
 
 Story of Ugolino. [Translated by Philip Pendleton Cooke.] {In 
 Cooke, P. P. Froissart ballads and other poems. Philadelphia, Carey 
 ^^ Hart. 1847. 12°. pp. 210-216.) 
 
 A free translation of Inf. xxxiii. 1-90 into rhymed verse. 
 
86 AMERICAN DANTE BIBLIOGRAPHY, 
 
 [Wheaton, Robert.] The sources of the Divina commedia. (/;/ the 
 North American review. Jan. 1847. vol. Ixiv, pp. 97-117.) 
 
 Reprinted in " Memoir of Robert Wheaton, with selections from his 
 writings." ^osiony Ticknor, Reed &> Fields. 1854. sm. 8°. pp. 127-157. 
 
 ' 1848. 
 
 Haskins, James. To Dante ; [sonnet]. {In his Poetical works. Hartford, 
 H. S. Parsons. 1848. 12°. p. 290.) 
 
 Lowell, James Russell. On a portrait of Dante by Giotto. (In his 
 Poems : second series. Cambridge, George JVichols. 1848. 16°. pp. 
 142-144.) 
 
 Reprinted in the later editions. 
 
 S[chaff], P[hilip]. The life and genius of Dante Alighieri, with an account 
 of the Divina commedia. (In the American review, a Whig journal. 
 Aug. 1848. vol. viii, pp. 1 25-1 41.) 
 
 1849. 
 
 Dante's Divine comedy : the Inferno. A literal prose translation with the 
 text of the original collated from the best editions, and explanatory 
 notes. By John A. Carlyle. New York, Harper 6r» Bros. 1849. 
 12°. pp. xxxiv + [ii]-375. Port. 
 
 The portrait of Dante, after Raphael Morghen, engraved by J. Halpin. 
 
 The above is a reprint of the first English edition, 1849. This is the 
 earliest American imprint of any considerable portion of Dante in the original. 
 It was reissued in 1855, 1864, ^^d later, n.d., without any change except in 
 the date on the title-page. 
 
 1850. 
 
 Byron, George Gordon Noel Byron, 6th baron. La profecia del Dante. . . . 
 Traducido del Frances por A. M. Vizcayno, etc. Mexico. 1850. 8°. 
 
 BM. 
 
 Title taken from the BM catalogue. 
 
 Everett, Edward. Santa Croce ; [poem]. (In the Boston book. Boston, 
 Ticknor, Reed &^ Fields. 1850. 12°. pp. 106-109.) 
 The third stanza is on Dante's cenotaph. 
 
 Junkin, Miss Margaret (afterwards Mrs. Preston). Dante in exile; 
 [poem]. (In the Southern literary messenger. Nov. 1850. vol. xvi, 
 p. 691.) BA; PHS. 
 
AMERICAN DANTE BIBLIOGRAPHY. 87 
 
 Schelling, Friedrich Wilhelm Joseph von. Dante's Divina commedia. 
 From the German, by H. W. Longfellow. {In Graham's magazine. 
 June, 1850, vol. xxxvi, pp. 351-354.) 
 
 Reprinted in " Drift-wood ; a collection of essays " in Longfellow's " Prose 
 works," 1857 (which see), and in his translation of the Divine comedy, 1867, 
 vol. ii, pp. 403-410, and later editions. 
 
 Longfellow makes several references to this essay in his *' Journal." 
 April 18, 1846: "Translating Schelling' s paper on 'Dante in a philosophical 
 point of view '; deep, — obscure, rather. To the student of Dante, interesting, 
 though throwing much 'darkness visible' upon the subject to minds not 
 philosophic." — April 28, 1846: "Read to the class [in Dante] Schelling's 
 essay. It must have been darkness deep to them." — Nov. 18, 1849: "In 
 the evening read over Schelling's essay on Dante, which is like a dark cave 
 with some gleaming stalactites hanging from the roof." 
 
 Wilde, Richard Henry, and Dante. {In the International monthly maga- 
 zine. Aug. 1850. vol. i, pp. 2-4.) 
 
 Concerning Wilde's part in the discovery of the Bargello fresco, in 1840. 
 Reprints G. A. Bezzi's letter to the London Spectator, May 25, 1850; cited in 
 the body of the present work, pp. 34-35. 
 
 1851. 
 
 Ball, BenjaJiin West. The lay of the condemned spirit in Dante. {In 
 his Elfin land, and other poems. Boston and Cambritige, James 
 Munroe &^ Co. 1851. 16°. p. 50.) 
 
 1852. 
 
 [Hyde, A. B.] Dante. {In the Methodist quarterly review. Jan. 1852. 
 4th series, vol. iv, pp. 49-66.) 
 
 1853. 
 
 Francesca da Rimini ; episode from Dante. [Inf. v.] [Translated by 
 William Gilmore Simms.] {In Simms, W. G. Poems ; descriptive, 
 dramatic, legendary, and contemplative. New York, Redfield. 1853. 
 12°. vol. ii, pp. 356-360.) 
 
 In terza rima. I am informed that this translation had previously appeared 
 in Godey^s Lady book, but lack the exact reference. 
 
 Hillard, George Stillman. Giotto's portrait of Dante. (/// his Six months 
 in Italy. Boston, Ticknor, Reed &^ Fields. 1853. 12°. vol. i, pp. 
 144-145.) 
 
88 AMERICAN DANTE BIBLIOGRAPHY. 
 
 An account of its discovery ; speaks of R. H. Wilde as having been con- 
 spicuous in the undertaking. The above was reissued in 1854, 1856, and a 
 new edition in 1881. 
 
 Uhland, (Johann) Ludwig. Dante ; [poem]. From the German [by] F. 
 (/;/ the Monthly religious magazine. April, 1853. vol. x, pp. 182-184.) 
 With a note stating that " this poem of Uhland has become somewhat 
 familiar since Mr. Scherb quoted it in one of his lectures." 
 
 1854. 
 
 Paraphrase of a passage in Dante. [Par. xxi. 106-135.] [By Thomas 
 William Parsons.] (/« Parsons, T. W. Poems. Boston, Ticknor 
 &* Fields. 1854. 16°. pp. 50-54.) 
 
 With notes and the Italian original. Reprinted in Parsons' " Poems," 
 1893, PP- 233-237, where only the prefatory note is given. In HCL (call- 
 number, Dn 46. I. 4) is a clipping from the Boston daily advertiser, date missing, 
 which contains this •' Paraphrase." As printed there, probably for the first 
 time, since it is headed " For the Boston daily advertiser, ^^ it contains six 
 additional lines. Besides this curtailment the paraphrase underwent other 
 changes before appearing in the " Poems " of 1854. The clipping is signed 
 "L," and the Harvard Dante Catalogue, p. 14a, has erroneously attributed 
 it to Longfellow. 
 
 Locke, Mrs. Jane Ermina Starkweather. Dante. {In her The 
 recalled : in voices of the past and poems of the ideal. Boston and 
 Q2iVi^x\digt, James Munroe ^ Co. 1854. sm. 8°. pp. 76-77.) 
 
 On "an original statue in marble included in the private collection of 
 sculpture and paintings of C. C. Perkins." 
 
 Parsons, Thomas William. Francesca da Rimini, a picture by Ary 
 Scheffer. {In his Poems. Boston, Ticknor 6r» Fields. 1854. 16°. 
 pp. 182-183.) 
 
 Reprinted in his "The old house at Sudbury," 1870, pp. 46-47, and in his 
 "Poems," 1893, pp. 240-241. 
 
 1855. 
 Boker, George Henry. Dramatic fragment. [From the then unpublished 
 tragedy of " Francesca da Rimini."] {In the Knickerbocker gallery. 
 Htvf ^ork, Samuel Hueston. 1855. 8°. pp. 59-61.) 
 
 The fragment here published gives the episode of the reading of Lancelot's 
 tale. The entire drama was published in 1856. 
 
 Dante, (The) and Beatrice of Ary Scheffer. {In the Crayon. Oct. 24, 
 1855. vol. ii, p. 262.) 
 
AMERICAN DANTE BIBLIOGRAPHY. 89 
 
 Divine, (The) comedy. (/;/ the National magazine. July, 1855. vol. vii, 
 pp. 28-30.) CCL. 
 
 With a woodcut of the Giotto portrait. 
 
 1856. 
 
 Boker, George Henry. Francesca da Rimini ; a tragedy. (/« his Plays 
 and poems. Boston, Ticknor &^ Fields. 1856. 12°. vol. i, pp. 347- 
 474-) 
 
 I>ater imprints, from the same plates, Philadelphia, J. B. Lippincott ^ Co. 
 
 Noticed [by William Sargent] in the North American review, Jan. 1857, 
 vol. Ixxxiv, pp. 268-269. Epitomised by extracts in J. W. S. Hows' " Golden 
 leaves from the British and American dramatic poets," New York, Bunce dr* 
 Huntingtoft, 1865, pp. 549-562. 
 
 See an article on Boker by R. H. Stoddard in Lippincotfs magazine, June, 
 1890, vol. xlv, pp. 864-866, in which there is published a letter from the former 
 to the latter, written at the time the play was in process of writing. The play 
 was first brought out by E. L. Davenport at the Broadway Theatre, New York, 
 Sept. 26, 1865. On Sept. 11, 1882, it was revived by Lawrence Barrett at the 
 Chestnut Street Theatre, Philadelphia, and met with remarkable success. It 
 is claimed that Barrett cleared over $90,000 from the play during the first 
 season of his presenting it, — a proof that legitimate drama in America need 
 not want for encouragement when entrusted to capable actors. After the 
 death of Barrett, " Francesca da Rimini " was taken up by Frederick Warde 
 and Louis James, in the season of 1892-93, and was well received by the 
 public. See under date of Dec. 12, 1893, the Boston daily herald; — the 
 Boston evening transcript ; — Henry A. Clapp in the Boston daily advertiser ; 
 — George T. Richardson in the Boston daily traveller. See also the Critic, 
 Feb. 2, 1884, vol. iv, p. 57. 
 
 WilUam Winter, in the third volume of his " Shadows of the stage," 1895, 
 pp. 186-198, has an account of " Lawrence Barrett as Lanciotto," with a good 
 critical resume of the drama. Sarony, the New York photographer, pub- 
 lishes a photograph of Barrett in this role. 
 
 Dante. (/« the Methodist quarterly review. July, 1856. 4th series, vol. 
 viii, pp. 381-403.) 
 
 A review of Fauriel's Dante. 
 
 1857. 
 
 Dante's Hell. Cantos i to x. A literal metrical translation, with notes. 
 By J. C. Peabody. Boston, Tic knor &^ Fields. 1857. 16°. pp. xci. 
 A " line-for-line literal translation " in blank-verse. The first canto is also 
 rendered in terza rima. The preface is dated from Newburyport, Mass. 
 
90 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Reviewed [by C. E. Norton] in the Atlantic monthly, Jan. 1858, vol. i, 
 pp. 382-383. 
 
 Oeibel, Emanuel. Dante. [From the German by William W. Cald- 
 well.] (/« Caldwell, W. W. Poems, original and translated. Boston, 
 etc., James Munroe 6r* Co. 1857. 12°. pp. 1 90- 191.) 
 
 [Howe, Mrs. Julia Ward.] Dante; [poem]. (In her Words for the 
 hour. Boston, Ticknor 6r* Fields. 1857. 16°. pp. 148-149.) 
 
 Longfellow, Henry Wadsworth. Dante Alighieri. — The Oivina commedia. 
 (/// his Prose works : Drift-wood ; a collection of essays. Boston, 
 Ticknor ^ Fields. 1857. 16°. vol. i, pp. 419-449.) 
 
 In the " Blue and gold " series. Reissued in 1866. 
 
 The first is probably the substance of a lecture on Dante, given either at 
 Harvard, or one of the two on the subject given in New York in the Mercantile 
 Library course. The second is the translation from Schelling, first published in 
 1850. Neither are included in the later and revised editions of " Drift-wood." 
 
 "In 1852 Mr. Longfellow projected a volume to contain his scattered prose 
 papers, contributed to magazines and reviews. He proposed to call the book 
 ^ ' Drift-wood,' and went so far as to have some of it set up. He abandoned the 
 
 project, however, and renewed it in part only when, in 1857, his prose works 
 were published in the Blue and Gold edition. In that collection he had a 
 division entitled ' Drift-wood,' which differed from that which he finally sanc- 
 tioned by not including * Ancient French Romances,' and by including papers 
 on * Dante ' and the • Divina Commedia.' " — Note to the edition of 1886. 
 
 1858. 
 
 A canzone of Dante's. [Translated by Charles Timothy Brooks.] 
 {In the Crayon. Feb. 1858. vol. v, p. 39.) 
 
 " I think I have succeeded in retaining the remarkable uncertainty which 
 Dante lets hang over the transition from the spiritual person of his mistress to 
 that Divine Philosophy, that Supreme Wisdom, of which he regards her as the 
 incarnation, as represented at length, and very curiously, in the fifteen chapters 
 of the Trattato." — C. T. B. 
 
 The canzone is the second in the Convito. Reprinted in Brooks' " Poems, 
 original and translated, with a memoir by C. W. Wendte ; selected and edited 
 by W. P. Andrews." Boston, Roberts Bros. 1885. ^6° PP- I90-I93- 
 
 [Scherb, Emmanuel Vitalis.] Dante's Beatrice as a type of womanhood. 
 >^ {In the Christian examiner. Jan. 1858. vol. Ixiv, pp. 39-56.) 
 
 N. V The author, a German by birth, spent a number of years in this country. 
 
 -i^Longfellowmet him in 1848, and an intimacy soon sprang up between the two 
 
 poets. In November, 1849, Scherb was Longfellow's guest for a day, and the 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 91 
 
 latter records their " talking of Dante and poets and poetry." A few weeks later 
 Longfellow attended Scherb's lecture on " Dante and the worship of the Virgin." 
 "He injured the effect of his lecture," says Longfellow, "by just overstepping 
 the bounds of reasonable, temperate warmth, into the tropics of rather a wild 
 growth of enthusiasm." 
 
 1859. 
 
 Count Ugoline ; from the Divina commedia of Dante. [Translated by 
 
 Richard Furman.] (Jn Furman, R. The pleasures of piety, and 
 
 other poems. Charleston (S.C.), 61 G. Courtenay &^ Co. 1859. ^2.° 
 
 pp. 178-184.) BUL. 
 
 A very free rendering of Inf. xxxiii into rhymed verse. 
 
 Kemble, Frances Anne {at one time Mrs. Butler). On the picture of 
 Paolo and Francesca. (In her Poems. Boston, Ticknor 6r» Fields. 
 1859. 16°. p. 56.) 
 
 Written during the author's residence in America. The theme is Scheffer's 
 famous painting. Reprinted in the English edition of the " Poems," London, 
 1866. 
 
 [Lowe, Mrs. Martha A. Perry. Scheffer's picture of Dante and Beatrice. 
 (/« her The olive and the pine. Boston, Crosby^ Nichols <Sr» Co. 1859. 
 16°. pp. 153-154-) 
 
 *5it*The original of this picture, so well known through the many engravings 
 which have been made of it, belonged to Mr. Charles C. Perkins. Notices 
 of the painting will be found in Putnam's magazine, Oct., Nov., 1855, vol. vi, 
 pp. 332, 448; see also " The Dante and Beatrice of Ary Scheffer," 1855. 
 
 Lowell, James Russell. Dante. {In Appleton's New American cyclopaedia. 
 New York, D. Appleton &^ Co. 1859. vol. vi, pp. 247-258.) 
 
 A biographical sketch. Reprinted in the second edition of the' above, known 
 as the "American cyclopaedia," 1874 ; and in the " Fifth annual report of the 
 Dante Society," 1886, pp. 15-38. It is quoted in the notes to Longfellow's 
 translation, 1867, vol. i, pp. 356-359, and later editions, under the title of " The 
 posthumous Dante." Lowell's MS. has recently been presented to the HCL. 
 
 Translated into Russian by N. Golovanov in the notes to his translation of 
 the Inferno, Moscow, 1896. 
 
 [Norton, Charles Eliot.] The New life of Dante. {In the Atlantic monthly. 
 Jan., Feb., Mar., 1859. vol. iii, pp. 62-69, 202-212, 330-339.) 
 An essay, with translations. 
 
 The New life of Dante. An essay, with translations. Cambridge, 
 
 Riverside Press. [Privately printed.] 1859. sq. 8°. pp. (4)+ 109. 
 100 copies. A reprint of the foregoing with additions. 
 
92 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Appendix: — Date of the composition of the Vita nuova. — Structure of 
 the Vita nuova. — Inconsistency of statements in the Convito with those of 
 the Vita nuova. — Translation of Guido Cavalcanti's canzone, "Donna mi 
 priega," by Charles T. Brooks. 
 
 See also [Ware, L. 6.] New translations of the Vita nuova. 1862. 
 The completed translation was published in 1867. 
 
 [Osgood, Samuel.] Dante from the modern point of view. (/« the Knicker- 
 bocker. 1859. vol. liii, pp. 340-348, 505-514.) 
 
 Ossoli, Sarah Margaret Fuller, marchesa d'. Gary's Dante. {In her Life 
 without and life within ; or, Reviews, narratives, essays, and poems ; 
 edited by her brother, Arthur B. Fuller. Boston, Brown, Taggard 6t* 
 Chase. 1859. ^2°. pp. 102-107.) 
 
 Reissued in 1895. 
 
 1860. 
 
 Dante. (In the National quarterly review, i860, vol. i, pp. 1-30.) 
 
 Norton, Charles Eliot. Rome in the time of Dante. (/« his Notes of 
 travel and study in Italy. Boston, Ticknor 6^ Fields, i860. 16°. 
 pp. 246-267.) 
 
 [ ] Le prime quattro edizioni della Divina commedia letteralment^ 
 
 ristampate per cura di G. G. Warren, Lord Vernon, London, 1858; [a 
 review]. (/;/ the Atlantic monthly. May, i860, vol. v, pp. 622-629.) 
 
 Smith, Mrs. E. Vale. Comparative analysis of Dante and Milton. I-VL 
 {In the Crayon. June-Oct. i860, vol. vii, pp. 156-159, 188-196, 216- 
 222, 252-257, 281-287.) 
 Ends with a very feeble paraphrase of Michael Angelo's sonnet on Dante. 
 
 Tuckerman, Frederick Goddard. Paulo to Francesca. {In his Poems. 
 Boston, i860, sm. 8°. pp. 171-173.) 
 
 Reprinted in his "Poems," Boston, Ticknor 6-" Fields. 1864. 16°. pp. 
 158-160. 
 
 1861. 
 
 Bemardi, Jacopo. La Divina commedia interpretata [per] la prima volta 
 da Lorenzo da Ponte agli americani. {In Rivista contemporanea. 
 Maggio, 1 861. vol. XXV, pp. 295-299.) 
 
AMERICAN DANTE BIBLIOGRAPHY, 
 
 93 
 
 [Norton, Charles Eliot.] Benvenuto Rambaldi da Imola illustrate nella 
 vita e nelle opere, e di lui Comento latino sulla Divina commedia di 
 Dante Alighieri voltato in italiano dall' avocato Giovanni Tamburini, 
 Imola, 1855-56; [a review]. {In the Atlantic monthly. May, 1861. 
 vol. vii, pp. 629-637.) 
 
 Same. A review of a translation into Italian of the commentary by 
 
 Benvenuto da Imola on the Divina commedia. Cambridge, Riverside 
 Press. 1 861. sq. 8°. pp. 32. 
 
 50 copies. " It is reprinted for the use of a few students who are not likely 
 to meet with it in its original form, and whom it may save from waste of time 
 on a worthless book." 
 
 Stoddard, Richard Henry. Dante Alighieri. — Beatrice. (Jn his Loves 
 and heroines of the poets. New York, Derby ^^ Jackson. 1861. 8°. 
 pp. 1-9.) 
 
 1862. 
 
 McCabe, William Gordon. Dante Alighieri. (Jn the Southern literary 
 messenger. Feb.-Mar. 1862. vol. xxxvi, pp. 136-148.) BA; PHS. 
 
 [Ware, Loammi Goodenow.] New translations of the Vita nuova. {In the 
 Christian examiner. Nov. 1862. vol. Ixxiii, pp. 363-381.) 
 
 A review of Rossetti's and Martin's translations, and of Norton's essay, with 
 translations, of 1859. 
 
 1863. 
 
 Dor6, Gustave. Dante album. Inferno; [ten] photographs of illustrations, 
 Philadelphia, /^. Z^j/tf/^/. 1863. 4°. Portfolio. 11 leaves. HCL 
 Enlarged in 1865. 
 
 V 
 
 Ticknor, George. Life of William Hickling Prescott. Boston, Ticknor <Sr» 
 Fields. 1863. sm. 8°. pp. xii -}- 458. 
 
 pp. 61-64, a letter from Prescott to Ticknor, dated 1823, concerned with 
 Dante and Gary's translation. See the Appendix to the body of the present 
 work. 
 
 1864. 
 
 Three cantos [xxiii-xxv] of Dante's " Paradiso." [Translated by Henry 
 Wads WORTH Longfellow.] {In the Atlantic monthly. Jan. 1864. 
 vol. xiii, pp. 47-55-) 
 
94 AMERICAN DANTE BIBLIOGRATIIY. 
 
 With marginal notes. These cantos underwent some changes before going 
 into Ihe finished work of 1867. 
 
 Bernard!, Jacopo. Lorenzo Da-Ponte di Ceneda spiega Dante Allighieri 
 agli americani. (/« Giornale del centenario. 1864. no. 38, pp. 
 306-307.) 
 
 Ferguson, J. Dante and John Bunyan. (/« the American quarterly church 
 review and ecclesiastical register. Oct. 1864. vol. xvi, pp. 337-354.) 
 
 Longfellow, Henry Wadsworth. On translating the Divina commedia ; 
 [sonnet]. {In the Atlantic monthly. Dec. 1864. vol. xiv, p. 688.) 
 The first of the six sonnets, on this theme. See 1866, 1867. 
 
 1865. 
 
 The Divine comedy of Dante Alighieri. Translated by Henry Wads- 
 worth Longfellow, vol. i. [Inferno.] Boston, Ticknor 6r» Fields. 
 [Privately printed.] 1865. 4°. pp. (2) + 216. 
 
 10 copies printed, of which five were sent to Italy. "In commemorazione 
 del secentesimo anniversario della nascita di Dante Alighieri." Copy in 
 possession of Mr. Norton dated Feb. 27, 1865, Longfellow's birthday. 
 
 Seventeen cantos of the Inferno of Dante Alighieri. [Translated by 
 T. W. Parsons.] Boston, John Wilson 6r» Son. [Privately printed.] 
 1865. 4°. pp. viii + 104 + [ix] — xi. 
 
 Dedicated to the Duke of Sermoneta to whom a letter, pp. vii-viii, is 
 addressed ; pp. ix-xi, " Lines on a bust of Dante." The notes of 1843 are 
 omitted and the translation revised. " An humble tribute from New England to 
 the coming celebration, in Florence, of the six-hundredth birthday of Dante." 
 
 Noticed in the Monthly religious magazine, Nov. 1865, vol. xxxiv, p. 318. 
 
 See also [Norton, C. E.] Dante and his latest English translators. i866. 
 
 Botta, Vincenzo. Dante as philosopher, patriot, and poet; with an analysis 
 of the Divina commedia, its plot and episodes. New York, Charles 
 Scribner &^ Co. 1865. 12°. pp. x+413. 
 
 On the leaf following the title-page are the following words : " AH' Italia, che 
 nella commemorazione del sesto centenario dalla nascita di Dante Alighieri 
 celebra il proprio rinascimento alia vita di nazione, 1' autore partecipando alia 
 quest' opera in umila tributo di devozione. New York, il maggio del 1865." 
 
 Reissued in 1867 without other change than the date on the title-page, and 
 in 1887 under the title of " Introduction to the study of Dante," some copies 
 being bound up with the imprint of " London, yi^/^w Slark, 1887." 
 
AMERICAN DANTE BIBLIOGRAPHY. 95 
 
 Reviewed in the Giornale del centenario, 10 sett. 1865, p. 408; — in the 
 Athenaum, Oct. 28, 1865, pp. 573-574; — in the Christian examiner, Nov. 
 1865, vol. Ixxix, pp. 429-431 ; — in the American Presbyterian and theological 
 review, 1865, new series, vol. iii, p. 645; — in the Boston review, Jan. 1866, 
 vol. vi, pp. 138-139. The edition of 1887 was reviewed in the Saturday review, 
 April 23, 1887, vol. Ixiii, pp. 594-595. 
 
 See also [Alger, W. R.] The character of Dante. 1866. 
 
 [Tuckerman, H. T.] Dante in 1865. 1865. 
 
 Dante's Divina commedia. {In the Catholic world. 1865. vol. i, pp. 268- 
 279.) 
 
 Translated from Der Katholik. 
 
 Dor^, Gustave. Dante album. Seventy-six photographs from select illustra- 
 tions. Philadelphia, F. Leypoldt. 1865. 4°. Portfolio. 
 
 Title taken from James Kelly's " American catalogue." 
 
 Norton, Charles Eliot. On the original portraits of Dante. Cambridge, 
 University Press. 1865. 4°- PP- ^8. Portrs. 
 
 50 copies. " In onore della festa per il sesto centenario di Dante in Firenze 
 maggio 1865." 
 
 With four photographs, one of the Arundel society's chromo-lithograph of 
 Giotto's portrait from Kirkup's facsimile of it in the possession of Lord 
 Vernon, and three of a cast from the mask of Dante belonging to Mr. Kirkup. 
 
 The text is reprinted in full in Longfellow's translation of the Divine 
 comedy, 1867, i. PP- 347-353 (^i^d in later editions), and a large part of it is 
 given in Clarke, S. F. The portraits of Dante. 1884. 
 
 Translated into Japanese by T. Funahashi, in the Aoyama review, Dec. 30, 
 1893, PP- 17-24- (Inserted in the HCL copy is a letter from the translator to 
 the author.) Translated into Russian by N. Golovanov in the notes to his 
 translation of the Inferno, Moscow, 1896. CUL. 
 
 Pellico, Silvio. Francesca da Rimini. Boston, De Fries, Ibarra e Com. 
 (cop. 1865.) sm. 8°. pp. 62. 
 
 [Tuckerman, Henry Theodore.] Dante in 1865. (Jn the Nation. Oct. 5, 
 1865. vol. i, pp. 440-442.) 
 
 Speaks of the Sixth Centenary and reviews Botta's " Dante as philosopher, 
 patriot, and poet," 1865. 
 
96 AMERICAN DANTE BIBLIOGRAPHY. 
 
 1866. 
 
 The Divine comedy of Dante Alighieri. Translated by Henry Wads- 
 worth Longfellow, vol. ii. [Purgatoric] Boston, Ticknor fir* 
 Fields. [Privately printed.] 1866. 4°. pp. (2) 4- 219. 
 
 10 copies. Copy in possession of Mr. Norton dated April i, 1866. 
 
 The story of Ulysses ; an episode from Dr. Parsons' translation of the 
 Inferno of Dante [c. xxvi]. (/« the Galaxy. Aug. 1866. vol. i, 
 pp. 605-607.) 
 
 HCL has a copy of this extract with corrections in the translator's hand. 
 
 [Translations from Dante.] What is love 1 [" Amore e '1 cor gentil sono 
 una cosa."] Beauty and virtue. [" Due donne in cima della mente 
 mia."] Francesca da Rimini. [Inf. v. 1 15-138.] [Translated by Mrs. 
 Mary Bayard Clark.] (/« Clark, M. B. Mosses from a rolling 
 stone, ^/r. ^2\€\^, Wvt. P. Smith &^ Co. 1866. 12°. pp. 1 58-161.) 
 The translations are very free and of no poetic value. 
 
 [Alger, William Rounseville.] The character of Dante. (/^ the Christian 
 examiner. July, 1866. vol. Ixxxi, pp. 37-48.) 
 
 Contains a notice of Botta's " Dante as philosopher, patriot, and poet," 1865. 
 
 Calvert, George Henry. To Dante ; [sonnet]. (/« his Anyta and other 
 poems. Boston, etc., E. P. Button fir» Co. 1866. 16°. p. 164.) 
 
 Hitchcock, Ethan Allen. Notes on the Vita nuova and minor poems of 
 Dante, together with the New life [translated by D. G. Rossetti], and 
 man^ of the poems [translated by D. G. Rossetti and C. Lyell]. 
 litvf York, James Miller. 1866. 16°. pp.371. 
 
 [Howe, Mrs. Julia Ward.] The price of the Divina commedia. {In her 
 Later lyrics. By the author of " Passion flowers." Boston,/. E. Tilton 
 fir» Co. 1866. 16°. pp. 1 49-1 51.) 
 
 Longfellow, Henry Wadsworth. On translating the Divina commedia ; 
 [three sonnets]. (/« the Atlantic monthly. July, Sept., Nov. 1866. 
 vol. xviii, pp. II, 273, 544.) 
 
 Continuing on the theme of the sonnet of 1864. Though here entitled the 
 second, third, and fourth sonnets, the above are respectively the third, fifth, 
 and second of the completed series of six sonnets as printed in 1867 (which 
 see). 
 
AMERICAN DANTE BIBLIOGRAPHY. 97 
 
 Divina commedia ; [five sonnets]. (/« his Flower-de-luce. Boston, 
 
 Ticknor &^ Fields. 1867 [66]. sq. 16°. pp. 53-64-) 
 
 Includes the three above-mentioned sonnets, the one of 1864, and a new 
 sonnet here numbered the fifth, but afterwards printed as the sixth of the 
 completed series. 
 
 Motive, (The) of Dante's vision. (/« the Ave Maria. Jan. 13, 1866. 
 vol. ii, p. 21.) CUL. 
 
 [Norton, Charles Eliot.] Dante and his latest English translators. (/« the 
 North American review. April, 1866. vol. cii, pp. 509-529.) 
 A review of the translations by Dayman, Ford, Parsons, and W. M. Rossetti. 
 
 1867. 
 
 La Divina commedia di Dante Alighieri ; testo comune colle variazione dei 
 codici publicati da Carlo Witte. Prima edizione americana arricchita 
 del ritratto di Dante per Gustavo Dore. Boston, De Vries^ Ibarra e 
 C, etc. 1867. 8°. pp. vii + 545. 
 
 Printed at the University Press, Cambridge, Mass. The same plates were 
 used in the making of the Boston edition of 1894, Z^<? (5r» Shepard. 
 
 The Divine comedy of Dante Alighieri. Translated by Henry Wads- 
 worth Longfellow, vol. iii. [Paradiso.] Boston, Tic knor ^^ Fields. 
 [Privately printed.] 1867. 4°. pp. (2) + 223. 
 
 10 copies. Copy in possession of Mr. 'Norton dated Feb. 27, 1867, Long- 
 fellow's birthday. 
 
 The Divine comedy of Dante Alighieri. Translated by Henry Wads- 
 worth Longfellow. V>o^\.ox\, Ticknor &^ Fields. 1867. 3 vols. 8°. 
 
 The London octavo edition of 1867 {George Routledge) and the Boston 
 edition of 1872 {James R. Osgood dr^ Co.) are from the same plates. 
 
 Same, hon&on, George Routledge &^ Sons. 1867. 12°. 3 vols, (with 
 
 continuous pagination), pp. 760. 
 
 These plates were used in the making of Routledge^s one-volume edition, 
 many times issued (HCL having the 1891 imprint), and of the Boston editions 
 issued by/. R. Osgood &> Co., 187 1, 1878, etc., and by Houghton, Mifflin <Sr* Co., 
 1884, 1887, etc. The last-mentioned is entitled the "fifteenth edition." 
 
 Same. Leipzig, B. Tanchnitz. 1867. 3 vols. 16°. (Collection of 
 
 British authors. Tauchnitz ed. 901-903.) 
 
98 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Reviewed in the Athenaum, May i8, 1867, PP- 655-656, June 29, 1867, 
 pp. 845-846, Aug. 10, 1867, PP- 171-172; — [by G. W. Curtis] in Harper's 
 monthly magazinty July, 1867, vol. xxxv, pp. 257-258; — in the Saturday review^ 
 July 6, 1867, vol. xxiv, pp. 27-28; — in the Spectator, Aug. 31, 1867, vol. xl, pp. 
 981-982; — [by J. H. Allen] in the Christian examiner, Sept. 1867, vol. Ixxxiii, 
 pp. 261-263; — in Biblioteca sacra, Jan. 1868, vol. xxv, pp. 205-206; — by A. J. 
 Altenhoefer in \.h.Q /ahrbuch der deutschen Dante-Gesellschaft, 1869, ^d- "» PP- 
 355-362; — in the Quarterly review, Apr. 1869, ^o^* cxxvi, pp. 413-447; — in 
 Hours at home, 1875, vol. v, pp. 289-295; — [by C. L. Speranza] in the Literary 
 world, Feb. 26, 1881, vol. xii, pp. 80-81. Also in the following newspapers, 
 cuttings from which are preserved in a scrap-book in HCL (Dn. 580.6) ; — [by 
 E. J. Cutler] in the Boston daily advertiser. May 4, 1867 ; — [by John 
 Fiske] in the New York world, May 31, June 22, July 29, 1867 (reprinted in 
 his " Unseen world and other essays," 1876) ; — [by T. W. Hunter] in the 
 Philadelphia press, July 24, 1867 (answered by C. E. Norton in his article on 
 "Mr. Longfellow and his critics," 1867) ; — in the London Chronicle, July 27, 
 1867 ; — in the New York weekly evening post, August — , 1867 ; — [by J. H. 
 A. Bone] in the Cleveland herald, July 8, 1867. Mr. Bone also published, 
 presumably in the Cleveland herald, an exceptionally interesting account of a 
 meeting of the " Dante Club "; this is given entire in George Lowell Austin's 
 "Longfellow; his life, his works, his friends," Boston, Lee (2r» Shepard, 1883, y^ 
 pp. 352-361, and, in part, in Samuel Longfellow's " Life of H. W. Longfellow, V^ 
 Boston, Houghton, Mifflin 6^ Co., 1891, vol. iii, pp. 381-386. \/^ 
 
 See also Calvert, G. H. Dante and his latest translators. 1868. 
 
 [Greene, G. W.] Longfellow's translation of Dante's Divine comedy. 1867. 
 
 [Howells, W. D.] Mr. Longfellow's translation of the Divine comedy. 1867. 
 
 The white Mr. Longfellow. 1896. 
 
 — Knortz, K. Dante in Amerika. 1883. 
 
 [Norton, C. E.] Longfellow's translation of the Divine comedy. 1867. 
 
 [ ] Mr. Longfellow and his critics. 1867. 
 
 [ ] Mr. Longfellow's translation of the Divine comedy. 1867. 
 
 [Sears, E. I.] Dante and his new translator. 1867. 
 
 The following lives and sketches of Longfellow contain accounts of his 
 study of Dante or criticism of his translation : — Francis H. Underwood, 
 " Longfellow ; a biographical sketch," Boston, 1882 (Translation of Dante, 
 pp. 243-246) ; W. S. Kennedy, " Longfellow ; biography, anecdote, letters, 
 criticism," Cambridge, 1882 (Dante's Divine comedy, pp. 96-102) ; Eric S. 
 Robertson, " Life of Longfellow," London, 1887, pp. 166-167; Karl Knortz, 
 " Longfellow; literar-historische Studie," Hamburg, 1879 (Dante-Uebersetzung, 
 pp. 107-115); Alexander Baumgartner, "Longfellow's Dichtungen ; ein litera- 
 risches Zeitbild aus dem Geistesleben Nordamerika's," Freiburg im B., 1887, 
 pp. 285-291. 
 
 Longfellow's notes and illustrations to the Inferno have been translated into 
 Russian by N. Golovanov in the latter's translation of the Inferno, Moscow, 1896. 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 99 
 
 The first canticle, Inferno, of the Divine comedy of Dante Alighieri. 
 Translated by Thomas William Parsons. Boston, De Vrzes, Ibarra 
 and Co. 1867. 4°. pp. (i) + 216. Port. 2indi illus. 
 
 The portrait and the 75 engravings are reduced from the designs by Gustave 
 Dore. The notes of 1843 ^"^^ omitted. 
 
 Same. [Without the illus.] Boston, De Vries, Ibarra and Co. 1867. 4°. 
 pp. (I) + 216. ^ 
 
 Some copies bear the imprint of " New York, G. P. Putnam" and still 
 others, " London, Low d^ Co." 
 
 Reviewed in the Athenceum, Feb. 22, 1868, pp. 286-587 ; — in the Spectator, 
 July 18, 1868, vol. xU, pp. 854-855; — [by E. J. Cutler] in the Boston daily 
 advertiser, Oct. 26, 1867 (clipping preserved in HCL Dante scrap-book). 
 
 See also Calvert, G. H. Dante and his latest translators. 1868. 
 
 [Finotti, J. M.] Dante Alighieri. 1868. 
 
 [Norton, C. E.] Dr. Parsons' translation of the Inferno of Dante. 1867. 
 
 The New life of Dante Alighieri. Translated by Charles Eliot Norton.' 
 Boston, Tic knor &^ Fields. 1867. 8°. pp. 140. ' 
 
 Reviewed [by W. D. Howells] in the Atlantic monthly, Nov. 1867, vol. xx, 
 pp. 638-639 ; — [by E. J. Cutler] in the Boston daily ddvertiser,f^ov. 5, 1867 
 (clipping preserved in HCL Dante scrap-book). -• 
 
 Alger, William Rounseville. Sketches of lonely characters : Dante. (/« 
 his Solitudes of nature and of man ; or, the loneliness of human life. 
 ^o^Xo'cv, Roberts Bros. 1867 (cop. 1866). 16°. pp. 213-223.) 
 
 [Greene, George Washington.] Longfellow's translation of Dante's Divine 
 comedy. {In the Atlantic monthly. Aug. 1867. vol. xx, pp. 188-198.) 
 
 > 
 
 [Howells, Willam Dean.] Mr. Longfellow's translation of the Divine yi 
 
 comedy. {In the Nation. June 20, 1867. vol. iv, pp. 492-494.) 
 
 [Longfellow, Henry Wadsworth.] [On translating the Divina commedia; 
 six sonnets.] {In Dante. The Divine comedy, translated by H. W. 
 Longfellow. 1867. vol. i, pp. (1-2); vol. ii, pp. (1-2); vol. iii, 
 pp. (1-2).) 
 
 Printed as fly-leaf mottoes, without any title. The first sonnet appeared in 
 1864; the second, third, fifth, and sixth in 1866; the fourth was here printed 
 for the first time. Reprinted in Longfellow's poetical works under the title of 
 " Divina commedia," in the series known as " Flower de Luce "; also in C. H. 
 Crandall's " Representative sonnets by American poets," Boston, etc., Houghton, 
 Mifflin &= Co., 1890, pp. 25-27. C. S. Reinhart has illustrated the first sonnet 
 by a woodcut which appears in the illustrated folio ed. of Longfellow's 
 "Poetical works," Boston, Houghton, Mifflin 6^ Co. [1866], vol. ii, p. 509. 
 
lOO AMERICAN DANTE BIBLIOGRAPHY. 
 
 Translated into German by A. J. Altenhoefer in " Jahrbuch der deutschen 
 Dante-Gesellschaft," 1869, Bd. ii, pp. 359-360; — by Pauline Schanz in the 
 same, pp. 361-362; — (with the exception of the fourth sonnet) by Alexander 
 Baumgartner in his " Longfellow's Dichtungen ; ein literarisches Zeitbild aus 
 dem Geistesleben Nordamerika's," 2* Aufl., Freiburg im B., Herder, 1887, pp. 
 288-290 ; — by Hermann Simon in his " Sammtliche poetische Werke von 
 H. W. Longfellow," Leipzig, P. Reclam [1883], vol. ii, pp. 14-16. 
 
 [Norton, Charles Eliot.] Dr. Parsons' translation of the Inferno of Dante. 
 (/« the Nation. Oct. 3, 1867. vol. v, pp. 269-271.) 
 
 [ ] Longfellow's translation of the Divine comedy. (/« the North 
 
 American review. July, 1867. vol. cv, pp. 124-148.) 
 
 [ ] Mr. Longfellow and his critics. (/;/ the Nation. Sept. 19, 1867. 
 
 vol. V, pp. 226-228.) 
 
 [ ] Mr. Longfellow's translation of the Divine comedy. (Jn the Nation. 
 
 May 9, 1867. vol. iv, pp. 369-370.) 
 
 [Sears, Edward I.] Dante and his new translator. {In the National 
 quarterly review. 1867. vol. xv, pp. 286-316.) 
 
 in abusive review of Longfellow's work. Answered by C. E. Norton in his 
 article on " Mr. Longfellow and his critics," 1867. 
 
 \* 
 
 1868. 
 
 Calvert, George Henry. Dante and his latest translators. {In Putnam's 
 magazine. Feb. 1868. New series, vol. i, pp. 155-167.) 
 
 A review of the translations by Dayman, Parsons, and Longfellow, with 
 original renderings of Inf. iii. 1-9, v. 11 5-142, xxxiii. 46-75, and Par. xxxiii. 
 1-8. 
 
 Reprinted in his "Essays aesthetical," Boston, Lee ^ Shepard, etc., 1875, 
 pp. 114-157, and in Broadway (London) [1871], new series, vol. iii, pp. 232- 
 249. 
 
 [Finotti, Joseph Maria.] Dante Alighieri. {In the Catholic world. Nov. 
 1868. vol. viii, pp. 213-222.) 
 
 Reviews "The first canticle of the Divine comedy, translated by T. W. 
 Parsons," 1867. 
 
 *^* A review of the first volume of the " Jahrbuch der deutschen Dante- 
 Gesellschaft " appeared in the American athettceutn (N. Y.), May 9, 1868, vol.i, 
 pp. 324-325. CUL. 
 
AMERICAN DANTE BIBLIOGRAPHY. loi 
 
 1869. 
 
 Sonnet from the Vita nuova of Dante. [Tanto gentile e tanto onesta pare.] 
 . Translated by T[homas] W[illiam] P[arsons]. (Jn the Catholic 
 world. Jan. 1S69. vol. viii, p. 545.) 
 
 Reprinted, with a marked improvement in the fifth line, in Parsons' ** The 
 old house at Sudbury," Cambridge, John Wilson 6^ Son, 1870, p. 86 ; "The 
 Shadow of the obelisk and other poems," London, Hatchards, 1872 ; " Poems," 
 Boston, Houghton, Mifflin dr= Co., 1893, p. 219. Also in S. Waddington's "The 
 sonnets of Europe," London, Walter Scott, 1886, p. 14; in the Nation, Dec. 8, 
 1892, vol. Iv, p. 431. 
 
 Bryant, William CuUen. Dante; [poem]. (Jn the Atlantic monthly. 
 Jan. 1869. vol. xxiii, p. 81.) 
 
 With note. Written at the time of the six hundredth anniversary of the 
 birth of Dante. Reprinted in his " Poetical works," New York, 1879, PP- 3^5~ 
 316, and later editions. 
 
 Translated into Italian prose by S. Frenfanelli Cibo in his " Guglielmo 
 Bryant." Roma, Forzani. 1882. 16°. pp. 106-107. CUL. 
 
 1870. ^ 
 
 An Easter lesson. [Par. v. 73-80.] [Translated by Thomas William 
 Parsons.] {In Parsons, T. W. The old house at Sudbury. Q2im- 
 hndge., John Wilson ^r' Son. [Privately printed.] 1870. 12°. p. 100. 
 Reprinted in Parsons' "The shadow of the obelisk and other poems," 
 London, Hatchards, 1872, and, under the title of "A lesson for Lent," in his 
 "Circum praecordia," Boston, /. G. Cupples [1892], p. 82. 
 
 Translation of the first canto of the Purgatorio of Dante. By T. W. 
 
 Parsons. (Jn the Catholic world. Nov. 1870. vol. xii, pp. 145-149.) 
 
 CUL has an interesting volume made up of the translations of Purg. i-xxi, 
 
 XXX, which Dr. Parsons published in the Catholic world between 1870 and 1883. 
 
 1871. 
 
 Geibel, Emanuel. Dante ; [translated by Mrs. Lucy Hamilton Jones 
 Hooper]. {In Hooper, L. H. J. Poems. Philadelphia,/. B. Lippin- 
 cott &^ Co. 1871. 12°. pp. 164-165.) 
 
 Hugo, Victor (Marie). Lines written in a copy of the Divina commedia ; 
 [translated by Mrs. Lucy Hamilton Jones Hooper]. (/« Hooper, 
 L. H. J. Poems. Philadelphia, /. B. Lippincott &^ Co. 1871. 12°. 
 p. 184.) 
 
 / 
 
02 AMERICAN DANTE BIBLIOGRAPHY. 
 
 1872. 
 
 Dante's Purgatorio. Canto second. [Translated by T. W. Parsons.] 
 (/« the Catholic world. Jan. 1872. vol. xiv, pp. 503-506.) 
 
 Same. Canto third. (/;/ the Catholic world. Sept. 1872. vol. xv, 
 
 pp. 730-733.) 
 
 Same. Canto fifth. {In the Catholic world. Dec. 1872. vol. xvi, 
 
 pp. 319-322.) 
 
 Benson, Eugene. Dante and Shakespeare. {In Appleton's journal. 
 April 27, 1872. vol. vii, pp. 468-469.) CCL. 
 
 [Dennett, John Richard.] Miss M. F. Rossetti's "Shadow of Dante." {In 
 the Nation. July 11, 1872. vol. xv, pp. 28-29.) 
 
 [Lowell, James Russell.] The shadow of Dante, being an essay towards 
 studying himself, his world, and his pilgrimage, by Maria Francesca 
 Rossetti, Boston, 1872 ; [a review]. {In the North American review. 
 July, 1872. vol. cxv, pp. 139-209.) 
 
 Contains, p. 178, a translation of the sonnet from the Vita nuova, " Oltre la 
 spera, che piii larga gira," " in which," says Lowell, " the meaning is preserved 
 so far as is possible where the grace is left out." This translation is reprinted 
 in S. Waddington's "The sonnets of Europe," London, Walter Scott, 1886, 
 p. 19. 
 
 " Hard at work all the while upon an article about Dante, with Miss 
 Rossetti's book for a text. I have not made so much of it as I should if my 
 time had been less broken. As it was, I had to keep the press going from day 
 to day." — Lowell's " Letters," ii, p. 80. " The article on Dante was written in 
 all the distraction of getting .away [to Europe], with the thermometer at 95°, 
 and keeping abreast of the printers, so that I could not arrange and revise 
 properly." — Same, p. 84. 
 
 Reade, John. Paolo and Francesca; [poem]. {In the Canadian monthly. 
 Jan. 1872. vol. i, pp. 62-63.) CUL. 
 
 1873. 
 
 Dante's Purgatorio. Canto fourth. [Translated by T. W. Parsons.] 
 {In the Catholic world. Dec. 1873. vol. xviii, pp. 299-302.) 
 "With a note on Dante's cosmogony, comparing it with that of Columbus. 
 
 Same. Canto sixth. {In the Catholic world. Feb. 1873. vol. xvi, 
 
 pp. 581-584.) 
 
AMERICAN DANTE BIBLIOGRAPHY. 103 
 
 Same. Canto seventh. (In the Catholic world. April, 1873. vol. xvii, 
 
 pp. 24-27.) 
 ^^ See also Barlow, H. C. Parsons' Purgatory. 1873. 
 
 • Same. Canto eighth. {In the Catholic world. May, 1873. vol. xvii, 
 
 pp. 1 58-161.) 
 
 Same. Canto ninth. (Jn the Catholic world. June, 1873. vol. xvii, 
 
 pp. 304-307.) 
 
 Same. Canto eleventh. {In the Catholic world. Nov. 1873. vol. 
 
 xviii, pp. 166-170.) 
 
 Barlow, Henry Clark. Parsons' Purgatory. (/« the Athenaeum. June 14, 
 1873. pp. 760-761.) 
 
 On the translation of " Indico legno lucido e sereno," Purg. vii. 74, by 
 " India's rich wood, heaven's lucid blue serene." (Catholic world, April, 1873.) 
 
 Siguier, Ulysse Francois Ange, conte. Epilogue de la Divine comddie : 
 I'enfer, un coin du paradis et incidemment une ame du purgatoire. 
 Mexico, Diaz de Leon et White. 1873. sm. 8°. pp. 186 + (3). 
 Frontisp. CUL. 
 
 Vinton, Frederic. St. Patrick^s Purgatory and the Inferno of Dante. (/« 
 Biblioteca sacra. April, 1873. vol. xxx, pp. 275-286.) 
 
 1874. 
 
 Dante's Purgatorio. Canto twelfth. [Translated by T. W. Parsons.] {In 
 the Catholic world. Feb. 1874. vol. xviii, pp. 587-590.) 
 
 Same. Canto fourteenth. {In the Catholic world. July, 1874. 
 
 vol. xix, pp. 450-453.) 
 
 Dante praises Beatrice. [Sonnet, " Negli occhi porta la mia donna amore," 
 from the Vita nuova.] Translated by Titus Munson Co an. {In 
 Lippincott's magazine. Aug. 1874. vol. xiv, p. 191.) 
 
 Coan, Titus Munson. On reading Dante's "New life"; [sonnet]. {In 
 Lippincott's magazine. Oct. 1874. vol. xiv, p. 410.) 
 
 [Capri, Pio Giuseppe.] The Blessed Virgin and the Divina commedia of 
 
 Dante. [Translated by David Moves.] {In Ave Maria. Sept. 5, 12, 
 
 19, 26; Oct. 17, 24; Nov. 7, 14, 21, 1874. vol. X, pp. 561-564, 577- 
 
 578, 593-595, 609-612, 657-659, 673-674, 713-715. 733-734, 753-754-) 
 
 Reprinted in 1876. 
 
I04 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Rossetti's translations from the early Italian poets. {In the Nation. Mar. 5, 
 1874. vol. xviii, pp. 159-160.) 
 
 1875. 
 
 Beatris. [Vita nuova, canz. iii. 1 5-28.] [Translated by Thomas William 
 Parsons.] {In Parsons, T. W. The Willey house, and sonnets. QdiVCi- 
 hn^gt, John Wilson 6^ Son. [Privately printed.] 1875. 12°. p. 27.) 
 
 Smith, J. A. Dante. {In the Baptist quarterly. 1875. vol. ix, pp. 322- 
 338.) 
 
 Soldan, Louis Frank. Dante. {In the Western. March, April, 1875. 
 New series, vol. i, pp. 160-179, 243-255.) 
 
 Same, separately printed. St. Louis. [1875.] 8°. pp.32. 
 
 1876. 
 
 The antepurgatorio [cantos i-ix]. Translated by Thomas William 
 Parsons. London, Hatchards. 1876. 4°. pp. (ii) + 62. 
 Published during the translator's residence in England. 
 
 [Capri, Pic Giuseppe.] The Blessed Virgin and the Divina commedia of 
 Dante. [Translated by David Moves.] n. p., n. d. [Notre Dame, Ind. 
 1876.] 8°. pp. 49. (Ave Maria series.) CUL. 
 
 Inserted in the CUL copy are two autograph letters from the translator. 
 
 Flske, John. Longfellow's Dante. {In his The unseen world and other 
 essays. Boston,/. R. Osgood &» Co. 1876. 12°. pp. 237-265.) 
 Slightly revised from its original form as a review of 1867. 
 
 Gilder, Richard Watson. Francesca and Paolo ; [sonnet]. {In his The 
 new day ; a poem in songs and sonnets. New York, Scribner, Arm- 
 strong &^ Co. 1876. 16°. p. 7I-) 
 
 Reprinted, with a few changes, in the later editions of the above as a 
 separate work and as embodied in his " Five books of songs " and his " Lyrics 
 and other poems." 
 
 Lowell, James Russell. Dante. {In his Among my books. 2d series. 
 'Boston, J. R. Osgood &^ Co. 1876. 12°. pp. i -124.) 
 
 This essay consists of the biographical sketch of 1859 broken up and inter- 
 mingled with the North American review article of 1872. Reprinted in later 
 editions of Lowell's essays. 
 
AMERICAN DANTE BIBLIOGRAPHY. 105 
 
 Marvin, Frederic Rowland. Dante. {In the Western. 1876. New series^ 
 vol. ii, pp. 65-72.) 
 
 Schwerdtfeger, Emil. Dante. (/« M^ Cornell review. Feb. 1876. vol. iv, 
 pp. 215-217.) CUL. 
 
 Turner, Charles Tennyson. Dante and Beatrice ; [sonnet]. {In the Inter- 
 national review (New York). 1876. vol. iii, p. 99.) 
 
 *,ie* Reviews : — Rossetti's " Dante and his circle " in Lippincotfs magazine^ 
 Feb. 1876, vol. xvi, pp. 262-263. 
 
 1877. 
 
 Dante's Purgatorio. Canto fifteenth. Translated by T. W. Parsons. {In 
 the Catholic world. May, 1877. vol. xxv, pp. 1 71-174.) 
 
 McAllister, F. M. Dante's Inferno. {In the American church review. 
 1877. vol. xxix, pp. 1 13-129.) 
 
 Soldan, Louis Frank. Dante's Purgatorio. {In the Western. Jan. 1877. 
 New series, vol. iii, pp. 21-32.) 
 
 Same, separately printed. St. Louis. [1877.] 8°. pp.24. 
 
 *^* Reviews : — Mrs. Oliphant's " Dante " in the series of " Foreign classics 
 for English readers " (Edinburgh, Blackwood, 1877), was bound up in this coun- 
 try with the imprint of " Philadelphia, /. B. Lippincott &" Co.'"' and reviewed in 
 the Nation, Dec. 6, 1877, vol. xxv, p. 354; — in the Literary world, Nov. 1877^ 
 vol. viii, p. TOO ; — in the Atlantic monthly, April, 1878, vol. xli, pp. 551-552. 
 
 1878. 
 
 Dante's Purgatorio. Canto sixteenth. Translated by T. W. Parsons. {In 
 the Catholic world. May, 1878. vol. xxvii, pp. 272-275.) 
 
 Same. Canto seventeenth, {hi the Catholic world. July, 1878. 
 
 vol. xxvii, pp. 498-501.) y 
 
 Noticed and quoted in the Journal of speculative philosophy, Oct. 1878, ]y^ 
 vol. xii, pp. 434-435- 
 
 Buonarroti, Michel Angelo. Dante ; [sonnet, " Quanto dime si de' non si 
 puo dire"]. [Translated by Henry Wadsworth Longfellow.] 
 {In Longfellow, H. W. K^ramos and other poems. Boston, HoughtoUy 
 Osgood^ Co. 1878. 12°. p. 147.) 
 
Io6 AMERICAN DANTE BIBLIOGRAPHY. 
 
 In the series of " Seven sonnets and a canzone from the Italian of Michael 
 Angelo," which had been lying in manuscript since 1874. Reprinted in Long- 
 fellow's " Poetical works "; — in C. F. Bates' " Seven voices of sympathy from 
 the writings of H. W. Longfellow," 1882, p. 188; — in C. H. Crandall's 
 '•Representative sonnets by American poets," Boston, 1890, p. 35. 
 
 H[ardy], A[rthur] S[herbourne]. Francesca of Rimini ; a poem. Phila- 
 delphia, /. B. Lippincott fir* Co. 1878. 8°. pp. 46. 
 
 Reviewed in the Literary world, Dec. 1878, vol. ix, pp. 111-112. 
 
 Lawrence, Eugene. The Italian poets. (/« Harper's magazine. May, 1878. 
 vol. Ivi, pp. 816-828. Illus:) 
 
 pp. 816-821, Dante. With woodcuts of the following: "Dante reciting his 
 poem to Beatrice," " Dante at Ravenna," " Dante's monument," and Raphael 
 Morghen's portrait of Dante. 
 
 1879. 
 
 IJante's Purgatorio. Canto tenth. Translated by T. W. Parsons. (/« the 
 Catholic world. June, 1879. vol. xxix, pp. 289-292.) 
 
 Same. Canto thirteenth. (/« M^ Catholic world. Dec. 1879. vol. xxx, 
 
 pp. 350-353) 
 
 Ingleby, C. M., and others. Translations of Dante. {In the Literary 
 world. Feb. i, Mar. 29, 1879. vol. x, pp. 45-46, 108.) 
 
 Russell, Addison Peale. Library notes. New ed., revised and enlarged, 
 Boston, Houghton, Mifflin fir» Co. 1879. ^2°. pp. (i) + 402. 
 
 pp. 170-17 1, A story concerning Dante, from Domenichi's Facetiae ; p. 302, 
 The prodigal and avaricious in the fourth circle of the Inferno. 
 
 *^,^* Reviews : — Church's "Dante" in the Literary world, Mar. 15, 1879. 
 vol. X, pp. 85-86. 
 
 1880. 
 
 Dante's Purgatorio. Canto eighteenth. Translated by T. W. Parsons. (/« 
 the Catholic world. April, 1 880. vol. xxxi, pp. 1 7-20.) 
 
 Same. Canto nineteenth. {In the Catholic world. July, 1880. vol. 
 
 xxxi, pp. 450-453.) 
 
 Same. Canto twentieth. {In the Catholic world. Dec. 1 880. vol. 
 
 xxxii, pp. 420-424.) 
 \\ HCL has proof-sheets of this and canto xxx accompanied by autograph 
 ""Tetters from the translator to C. E. Norton. 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 107 
 
 Dante. (/« the American catholic quarterly review. Oct. 1880. vol. v, 
 PP- 715-754-) 
 
 Scotti, Carlo Francesco. Dante : la patria y la familia ; estudios. Buenos 
 Aires, M. Biedma. 1880. 16°. pp. 20. 
 
 *jit* Reviews : — Butler's " Purgatory " by T. F. Crane in the North 
 American review, Nov. 1880, vol. cxxxi, pp. 462-463, [by C. E. Norton] in 
 the Nation, Dec. 2, 1880, vol. xxxi, pp. 397-398 ; — Coronini's " Ueber eine 
 Stelle in Dante's Inferno [i. 28-29] " by A. M. Elliott in the American journal 
 of philology, May, 1880, vol. i, p. 234. 
 
 1881. 
 
 Dante's Purgatorio. Canto twenty-first. Translated by T. W. Parsons. 
 (Jn the Catholic world. Dec. 1881. vol. xxxiv, pp. 416-419.) 
 
 Buonarroti, Michel Angelo. [" Dal ciel discese, e col mortal suo." — 
 " Quanto dime si de' non si puo dire." Sonnets on Dante.] [Trans- 
 lated by Mrs. Ednah Dow Littlehale Cheney.] {In Cheney, E. 
 D. L. Gleanings in the field of art. Boston, Lee £r» Shepard. 1881 
 (cop. 1880). 8°. pp. 127-128.) 
 
 Reprinted in Mrs. Cheney's edition of the " Poems of Michael Angelo." 
 Boston, Lee 6^ Shepard. 1885. sm. 8°. pp. 54-57. 
 
 Creighton, Mandell. Dante. Bangor, Me., Q. P. index; New York, /. W. 
 Christopher. July30, 1881. 12°. pp.8. {The monograph. No. xvi.) 
 The monograph was edited by W. M. Griswold. The above essay first 
 appeared in Macmillah' s magazine, 1873-74. 
 
 Dante Society, Philadelphia. First annual dinner; [menu, with quota- 
 tions from Dante]. Saturday, May 14, 1881. 
 
 Mead, Edwin Doak. Dante in America. {In the Boston evening transcript. 
 Saturday, May 14, 188 1.) 
 
 Muir, Marion {afterwards Mrs. Richardson). Dante Alighieri; [poem]. 
 {In the Ave Maria. Aug. 13, 1881. vol. xvii, p. 657.) CUL. 
 
 1882. 
 
 Dante's praise of Beatrice. ["Tanto gentile e tanto onesta pare."] [Trans- 
 lated by MiNOT Judson Savage.] {In Savage, M. J. Poems. Boston, 
 George H. Ellis. 1882. 16°. p. 91.) 
 A very free rendering, not in the sonnet form. 
 
lo8 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Branchi, Eugenic. The tomb of Dante, and his portrait at Ravenna. (/« 
 the Catholic world. Dec. 1882. vol. xxxvi, pp. 352-365.) 
 Translated from Branchi's article in La rassegna nazionale, 1881. 
 
 Buonarroti, Michel Angelo. Sonnet on Dante. ['* Dal ciel discese, e col 
 mortal suo."] [Translated by Henry Charles Lea.] {In Lea, H. C. 
 Translations and other rhymes. V\)\\2ii\t\pW\?i, privately printed. 1882. 
 12°. p. lOI.) 
 
 [Crane, Thomas Frederick.] The legendary Dante. {In the Cornell review. 
 March, 1882. vol. ix, pp. 189-200.) 
 
 Dante Society, Cambridge, Mass. First annual report. Cambridge, John 
 Wilson &* Son. 1882. 8°. pp.25. 
 
 Contains the remarks of C. E. Norton upon Longfellow's lifelong devotion 
 to Dante and upon his connection with the Dante Society. Reviewed in the 
 Literary world, Sept. 22, 1883, vol. xiv, pp. 305-306. 
 
 See also Knortz, K. Dante in Amerika. 1883. 
 
 %* In June, 1881, a circular was issued by the newly founded Dante Society 
 proposing to publish by subscription the then inedited Latin comment of 
 Benvenuto da Imola. In December of the same year another circular was 
 issued withdrawing the proposal, owing to Mr. Vernon's project of carrying 
 out his father's design of printing the comment. The correspondence, includ- 
 ing letters from Mr. Vernon, Sir James Lacaita, Sir W. F. Pollock, W. J. Still- 
 man, Federigo Bencini (the copyist employed by the Society), Dominigo 
 Fransoni, and Mrs. Caroline C. Marsh, has lately been presented to the HCL. 
 
 Delff, Heinrich Karl Hugo. Dante's epoch of culture, and the relation of 
 the " Convito " to the " Divina commedia." From the German by 
 A[dolph] E[rnst] Kroeger. {In the Journal of speculative philo- 
 sophy. April, 1882. vol. xvi, pp. 142-156.) 
 
 The original article, " Ueber das Verhaltniss des * Gastmahls ' zu der * Gott- 
 lichen Komodie' und liber die Bildungsepochen Dante's," appeared in the 
 Jahrbuch der deutschen Dante-Gesellschaft, 187 1, Bd. iii, pp. 59-77. 
 
 Sanborn, Mrs. Frances B. Dante. {In the Unitarian review. March, 1882. 
 vol. xvii, pp. 21 1-224.) 
 
 1883. 
 
 Dante's Purgatorio. Canto thirtieth. [Translated by T. W. Parsons.] 
 {In the Catholic world. April, 1883. vol. xxxvii, pp. 19-22.) 
 
 Allen, Joseph Henry. Dante. {In his Christian history in its three great 
 periods ; second period, the Middle age. Boston, Roberts Bros. 1883. 
 16°. pp. 251-277.) 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 109 
 
 Dante Society, Cambridge, Mass. Second annual report. Cambridge, 
 John Wilson &^ Co. 1883. 8°. pp. 36. 
 
 Contains " Le vite di Dante e del Petrarca, scritte da Leonardo Aretino," 
 with a prefatory note. 
 
 Knortz, Karl. Dante in Amerika. i^In the New-Yorker belletristisches 
 Journal. Oct. 31, 1883.) 
 
 Given up to an account of Longfellow's studies in Dante and to the 
 newly founded Dante Society. Reprinted in his " Geschichte der Nord- 
 Amerikanischen Literatur," Berlin, Liijrtenoder, 1891, Bd. ii, pp. 305-309. 
 
 1884. 
 
 Blow, Miss Susan E. Dante's Inferno. {In the Journal of speculative 
 philosophy. April, 1884. vol. xviii, pp. 1 21-138.) 
 Reprinted in her " Study of Dante," 1886. 
 
 Clarke, Miss Sarah Freeman. Notes on the exile of Dante ; from his 
 sentence of banishment while in Rome, 1302, to his death in Ravenna, 
 1321. {In the Century magazine. March, April, 1884. vol. xxvii, 
 PP- 734-752, 833-849.) 
 
 The portraits of Dante. {In the Century magazine. Feb. 1884. 
 
 vol. xxvii, pp. 574-581. Illus.) 
 
 Reprints the larger part of Professor Norton's article on the portraits of 
 Dante, 1867, and gives Dr Parsons' "Lines on a bust of Dante." The illus- 
 trations are woodcuts of the death-mask, the bust in the Naples museum, the 
 profile in the tomb at Ravenna, and the portraits by Giotto and Raphael. 
 
 Dante Society, Cambridge, Mass. Third annual report. Cambridge, John 
 Wilson &^ Co. 1884. 8°. pp.27. 
 
 Contains " A list of works relating to Dante printed in the United States of 
 America" [compiled by Philip Coombs Knapp, Jr.]. 
 
 Noticed in the Literary world, July 26, 1884, vol. x, p. 249. 
 
 Durant, Miss H^loise {afterwards Mrs. Rose]. Dante's mask ; [sonnet]. 
 {In her Pine-needles, or sonnets and songs. New York, G. P. Putnam'' s 
 Sons. 1884. 12°. p. 24.) 
 
 K[napp], P[hilip] C[oombs], jr. Dante. {In the Encyclopaedia americana ; 
 or, American supplement to the Encyclopaedia brittanica. Philadelphia, 
 etc., Hubbard Bros. 1884. 4°. vol. ii, pp. 336-338.) 
 
 The article is devoted to the history of Dantesque studies in America. 
 
 Lawton, William Cranston. The underworld in Homer, Virgil, and Dante. 
 {In the Atlantic monthly. July, 1884. vol. liv, pp. 99-110.) 
 
no AMERICAN DANTE BIBLIOGRAPHY. 
 
 Lord, John. Dante ; rise of modern poetry. (/// his Beacon lights of 
 history, vol. iii. New York, Fords, Howard &* Hurlburt. 1884. 
 12-. pp. 21-55.) 
 
 Norton, Charles Eliot. Dante's portrait in the Bargello. (/« the Century 
 magazine. April, 1884. vol. xxvii, p. 956.) 
 
 An open letter regarding the controversy over the painter of this portrait. 
 
 On the reading of Dante. (/« the Century magazine. Feb. 1884. vol. xxvii. 
 p. 629.) 
 
 Editorial note apropos of the Dante articles printed in the Century magazine 
 during 1884. 
 
 Pelton, Marion L. An echo of Dante ; [sonnet]. (/« the Andover review, 
 Aug. 1884. vol. ii, p. 175.) 
 
 Robertson, Donald. Dante and another ; [sonnet]. {In his Rhymes. 
 l^tyN York, J. J. Little Qr' Co. 1884. 8°. p. 11.) 
 
 Rossetti, Miss Christina Georgina. Dante : the poet illustrated out of the 
 poem. {In the Century magazine. Feb. 1884. vol. xxvii, pp. 566-573.) 
 
 Wetherill, Miss Julie K. {afterwards Mrs. Baker). Francesca to Paolo \ 
 [quatrain]. {In the Atlantic monthly. Nov. 1884. vol. liv, p. 594.) 
 Reprinted in the Magazine of poetry, 1892, vol. iv, p. 66. 
 
 1885. 
 
 Francesca da Rimini : Dante's Inferno, canto v, verses 73-123; an attempt 
 at a literal translation in blank verse [by John Watts De Peyster]. 
 [New York, 1885.] [Privately printed.] 4°. pp.8. Orn. 
 
 pp. 5-8, Notes. Inserted in the HCL copy is an autograph letter from the 
 translator concerning this pamphlet. 
 
 Divina comedia de Dante. Traducgao [by] Jose Pedro Xavier Pinheiro. 
 Rio-de-Janiero. 1885. 
 
 Bicker, Anton. Dante. A rare collection of texts, commentaries, etc., of 
 Dante's Divina commedia [offered for sale]. Cincinnati, A. Bicker, 
 1885. 8°. pp. 12. 
 Contains 172 titles. 
 
 Blow, Miss Susan E. Dante's Purgatorio. {In the Journal of speculative 
 philosophy. Jan. 1885. vol. xix, pp. 61-79.) 
 Reprinted in her " Study of Dante," 1886. 
 
AMERICAN DANTE BIBLIOGRAPHY. m 
 
 Dante Society, Cambridge^ Mass. Fourth annual report. Cambridge, 
 John Wilson &^ Son. 1885. 8°. pp. 31. 
 
 Contains " Additional notes on the Divine comedy by Henry Wadsworth 
 Longfellow," with a prefatory note by C. E. N[orton], who prepared them 
 for publication. They were inserted in their respective places among the notes 
 to the new edition of Longfellow's translation, 1886. 
 
 [Farrar, Frederic William.] [Lecture on Dante ; extracts.] (/;/ the Critic. 
 Oct. 31, 1885. vol. iv, pp. 212-213.) 
 
 The lecture is given entire in Farrar's " Sermons and addresses delivered in 
 America," London, 1886, pp. 295-327. 
 
 Lane, William Coolidge, compiler. The Dante collections in the Harvard 
 college and Boston public libraries. Part I. Cambridge, issued by the 
 Library of Harvard University . 1885. 8°. pp. 18. (Bibliographical 
 contributions, edited by Justin Winsor. No. 7.) 
 
 First published in the Harvard University Bulletin, May, Oct. 1885. 
 The completed catalogue was published in 1891. 
 Noticed in the Critic, Oct. 31, 1885, ^°^- ^v» P- 204. 
 
 Unity Study Class, St. Paul, Minn. Season of 1885-86. Dante's Divine 
 comedy. [St. Paul. 1885.] 24°. pp. 4. 
 List of topics for study. 
 
 Venable, William Henry. Dante, after reading the Paradiso ; [sonnet]. 
 {In his Melodies of the heart ; songs of freedom, and other poems. 
 Cincinnati, Robert Clarke 6^ Co. 1885. 12°. p. 59.) 
 
 \ *j|f* Reviews : — Minchin's and Sibbald's translations of the Divina com- 
 media in the Nation, June 25, 1885, vol. xl, pp. 524-525. 
 
 1886. 
 
 The divine comedy of Dante Alighieri. Translated by Henry Wads- 
 worth Longfellow. [Edited, with introductory note, by Horace 
 Elisha Scudder.] Boston, etc., Houghton, Mifflin &^ Co. i886. 
 3 vols. 8°. Port, of translator. 
 
 . Same. [Large paper ed.] Cambridge, Riverside Press. 3 vols. 8°. 
 
 3 portrs. of translator. 
 
 Also bound up as vols. 9-1 r of "' The writings of H. W. Longfellow, with 
 bibliographical and critical notes," in 14 vols. 
 
112 AMERICAN DANTE BIBLIOGRAPHY. 
 
 In this edition are included the added notes, " made from time to time by 
 Mr. Longfellow, during the later years of his life," which Mr. Norton printed 
 in the fourth annual report of the Dante Society; the further illustrations to 
 the Purgatono, which were there merely referred to, are here printed in full. 
 
 See an article on Longfellow's life in the Saturday review, Apr. 3, 1886, 
 vol. Ixi, p. 476; quoted in the Critic, Apr. 17, 1886, vol. v, pp. 198-199. 
 
 The divine comedy of Dante Alighieri. Translated by Henry Wads- 
 worth Longfellow, with an introduction by Henry Morley. 
 London, George Routledge fir» Sons. 1886 [85]. 12°. pp. xii -f 339 
 (Morley's Universal library, 28). 
 
 pp. [iii]-vii, "Introduction." Without the notes or "illustrations." HCL 
 has a copy from the same plates, entitled " 2d edition." 
 
 Adams, Oscar Fay. Francesca and Paolo. {In his Post-laureate idyls, and 
 other poems. Boston, D. Lothrop (Sr» Co. (cop. 1886.) 16°. p. 142.) 
 
 Azarias, Brother [Patrick Francis Mullany]. The spiritual idea in 
 Dante's Divina commedia. (/« the American Catholic quarterly 
 review. July, 1886. vol. xi, pp. 418-447.) 
 
 Reprinted, under the title of " The spiritual sense of the Divina commedia," 
 in his " Phases of thought and criticism." Boston, Houghton, Mifflin dr» Co. 
 1892. pp. 125-182. 
 Blow, Miss Susan E. A study of Dante. With an introduction by William 
 T[orrey] Harris. New York, G. P. Putnam's Sons. 1886. 12°. 
 pp. xi -H 102. 
 
 The chapters on the Inferno and Purgatorio appeared as articles in the 
 "Journal of speculative philosophy," 1884, 1885; the chapter on the Paradiso 
 is new. 
 
 Noticed in the Overland monthly, Oct. 1886, 2d series, vol. viii, p. 448. 
 Reviewed in the Nation, Apr. 22, 1886, vol. xlii, p. 348 ; — in the Saturday 
 review, May 29, 1886, vol. Ixi, p. 758; — in the Catholic world, June, 1886, 
 vol. xliii, pp. 431-432 ; — in the Literary world, June 12, 1886, vol. xvii, p. 198 ; 
 — in the Critic, June 26, 1886, vol. v, p. 314; — by E. L. Walter in Modern 
 language notes. May, 1887, vol. ii, pp. no- 1 14. 
 
 Byron, George Gordon Noel Byron, 6th baron. The prophecy of Dante. 
 Cantos i-ii. With critical and explanatory notes. New York, Clark &* 
 Maynard. 1886. 16°. pp. 32. (English classic series, edited for the 
 use of schools. No. i.) 
 
 With short sketches of the lives of both Dante and Byron. 
 
 [Childs, T. H.] Pia de' Tolommei. {In the Catholic world. May, 1886.' 
 vol. xliii, pp. 206-212.) 
 The history of the legend. 
 
AMERICAN DANTE BIBLIOGRAPHY. n^ 
 
 Concord School (The) on Dante. {In the Literary world. Aug. 7, 1886. 
 vol. xvii, p. 263.) 
 
 Extracts from lectures delivered at the Summer School of Philosophy, Con- 
 cord, Mass., by F. B. Sanborn, Thomas Davidson, Brother Azarias, Mrs. Julia 
 Ward Howe, Rev. Cyrus A. Bartol, and W. T. Harris. 
 
 Cone, Miss Helen Gray. Madonna Pia; [poem]. {In the Atlantic monthly. 
 Dec. 1886. vol. Iviii, pp. 745-747.) 
 Based on Purg. v. 
 
 Dante Society, Cambridge^ Mass. Fifth annual report. Cambridge, John 
 Wilson^ Son. 1886. 8°. pp.74. 
 
 Contains, pp. 15-38, "Dante," by J. R. Lowell, reprinted from Appleton's 
 "New American cyclopaedia," 1859; pp. 39-74, "Dante and the Lancelot 
 romance," by Paget Toynbee, with quotations and translations ^om an 
 unpublished version of the romance as contained in a MS. in the British 
 Museum. 
 
 Noticed in the Critic, Dec. 11, 1886, vol. vi, p. 299. 
 
 See also Borsari, F. Dantofili americani. 1887. 
 
 Darling, A. D. Dante. {In the St. Louis magazine. June, 1886.) 
 
 Fellowes, Caroline "Wilder. A volume of Dante; [sonnet]. {In the Atlantic 
 monthly. Aug. 1886. vol. Iviii, p. 228.) 
 
 Reprinted in C. H. Crandall's " Representative sonnets by American poets," 
 Boston, etc., Houghton^ Mifflin 6^ Co., 1890, p. 166; — in Gleeson White's 
 "Book-song," London, 1893, p. 53; — in the Literary world, June 16, 1894, 
 vol. XXV, p. 184. 
 
 Grimm, Herman. Dante and the recent Italian struggles. {In Grimm, H. 
 Literature. [Translated by Sarah Holland Adams.] Boston, 
 Cupples, Upham &^ Co. 1886. 12°. pp. 253-297.) 
 
 This sketch of Dante in political life was first published by Professor Grimm 
 
 in his " Neue essays," 1861. 
 
 Knortz, Karl. Dante in Amerika ; Bruchstiick. {In Reform, zeitschrift 
 des aligemeinen vereins fiir vereinfachte rechtschreibung. 1886 (.?). 
 Bd. X, p. 9.) 
 Title taken from Mr. Lane's " Dante bibliography for 1886." 
 
 Kolstoi, Casimir Stephen. Paolo and Francesca da Rimini ; [a painting by 
 J. Noel Paton]. {In the International gallery. Philadelphia, George 
 Barrie. [1886.] Part, vi, i f.) 
 
 With a steel engraving of Paton's painting, R. Graves, sc. 
 
114 
 
 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Mary as the model of Christian virtues in Dante's " Purgatorio." (/;/ the 
 Ave Maria. March 13, 20, 27, 1886. vol. xxii, pp. 235-238, 262-266, 
 283-288.) 
 
 Translated from Der Katholik. 
 
 Morison, John Hopkins. Dante. {In his The great poets as religious 
 teachers, ^tvt \ orV., Harper St* Bros. 1886. 12°. pp. 45-81.) 
 
 Norton, Charles Eliot. A gift of Dante. {In the Nation. Sept. 23, 1886. 
 vol. xliii, p. 251.) 
 
 A letter concerning the Dowager Lady Vernon's offer of her late husband's 
 edition of the Inferno to certain selected public libraries. 
 
 [Pychowska, Mrs. Lucia Duncan.] Ozanam's Dante. {In the Catholic 
 world. Sept. 1886. vol. xliii, pp. 790-795.) 
 
 An analysis of Ozanam's " Dante et la philosophic catholique au treizieme 
 si^cle." 
 
 Rossetti, Miss Maria Francesca. The shadow of Dante ; being an essay 
 towards studying himself, his world and his pilgrimage. Boston, Roberts 
 Bros. sm. 8°. pp. (3) + 294. Frontisp. 
 
 First American edition ; printed at the University Press, Cambridge, Mass. 
 The frontispiece is a medallion showing Dante's profile as painted by Giotto 
 and as outlined in the death-mask. 
 
 Reviewed in the Critic^ July 3, 1886, vol. vi, p. 3; — in the Literary worlds 
 July 10, 1886, voj. xvii, p. 231. 
 
 Vincent, George E. Dante, the poet. {In Wide awake. June, 1886. 
 vol. xxiii, pp. 142-147.) 
 
 One of a series of articles on Italian authors. Reprinted in his " Some 
 Italian authors and their works." Boston, D. Lothrop 6^ Co. 1887. sm. 8°. 
 pp. 70-76. 
 
 %* Reviews : — Butler's " Paradise " by E. L. Walter in Modern language 
 notesy April, 1886, vol. i, pp. 53-54. 
 
 1887. 
 
 A Divina comedia . . . fielmente vertida do texto pel Barao da Villa da 
 
 Barra. [Rio de Janiero ?] 1887. 8°. BM. 
 
 Title made up from the reference under the translator in the BM catalogue. 
 
 Dante and his circle, with the Italian poets preceding him. (i 100-1200- 
 1300.) A collection of lyrics, edited and translated in the original 
 metres, by Dante Gabriel Rossetti. Revised and rearranged ed. 
 
AMERICAN DANTE BIBLIOGRAPHY. 115 
 
 Ft. I. Dante's Vita nuova, etc. — Poets of Dante's circle. Pt. II. Poets 
 chiefly before Dante. Boston, Roberts Bros. 1887, sm. 8°. pp. xviii 
 
 + (I) + 301. 
 
 First American edition ; printed at the University Press, Cambridge, Mass. 
 In 1896 the translation of the Vita nuova contained in the above was printed 
 in this country as a separate work. 
 
 Reviewed in the Literary world. May 28, 1887, vol. xviii, p. 166; — in the 
 Critic, July 16, 1887, vol. viii, p. 26; — in the Dial, Oct. 1887, vol. viii,.p. 128; 
 — in Modern language notes, Jan. 1888, vol. iii, pp. 26-27. 
 
 A sonnet of Dante. (" Tanto gentile e tanto onesta pare.") [Translated by 
 Richard Watson Gilder.] (Jn Gilder, R. W. Lyrics. New York, 
 Century Co. (cop. 1887.) 12°. p. 122.) 
 First appearance ? 
 
 Sonnet from Dante. [" Deh peregrini, che pensosi andate."] Translated by 
 Miss Louise Imogen Guiney. (/;/ the Catholic world. Oct. 1887. 
 vol. xlvi, p. 31.) 
 
 Four sonnets from ' La vita nuova.' [Translated by Miss Louise Imogen 
 Guiney.] {In Guiney, L. I. The white sail, and other poems. Boston, 
 Ticknor &^ Co. (cop. 1887.) pp. 145-148.) 
 
 Includes the foregoing, and also the sonnets beginning " lo mi sentii svegliar 
 dentro alio core," "Tanto gentile e tanto onesta pare," and " Era venuta nella 
 mente mia." The translations of " Tanto gentile," and " Deh peregrini," are 
 reprinted in C. H. Crandall's " Representative sonnets by American poets," 
 Boston, etc., Houghton, Mifflin &> Co-, 1890, pp. 28-29. 
 
 Bierwirth, Heinrich Conrad. Dante's obligations to the schoolmen, especially 
 to Thomas Acquinas. 1887. 4°. ff. (3)+i29. MS. 
 
 Deposited in the HCL. The prize offered by the Dante Society for the 
 best essay on Dante by a student in any department of Harvard University, or 
 by a graduate of not more than three years' standing, was awarded the author 
 for this essay. 
 
 Borsari, F. Dantofili americani. (/« La scuola italiana. May 22, 1887.) 
 
 An account of Dante in America occasioned by the " Fifth annual report of 
 the Dante Society." 
 
 Cavazza, E. Dante and the young Florentine; [poem]. {In St. Nicholas. 
 Sept. 1887. vol. xiv, p. 813.) 
 
 Dante Society, Cambridge, Mass. Sixth annual report. Cambridge, John 
 Wilson &^ Son. 1887. 8^ pp.33. 
 
 Contains, pp. 19-30, "Dante bibliography for the year 1886," compiled by 
 WilHam C. Lane; pp. 31-33, "Note on the first edition of the Comment of 
 
Ii6 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Benvenuto da Imola," reprinted from the circular of the publisher, G. Barbara, 
 Firenze, where mention is made of the plan formerly entertained by the Dante 
 Society for the publication of the Comment. 
 
 Noticed in the Modern language notes, Nov. 1887, vol. ii, p. 208; — in the 
 Rivista delle biblioteche, genn.-febbr. 1888, p. 28 ; — in the Gazzetta Ittteraria, 
 febbr. ii, 1888. 
 
 Davidson, Thomas. Dante text-criticism. {In Modern language notes. 
 Apr. 1887. vol. ii, pp. 78-79.) 
 
 On Vita nuova, cap. i, "i quale non sapeano che si chiamare." — Convivio, 
 I, vii, 40 et seq., •' e 1' uomo obbediente alia giustizia comanda al peccatore." 
 
 Fay, Edward Allen. Words used only by Dante. (/« Modern language 
 notes. May, 1887. vol. ii, pp. 129-130.) 
 
 Harris, William Torrey. The spiritual sense of Dante's *' Divina corn- 
 media." (/« M^ Journal of speculative philosophy. Oct. 1887. [Printed 
 in 1889.] vol. xxi, pp. 349-451.) 
 
 Written in 1886 for the Concord School of Philosophy. Issued in book 
 form in 1889, 1896. 
 
 Hazard, Mrs. Rebecca N. A view of Dante. {In the Journal of the 
 American akademe, (Orange, N.J.). Jan. 1887. vol. iii, pp. 75-98. 
 Piatt.) 
 
 Accompanied by a plan of the Inferno. Read before the American Aka- 
 deme at Jacksonville, 111., in Dec. 1886. Noticed in the Critic, May 28, 1887, 
 vol. vii, p. 268. Reprinted in her "Two views of Dante," 1891. 
 
 Leahy, William Augustine. Dante's Francesca ; [poem]. {In the 
 Harvard monthly. April, 1887. vol. iv, p. 47.) 
 
 Lillie, Lucy C. A great lady ; [the Countess Gozzadini, of Bologna]. {In 
 the Catholic world. July, 1887. vol. xlv, pp. 454-465.) 
 
 The Countess Maria Teresa di Serego-Allighieri Gozzadini was the last 
 lineal descendant of Dante in the female line. 
 
 M., J. W. The last of the Gozzadini. {In the Nation. Sept. 29, 1887. 
 vol. xlv, pp. 250-251.) 
 
 Meyer, Carl Ferdinand. The monk's wedding ; a novel. [Translated from 
 the German by Sarah Holland Adams.] Boston, Cupples 6r» Hurd. 
 (cop. 1887.) 12°. pp.169. (Green paper series.) 
 
 The cover has the added sub-title " Dante's Verona romance." Dante is 
 represented as telling this story at the court of Can Grande of Verona. 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 117 
 
 [Parsons, Reuben.] The charge of heresy against Dante. (/« the American 
 Catholic quarterly review. Oct. 1887. vol. xii, pp. 714-725.) 
 
 Scartazzini, Johann Andreas. A handbook to Dante. Translated from the 
 ItaUan by Thomas Davidson, with notes and additions. Boston, 
 Ginn &^ Co. 1887. sm. 8°. pp. viii -|- 315. Port. 
 
 The original work, entitled " Dante : i. Vita, ii. Opere," forms volumes xlii, 
 xliii of the " Manuali Hoepli." The portrait is from a drawing ascribed to 
 Masaccio. 
 
 Reviewed in the Literary world, April 30, 1887, vol. xviii, pp. 131-132 ; — 
 [by C. E. Norton] in the Nation, May 26, 1887, vol. xliv, pp. 454-455 ; — in the 
 Critic, June 14, 1887, vol. vii, p. 280 ; — in Modern language notes, Nov. 1887, 
 vol. ii, p. 206; — in the American journal of philology, Oct. 18877 vol. viii, 
 p. 362. 
 
 Shattuck, Mrs. Harriette (Lucy) Robinson. The story of Dante's Divine 
 comedy. {In the Library magazine. Jan. 22, 29, 1887. 3d series, 
 vol. ii, pp. 303-308, 313-318.) 
 
 " The substance of these pages was first printed in the form of letters to the 
 Boston Transcript and the Springfield Republican, written from the Concord 
 school of philosophy in the summer of 1886." 
 
 Sherman, Mrs. Caroline K. The Divine comedy and Faust. (/« Dudley, 
 Mrs. Marion V., editor. Poetry and philosophy of Goethe ; comprising 
 the lectures and extempore discussions before the Milwaukee literary 
 school in August, 1886. Chicago, S. C. Griggs <Sr» Co. 1887. 8°. pp. 
 99-137.) 
 
 Vincent, Marvin Richardson. Dean Plumptre's Dante. (/« the New 
 Princeton review. Nov. 1887. vol. iv, pp. 349-361.) 
 
 Ward, Mrs. May Alden. Dante ; a sketch of his life and works. Boston, 
 Roberts Bros. 1887. 12°. pp.303. 
 
 Reviewed in the Literary world, May 28, 1887, vol, xviii, p. 166; — in the 
 Literary nezvs, June, 1887, vol. viii, p. 167; — in the Nation, June 23, 1887, 
 vol. xliv, p. 537 ; — in the Critic, July 16, 1887, vol. viii, p. 26; — in Modern 
 language notes, Jan. 1888, vol. iv, p. 26. 
 
 *jit* Reviews : — Plumptre's translation of the Commedia and Canzoniere 
 [by C. E. Norton] in the Nation, Feb. 3, 1887, vol. xliv, p. 103, by E. L. 
 Walter in Modern language notes. May, 1887, vol. ii, pp. 110-114 ; — Moore's 
 "Time references in the Divina commedia" [by C. E. Norton] in the Nation, 
 April 14, 1887, vol. xliv, pp. 322-324. 
 
ii8 AMERICAN DANTE BIBLIOGRAPHY. 
 
 1888. 
 
 Dante^s Inferno. Translated from the original of Dante Alighieri by 
 Henry Francis Gary, and illustrated by Gustave Dor6. Edited by 
 Henry C. Walsh. Philadelphia, Henry Altemus. [1888.] f°. pp. vi 
 + 163. Port. ^XiA plates. 
 pp. v-vi, " Life of Dante," by the editor. 
 
 The Divine comedy. Translated into English verse, with notes, by John 
 Augustine Wilstach. Boston, etc.^ Houghton, Mifflin dr' Co. 1888. 
 2 V. 8°. Frontispp. 
 
 Contents: — I. Inferno. Purgatorio, i-xvi. — II. Purgatorio, xvii-xxxiii. 
 Paradiso. 
 
 The frontispiece of the first volume is Ary Scheffer's " Dante and Beatrice"; 
 that of the second is the portrait from the Bargello fresco in Florence. 
 
 Reviewed by R. E. T[hompson] in the American (Phila.), Nov. 24, 1888, 
 vol. xvii, pp. 89-91 ; — in the Overland monthly, Jan. 1889, vol. xiii, 2d series, 
 PP- 93-94; — [by ^- •^- Carpenter] in the Nation, Feb. 21, 1889, vol. xlviii, 
 pp. 163-164 ; — in the Athenceum, Feb. 23, 1889, pp. 241-242 ; — in the Catholic 
 world, April, 1889, vol. xlix, pp. 140-141 ; — in the Scottish review, July, 1889, 
 vol. xiv, pp. 2II-2I2 ; — by E. Moore in the Academy, Aug. 17, 1889, vol. xxxvi, 
 p. 99. 
 
 The universal empire. Passages from the first book of Dante's De 
 monarchia [with preliminary essay]. Boston. [1888.] 16°. pp. 22. 
 (Old South leaflets. 6th series, no. 3.) 
 The extracts are from the translation by F. J. Church, London, 1879. 
 
 [Carpenter, George Rice.] Essay on the interpretation and reconciliation of 
 the different accounts of his experiences after the death of Beatrice 
 given by Dante in the Vita nuova and Convito. Offered for the Dante 
 prize of 1887-88 by " R." 4°. pp. (4) +114. MS. 
 
 Deposited in the HCL. The prize offered by the Dante Society for the 
 best essay on Dante by a student in any department of Harvard or by a 
 
 - graduate of not more than three years' standing, was awarded the author for 
 this, essay. Printed in the " Eighth annual report of the Dante Society," 1889. 
 
 Dante Society, Cambridge, Mass. Seventh annual report. Cambridge, 
 John Wilson Qr' Son. 1888. 8°. pp.35. 
 
 Contains, pp. 21-35, "Dante bibliography for the year 1887," compiled by 
 William C. Lane. 
 
 Reviewed by R. Bonghi in La cultura, 1-15 giugno, 1889, an. viii, pp. 346- 
 347. Noticed in V Alighieri, ott. 1889,- an. i, pp. 214-215. 
 
AMERICAN DANTE BIBLIOGRAPHY. 119 
 
 Fay, Edward Allen. Concordance of the Divina commedia. Cambridge, 
 etc., The Dante society. 1888. 8°. pp. vi + 819. 
 
 Reviewed [by G. R. Carpenter] in the Nation, Oct. 25, 1888, vol. xlvii, 
 pp. 338-340 ; — by A. Pagliani in La nazione, die. 6, 1888 ; — by P. Toynbee in 
 the Academy, Feb. 23, 1889, vol. xxxv, pp. 1 24-1 25 ; — in the Athenceum, Feb. 23, 
 1889, pp. 241-242 ; — in the Literary world, Mar. 2, 1889, vol. xx, pp. 69-71; 
 by E. L. Walter in Modern language notes, Jan. 1889, vol. iv, pp. 177-178. 
 Noticed in the Giornale storico delta letteratura italiana, 1888, vol. xii, p. 482 ; 
 — in UAlighieri, 1889, an. i, p. 60; — in the Zeitschrift fiir romanische philo- 
 logie, Bd. xiii, p. 345. The circular announcing the publication noticed in the 
 Literary world, Oct. 1887, vol. xviii, p. 319. 
 
 Hunt, (James Henry) Leigh. Dante Alighieri. With critical notices of the 
 life and genius of the author. New York, etc., G. P. Putnam's Sons. 
 [1888.] 32°. pp. 274. (Stories from the Italian poets; first series. 
 Knickerbocker nuggets.) 
 
 Karsten, Gustaf . Dantesca ; osservazioni su alcuni passaggi della Divina 
 commedia. (^In Modern language notes. May, 1888. vol. iii, pp. 119- 
 I23-) 
 On Inf. iii. 42 ; v. 104, 108, 114, 138. 
 
 Kelly, Walter. Dante and Beatrice ; [poem]. (Jn the Atlantic monthly. 
 Nov. 1888. vol. Ixiii, pp. 668-669.) 
 
 Lowell, James Russell. Paolo to Francesca ; [sonnet]. {In his Heartsease 
 and rue. Boston, etc., Houghton, Mifflin^ Co. 1888. sm. 8°. p. 109.) 
 Reprinted in later editions. 
 
 Pullen, C. L., and others. [" Le mani alzo con ambedue le fiche," etc.^ 
 Inf. XXV. 2-3.] {In the American notes and queries. Oct. 13, 1888. 
 vol. i, p. 287.) 
 
 These lines are brought forward in a search for the origin of the phrases 
 " I don't care a fig," and " A fig for you." See also the numbers for Aug. 1 1, 
 and Sep. 8, 1888. 
 
 Sarepta, pseud. Sonnet trio ; founded on a well-known passage of Dante. 
 {In the Week, (Toronto). Mar. i, 1888. vol. v, p. 217.) CUL. 
 
 The theme is the story of Francesca da Rimini. 
 
 Scartazzini, Johann Andreas. On the congruence of sins and punishments 
 in Dante's Inferno. Translated from the German by Thekla Bernays. 
 {In Journal of speculative philosophy. Jan.-April, 1888. [Printed in 
 1893.] vol. xxii, pp. 21-83.) 
 
^ 
 
 120 AMERICAN DANTE BIBLIOGRAPHY. 
 
 The original article appeared in the " Jahrbuch der deutschen Dante- 
 Gesellschaft," 1877, Bd. iv, pp. 273-354. 
 
 S[chuyler], E[ugene]. Carducci and Dante. (/« the Nation. Feb. 16, 
 1888. vol. xlvi, pp. 133-134.) 
 
 An account, with translated extracts, of Giosu^ Carducci's initiatory lecture 
 of Jan. 8, i888, on '• L'opera di Dante," in the course instituted by the Italian 
 Government. Contains also an original rendering of Carducci's sonnet to 
 Dante, " Dante, onde avvien che i voti e la favella." 
 
 In the footsteps of Dante. {In the Nation. Oct. 4, 1888. vol. xlvii, 
 
 pp. 266-268.) 
 
 Notes of a traveller's journey to various places known to Dante. 
 
 Stevens, Mrs. Sarah J. D. Dante ; [poem]. {In the Poets of Maine, 
 edited by George Bancroft Griflfith. Portland, Elivell, Pickard 6^ Co. 
 1888. 8 . p. 630.) 
 
 Strong, Augustus Hopkins. Dante and the Divine comedy. {In his 
 Philosophy and religion. New York, A. C. Armstrong dr" Son. 1888. 
 8°. pp. 501-524.) 
 
 A lecture delivered at Vassar College, Feb. 21, 22, 1888, and first printed in 
 the Chicago Standard. 
 
 Tunison, J. S. Master Virgil, the author of the y^neid, as he seemed in 
 the middle ages ; a series of studies. Cincinnati, Robert Clarke dr' Co. 
 1888. 8°. pp. vii+230. 
 
 Takes an opposite stand from that of Compare tti. Reviewed [by T. F. 
 
 . Crane] in the Nation, Jan. 10, 1889, vol. xlviii, pp. 36-37 ; — by W. H. Johnson 
 
 in the £>ia/, Dec. 16, 1895, pp. 381-383 ; — in the Literary world. Mar. 30, 1889, 
 
 vol. XX, p. 114 ; — by W. Y. Sellar in the Classical review, 1889, vol. iii, pp. 
 
 265-269. 
 
 %* Reviews: — R. W. Church's "Dante" in the Critic, June 2, 1888, 
 vol. ix, pp. 266-267. 
 
 1889. 
 
 Purgatory and Paradise. Translated from the original of Dante AHghieri 
 by Henry Francis Cary, and illustrated by Gustave Dor6. Edited 
 by Henry C. Walsh. Philadelphia, //^«r>/ ^//^/«//j. [1889.] fo. pp. 
 V 4- (I) + 328. Plates. 
 
 The poet's vision of hell, purgatory and paradise. [Selections from Gary's 
 translation.] {In Schaff, P. and A. Gilman, editors. A library of 
 
AMERICAN DANTE BIBLIOGRAPHY. y2\ 
 
 poetry for Sunday reading ; a collection of the best poems of all ages 
 and tongues, with biographical and literary notes. New York, Dodd, 
 Mead &^ Co. (cop. 1889.) 8°. pp. 909-930. Port.) 
 The portrait is a woodcut after Raphael Morghen. 
 
 The vision of Beatrice ; a translation in the original terza rima from the 
 31st canto of Dante's Purgatorio, [vv. 127-145]. By Samuel Byrne. 
 {In the Catholic world. Feb. 1889. vol. xlviii, p. 670.) 
 
 El infierno de la Divina commedia ; traduccidn en verso castellano ajustada 
 al original por Bartolome Mitre, con un prefacio y notas del tra- 
 ductor. Buenos Ayres, Imprenta de "Z^ Nacion.'" 1889. 
 
 100 copies printed. Title taken from Barbi's *' Bibliografia dantesca dell' 
 anno 1889." Noticed in VAlighieri^ 1889, vol. i, p. 213. Reviewed by F. 
 Cristofori in V Arcadia, 1889, vol. i, fasc. 7. 
 
 The Banquet (II convito) of Dante. Translated by Katharine Hillard. 
 London, Kegan Paul, Trench 6^ Co. 1 889. 8°. pp. Ixi + 406. 
 
 pp. 130-133, Translations of the tenth ballata and the first canzone of the 
 Vita nuova ; pp. 390-406, Epistle to Can Grande, translated from the edition 
 of Fraticelli. 
 
 " Of American parentage, Miss Hillard was born in England, where she 
 passed her childhood, and, coming to America, was educated at an Eastern 
 college." — Literary wor/d- (Boston), July 5, 1890, p. 227. 
 
 Reviewed by E. Moore in the Academy, April 20, 1889, vol. xxxv, pp. 264- 
 265 ; — in the Literary world. May 1 1 , 1889, vol. xx, p. 155; — in the Athenceum, 
 June 15, 1889, pp. 753-755; — [by G. R. Carpenter] in the Nation, July 4, 
 1889, vol. xlix, pp. 16-17. Noticed in the Critic, Nov. 16, 1889, vol. xii, p. 241. 
 
 Aub^, Jean Paul. Statue of Dante. {In the American architect and 
 building news. Aug. 17, 1889. vol. xxvi, no. 712.) 
 With a sketch of the artist's life and work. 
 
 Ampere, Jean Jacques. In the footsteps of Dante. Translated by [Mrs.] 
 Emma B[arstow] Bates. 1889. 4°. ff. (8) + 237 + (3). MS. 
 
 Deposited in HCI^. Translated from the French "Voyage dantesque." 
 Inserted are a portrait of Dante and other photographs. 
 
 Dante Society, Cambridge, Mass. Eighth annual report. Cambridge, 
 
 John Wilson &^ Son. 1889. 8°. pp.98. 
 
 Contains, pp. 21-79, "The episode of the donna pietosa ; being an attempt 
 to reconcile the statements in the Vita nuova and the Convito concerning 
 Dante's life in the years after the death of Beatrice and before the beginning 
 
123 AMERICAN DANTE BIBLIOGRAPHY. 
 
 of the Divina commedia; Dante prize essay, 1888," by George Rice Carpenter; 
 pp. 81-98, "Dante bibliography for the year 1888," compiled by William C. 
 Lane. 
 
 Noticed in the Academy ^ Sept. 14, 1889 ; — in the Nuova antologia, 16 sett., 
 i ott., 1889, vol. cvii, pp. 406, 576-577; — in the Archiv fiir das Studium der 
 neueren Sfrachen, 1890, Bd. Ixxxiv, p. 223. Mr. Carpenter's essay is reviewed 
 by [F.] P[asqualigo] in VAlighieri, 1889, an. i, pp. 254-264. 
 
 Durant, Miss Heloise, [^afterwards Mrs. Rose]. Dante ; a dramatic poem. 
 London, Kegan Paul, Trench Qr" Co. 1 889. sm. 8°. pp. xvi + 1 36. 
 
 Second edition, (a re-impression of the above), London, Lamley &' Co. 1892. 
 Reviewed in the Atheneeum, June 15, 1889, pp. 753-755, quoted in the 
 Critic, July 13, 1889, vol. xii, p. 12. 
 
 Gozzaldi, Marie. The study of Dante in Italy. {In the Cambridge (Mass.) 
 tribune. Aug. 31, 1889.) 
 
 Harris, William Torrey. The spiritual sense of the Divina commedia. 
 New York, D. Apple ton &^ Co. 1889. sq. 12°. pp. 216. 
 
 First printed in \}i\q Journal of speculative philosophy , Oct. 1887. New edition 
 in 1896. 
 
 Reviewed by E[mily] A. T[hackray] in the Writer, Feb. 1891, vol. v, 
 pp. 36-37 ; — in the Critic, Feb. 14, 1891, vol. xv, p. 82 ; — in the Literary 
 news, Mar. 1891, vol. xii, p. 80 (from the Boston Beacon) ; — in the Literary 
 world. Mar. 28, 1891, vol. xxii, p. 106 ; — by Frank Sewall in the New Jerusalem 
 magazine, Sept. 1891, vol. xv, pp. 540-552 (reprinted in his " Dante and Sweden- 
 borg," 1893); — by C. Pasqualigo in V Alighieri, 1891, an. iii, pp. 53-55. 
 
 McLean, L. M. Dante's sense of color. {In Modern language notes. 
 April, 1889. vol. iv, pp. 101-104.) 
 
 Ozanam, Antoine Fr^^ric. Dante and Catholic philosophy in the thir- 
 teenth century. Translated from the French by [Mrs.] Lucia D[uncan] 
 Pychowska. [1889.] 4°. pp. 346. MS. 
 
 Deposited in HCL. A part of the fourth chapter was printed in 1890 ; the 
 entire work is to be published in 1897. 
 
 " The text of Ozanam is here presented without abridgement. Of the very 
 numerous notes, those most useful to readers of English have been translated 
 into that tongue. The remainder, chiefly repetitions in Latin or Greek, of 
 matter set forth in the text, have been either retained in their original form, or 
 have been omitted, the references being preserved. The supplementary ' Docu- 
 ments ' are given entire, with the exception of a long mediaeval poem . . . and 
 some remarks on mediaeval visions anterior to Dante's day." — Translator' s note. 
 
AMERICAN DANTE BIBLIOGRAPHY. 123 
 
 Sewall, Frank. Dante ; [sonnet]. (Jn the New Jerusalem magazine. 
 March, 1889. vol. xiii, p. 170.) 
 
 Reprinted in his "Dante and Swedenborg," 1893, P- *• 
 
 Walford, Mrs. Lucy Bethia. London letter. (/« the Critic. May 4, 1 889. 
 vol. xi, pp. 222-223.) 
 
 Contains an account of lectures on Dante by Dr. George Macdonald and 
 the Rt. Rev. W. Boyd Carpenter, Bishop of Ripon. 
 
 Walter, Edward Lothaire. Dante's ■ Paradiso ; cantos xxiv-xxvi. {In 
 Publications of the Modern language association of America. Jan.- 
 March, 1889. vol. iv, pp. 24-40.) 
 
 *,it* Reviews : — Moore's "Contributions to the textual criticism of the 
 Divina commedia" in the Nation, Oct. 10, 1889, vol. xlix, pp. 294-295. 
 
 1890. 
 
 The divine comedy of Dante Alighieri. Translated by Henry Wads- 
 worth Longfellow. London, George Routledge 6r» Sons. 1890. 
 3 vols. 24°. 
 
 From new plates. Contains the additional notes of the 1886 Boston edition. 
 
 The fourth canto of the Inferno. [With comment and translation] by John 
 Jay Chapman. {In the Atlantic monthly. Nov. 1890. vol. Ixvi, 
 pp. 647-651.) 
 
 The rendering is in terza rima. See a note " On looking into Chapman's 
 Dante" in the December number, p. 853. 
 
 Berdoe, Edward. Browning's science as shown in " Numpholeptos." {In 
 Poet-lore. Dec. 1890. vol. ii, pp. 617-624.) 
 
 Sees a partial reproduction of Dante's Beatrice in Browning's Nymph. See 
 a/j-^- Duffield, C. W. The " unreason of a she-intelligence." 1891. 
 
 Calvi, Cesare. The Beatrice exposition. Translated by C. H. Gates. 
 {In the Boston evening transcript. June 7, 14, 1890.) 
 
 *4it* For an adverse criticism of the Beatrice festival, see an anonymous 
 letter, from an American student, in the Critic, Oct. 6, 1890, vol. xiv, p. 162. 
 
 Dante Society, Cambridge, Mass. Ninth annual report. Cambridge, John 
 Wilson &^ Son. 1890. 8°. pp.45, 
 pp. 21-45, " Dante bibliography for the year 1889," compiled by W. C. Lane. 
 
124 AMERICAN DANTE BIBLIOGRAPHY, 
 
 Gitterman, John Milton. Ezzelin von Romano, i. Teil: die Griindung 
 der Signorie (i 194-1244). Stuttgart, W. Kohlhammer. 1890. 8°. 
 pp. xvi + 1 64. 
 
 Reviewed in VAlighieri, 1891, an. ii, pp. 392-394;— by "P. II." in Litera- 
 risches Centralblatt, 30 April, 1892, column 638. The author's conclusion as 
 to Sordello "di Marano " having been confounded with the celebrated Sordello 
 "di Goito" is opposed by C. Merkel in Giornale storico delta letteratura italianay 
 1 89 1, vol. xvii, pp. 381-390. 
 
 Lane, William Coolidge, compiler. The Dante collections in the Harvard 
 college and Boston public libraries. Cambridge, Issued by the Library 
 of Harvard University. 1890. 8°. pp. 116. (Bibliographical con- 
 tributions, edited by Justin Winsor. No. 34.) 
 
 Noticed by F. X. Kraus in the Literaturblatt fiir germanische und romanische 
 Philologie. Reviewed by " G. S." in Vita nuova, 1890, p. 8 (248) ; — in the 
 Literary worlds Aug. 29, 1 891, vol. xxii, p. 295. 
 
 Murat, Luiz. O distico de Dante. (/« his Ondas. Rio de Janeiro, 
 /. Silva <2r- Adolpho. 1890. 16°. pp. 223-226.) CUL. 
 
 Ozanam, Antoine FrMMc. Student life of Dante. Translated by [Mrs.] 
 Lucia D[uncan] Pychowska. (/« the Catholic world. Sept., Oct. 
 1890. vol. li, pp. 767-776; vol. Hi, pp. 61-67.) 
 
 A portion of chapter iv of Ozanam's " Dante et la philosophic catholique 
 au treizieme siecle." 
 
 Fallen, Condfe B. The times that led up to Dante. {In the American 
 Catholic quarterly review. Oct. 1890. vol. xv, pp. 681-697.) 
 
 Saint Louis — Public library. A reference list for the study of Dante. 
 [St. Louis. 1890.] 1. 8°. pp. 5. (Reference lists No. 11.) 
 
 Schaff, Philip. Dante Alighieri. — The Divina commedia. {In his Lit- 
 erature and poetry. New York, Charles Scribner's Sons. 1890. 8°. 
 pp. 279-429.) 
 
 PP- 328-337. Bibliography; pp. 338-344, Poetic tributes to Dante. 
 
 The writer, speaking of himself, says in a note, " His articles on Dante in 
 this volume are entirely new, but the estimate of Dante is the same as that in 
 his youthful address [of 1846]." 
 
 The Dante material of this volume has also been bound up separately, with 
 the same pagination, but with a separate title-page and table of contents. The 
 greater part of the essay on the Divina commedia has been translated into 
 Italian by Marco Lessona and published under the title " Dante Alighieri e la 
 Divina commedia ; studio di Filippo Schaff." Torino, Unione tipografico editrice 
 torinese. 8°. 1892. pp. 56. 
 
AMERICAN DANTE BIBLIOGRAPHY. 125 
 
 Dante's theology. (Jn Papers of the American society of church 
 
 history. 1890. vol. ii, pp. 53-73.) 
 
 Thaxter, Mrs. Celia. And his will is our peace ; [poem]. {In the Century 
 magazine. April, 1890. vol. xxxix, p. 905.) 
 
 With Dante's line, "E la sua volontade e nostra pace," for a motto. 
 Concerning Mrs. Thaxter's interpretation of the line, see a query and note in 
 the Critic, June 7, 1890, vol. xiii, p. 292. 
 
 Thomas, Miss Edith Matilda. Beatrice; [poem]. {In the Critic. Sept. 13, 
 1890. vol. xiv, p. 132.) 
 
 Written, at the request of Vincenzo Botta and Charlotte Lynch Botta, for 
 the celebration in Italy of the six hundredth anniversary of the death of 
 Beatrice Portinari. 
 
 Wall, Annie Russell. Dante's imperialism, (Jn Poet-lore. Oct. 1890. 
 vol. ii, pp. 501-515.) 
 
 Wilson, Epiphanius. Dante; [sonnet]. {In the Critic4 June 7, 1890. 
 vol. xiii, p. 287.) 
 
 *^i(* Reviews: — Symonds' "Introduction to the study of Dante," in the Lit- 
 erary world, July 19, 1890, vol. xxi, pp. 234-235, in the Nation, Oct. 2, 1890, 
 vol. Ii, pp. 271-272, in the Critic, Oct. 18, 1890, vol. xiv, p. 188; — Moore's 
 "Early biographers of Dante," in the Nation, Oct. 16, 1890, vol. Ii, pp. 307-309. 
 
 1891. 
 
 The divine comedy of Dante Alighieri. Translated by Charles Eliot 
 Norton, i. Hell. Boston, etc., Houghton, Mifflin Or' Co. 1891. 
 sm. 8°. pp. xxvi + (i) + 193. 
 
 Reviewed in the Literary world, Oct. 24, 1891, vol. xxii, p. yji; — [by W. R. 
 Thayer] in the Nation, Nov. 5 and 12, 1891, vol. liii, pp. 356-357, 377-^78 ; — 
 by W. M. Payne in the Dial, Nov. 1891, vol. xii, pp. 218-219 ; — i" the Atlantic 
 monthly, Dec. 1891, vol. Ixviii, pp. 838-841 ; — in the Saturday review, Dec. 9, 
 1891, vol. Ixii, pp. 707-708 ; — in the Critic, Jan. 23, 1892, vol. xvii, pp. 47-48 ; 
 — by P. Toynbee in the Academy, Feb. 13, 1892, pp. 1 51-152; — (with the 
 " Purgatory") in The post-graduate and Wooster {Ohio) quarterly, 1891, vol. vi, 
 pp. 138-139; — by W. V. M[oody] in the Harvard monthly, Jan. 1892, vol. 
 xiii, p. 171; — in the Spectator, May 7, 1892, p. 652. 
 
 A translation of Dante's eleven letters, with explanatory notes and historical 
 comments by Charles Sterrett Latham. Edited by G. R. Carpenter, 
 
126 AMERICAN DANTE BIBLIOGRAPHY. 
 
 with a preface by C. E. Norton. Student's ed. Boston, etc.^ Houghton, 
 Mifflin ^ Co. 1891. 8°. pp. xiii + (i) + 284. 
 
 Same. A translation of Dante's eleven letters, with explanatory notes and 
 a biographical, historical, and critical comment to the first, second, third, 
 -ninth, and eleventh letters by Charles Sterrett Latham. Memorial 
 ed. Cambridge, Riverside Press. 1891. 8°. pp. xiii + (i) + 284. 
 Port, of translator. 
 
 The prize offered by the Dante Society was awarded to Mr. Latham in 1890. 
 Mr. Latham died on July 21, 1890. He did not Uve to learn the award of the 
 prize- 
 Reviewed [by W. R. Thayer] in the Nation, Oct. 29, 1891, vol. liii, pp. 339- 
 340 ; — by W. M. Payne in the Dial, Nov. 1891, vol. xii, p. 219 ; — in the Literary 
 world, Nov. 7, 1 891, vol. xxii, p. 397; — by H. M. F[ield] in the New York 
 evangelist, Nov. 13, 1891, vol. Ixi, n. 46, p. i ; — in the Atlantic monthly, Dec. 
 
 1891, vol. Ixviii, pp. 838-841 ; — in the Critic, Jan. 2, 1892, vol. xvii, p. 3, reprinted 
 in the Literary news, Jan. 1892, vol. xiii, new series, p. 16; — by P. S. A[bbott] 
 in the Harvard monthly, Feb. 1892, vol. xiii, pp. 217-218 ; — in the Athenceum, 
 Feb. 27, 1892, pp. 273-274 ; — by P. Toynbee in the Academy, April 2, 1892 ; — 
 by F. X. Kraus in the Literaturblatt fiir germanische und romanische Philologie, 
 
 1892, Bd. xiii, p. 126; — by C. P[asqualigo] in VAlighieri, 1892, an. iii, 
 pp. 358-359; — in the Florence gazette. May 5, 1894 (CUL). Noticed in 
 Giornale storico delta letteratura italiana, 1892, vol. xix, p. 126. 
 
 American Dante Society. Year-book. 1890-91. New York. [1891.] 8°. 
 pp. 81 -f (I). 
 
 Besides a history of the founding of the Society, its constitution, lists of 
 officers and members, and reports, the volume contains, pp. 25-34, "Address," 
 by Marvin R. Vincent, pp. 35-66, "The teachers of Dante," by Thomas 
 Davidson, and pp. 67-81, " Dante's doctrine of sin," by William T. Harris. 
 
 The circular announcing the formation of the proposed society is reprinted 
 in a notice of the plan of organization in Modern language notes, Jan. 1891, 
 vol. vi, pp. 28-29. No more than the above volume was ever published. The 
 Society has ceased to exist. 
 
 Brown, George P. Dante's Divina commedia ; an interpretation. {In the 
 Public school journal, (Bloomington, 111.). April-Dec. 1891. vol. x.) 
 
 Concluded in 1892. 
 
 [Carpenter, George Rice.] The known in Dante's life. (/« the Nation. 
 June 18, 1 891. vol. Hi, pp. 504-505.) 
 
 Reviews Scartazzini's " Prolegomeni." 
 
AMERICAN DANTE BIBLIOGRAPHY. 127 
 
 Cook, Albert Stanborough. The literary genealogy of Tennyson's Ulysses. 
 {In Poet-lore. 1891. vol. iii, no. 10, pp. 499-504.) 
 Treats of Tennyson's indebtedness to Dante. 
 
 Dante Society, Cambridge, Mass. Tenth annual report. Cambridge, John 
 Wilson ^r' Son. 1891. 8°. pp.60. 
 
 pp. 15-31, "Additions to the Dante collection in Harvard College library," 
 compiled by W. C. Lane; pp. 32-35, "Documents concerning Dante's debts," 
 and pp. 36-60, " Documents concerning Dante's public life ; pt. i," compiled by 
 G. R. Carpenter. 
 
 Duffield, Charles Wadsworth. The " unreason of a she-intelligence." (/« 
 Poet-lore. Jan. 1891. vol. iii, pp. 45-47.) 
 
 Criticises E. Berdoe's opinion that Browning's Nymph is in part a reproduc- 
 tion of Dante's Beatrice {^Poet-lore, 1890). 
 
 Hazard, Mrs. Rebecca N. Two views of Dante. Kirkwood, Mo. [Privately 
 printed.] 1891. 8°. pp. 36. Plans. 
 
 Contains a reprint of her paper read before the American Akademe in 
 Dec. 1886, published in their Journal, 1887, ^^^ ^ second paper entitled 
 "A new view of Dante." Inserted in both the CUL and HCL copies are 
 autograph letters from the author. 
 
 Hillard, Miss Katharine. The Beatrice of Dante from a theosophic point 
 of view. I, II. {In Lucifer, (London). Aug. 15, Sept. 15, 1891. vol. viii, 
 pp. 459-464; vol. ix, pp. 55-60.) 
 See biographical note under 1889. 
 
 Recent Dante literature. {In the Atlantic monthly. Dec. 1891. vol. Ixviii, 
 pp. 838-841.) 
 
 Reviews of Norton's " Hell„" and Latham's " Letters of Dante." 
 
 Rod, Edouard. Dante's biography. {In Public opinion. Jan. 24, 1891. 
 vol. X, p. 384.) 
 
 Translated passage from Rod's article in the Revue des deux mondes, 
 Dec. 15, 1890. 
 
 Schaff, Philip. The renaissance ; the revival of learning and art in the 
 fourteenth and fifteenth centuries. {In Papers of the American society 
 of church history. 1891. vol. iii, pp. 1-132.) 
 pp. 13-21, Dante. 
 
 Same, separately printed. New York, G. P. Putnam^ s Sons. 1891. 
 
 8°. pp. 132. 
 
128 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Scott, Fred Newton. Dante interpretation. (/« Modern language notes. 
 Dec. 1891. vol. vi, p. 253.) 
 
 Supporting Todd, H. A. A new exegesis of Purg. xix. 51. 1891. 
 
 Todd, Henry Alfred. A new exegesis of Purg. xix. 51. [•' Ch' avran di 
 consolar T anime donne."] {In Modern language notes. Nov. 1891. 
 vol. vi, pp. 195-196.) 
 
 Claims the word donne to be the past participle of donare. 
 See also Scott, F. N. Dante interpretation. 1891. 
 Speranza, C. L. "A new exegesis of Purg. xix. 51." 1892. 
 T[odd], H. A. "A new exegesis of Purg. xix. 51." 1892. 
 
 [Unity Club, St. Louis.'] Dante : illustrated in art and music. [St. Louis. 
 1 89 1.] 24°. pp.3. 
 
 Programme of an entertainment given by the Unity Club of the Church of 
 the Unity, St. Louis. 
 
 [Wendell, Barrett.] Mr. Lowell as a teacher. {In Scribner's magazine. 
 Nov. 1 891. vol. X, pp. 645-649.) 
 
 Describes Lowell's method of conducting the study of Dante at Harvard 
 College. Reprinted in Wendell's " Stelligeri, and other essays concerning 
 America." New York, Charles Scribner's Sons. 1893. 16°. pp. 203-217. 
 Cited in the body of the present work, pp. 57-58. 
 
 [Williams, Francis Howard.] [Beatrice and Numpholeptos.] {In Poet-lore. 
 Mar. 1 891. vol. iii, pp. 163-164.) 
 
 Extract from a paper read before the Philadelphia Browning Club. Takes 
 the ground that Browning's Numpholeptos was "the embodiment of a purely 
 ethical ideal, while Beatrice was the embodiment of a religious ideal." 
 
 %* Reviews : — Agnelli's "Topo-cronografia del viaggio dantesco," Del 
 Lungo's "Beatrice nella vita e nella poesia del secolo xiii," and Ricci's "L'ulti- 
 mo rifugio di Dante," by H. A. Rennert in Modern language notes, 1891, vol. vi, 
 pp. 214-217 ; — Howell's translation of " De vulgari eloquentia " in the Nation, 
 Oct. 8, 1891, vol. Iii, p. 282-283, by H. A. Rennert in Modern language notes, 
 1891, vol. vi, pp. 143-145. 
 
 1892. 
 
 The divine comedy of Dante Alighieri. Translated by Charles Eliot 
 Norton, ii. Purgatory. Boston, etc.^ Houghton, Mifflin 6r* Co. 1892 
 [91]. sm. 8°. pp. ix + (i) 4- 216. 
 
AMERICAN DANTE BIBLIOGRAPHY. 129 
 
 Reviewed [by W. R. Thayer] in the Nation, Feb. 18, 1892, vol. liv, pp. 134- 
 135; — by P. Toynbee in the Academy , July 23, 1892, p. 64 ; — in the Literary 
 world, Jan. 16, 1892, vol. xxiii, p. 23 ; — in the Athenaum, Feb. 13, 1892, pp. 
 212-213; — i^ ^^^ Critic, Feb. 27, 1892, vol.xvii, pp. 123-124; — in th.e Saturday 
 review. Mar. 19, 1892, pp. 23^337 5 — by E. Cavaiza in New world, Mar. 1892, 
 vol. i, p. 188 ; — by W. M. Payne in the Dial, June, 1892, vol. xiii, p. 56. 
 
 The divine comedy of Dante Alighieri. Translated by Charles Eliot 
 Norton, iii. Paradise. Bosion, etc., Houghton, Miffiin &^ Co. 1892. 
 sm. 8°. ~ pp. ix + (i)+ 233. 
 
 Reviewed in the Athenceum, July 2, 1892, p. 34; — in the Nation, Aug. 11, 
 1892, vol. Iv, pp. iio-iii ; — in the Critic, Aug. 20, 1892, vol. xviii, pp. 90-91 ; 
 — 'in the Saturday review, Aug. 20, 1892, pp. 224-226; — by W. M. Payne in 
 the Dial, Sept. 16, 1892, vol. xiii, p. 190. 
 
 The divine comedy of Dante Alighieri. Translated by Charles Eliot 
 Norton. [Large paper ed.] Cambridge, Riverside Press. 1892. 
 3 vols. 8°. 
 
 250 copies. 
 
 The new life of Dante Alighieri. Translated by Charles Eliot Norton 
 [with essays and notes]. Boston, etc., Houghton, Mifflin 6r» Co. 1892. 
 sm. 8°. pp. (i) -f- 168. 
 
 Same. [Large paper ed.] Q2Xi{}ax\^gt, Riverside Press. 1892. 8°. 
 
 pp. (I) + 168. 
 
 250 copies. 
 
 Essays : — On the New life. — The Convito and the Vita nuova. — On the 
 structure of the Vita nuova. 
 
 " I have not prefixed to my translation a preface or introduction, preferring 
 to let the little book present itself to the reader without help or hindrance. I 
 would have it read as Dante left it. In the essays and notes which follow, I 
 have endeavored to say only what may lead to the appreciation of it, or may 
 remove difficulties in its interpretation." — p. 93. 
 
 Reviewed in the Nation, Nov. 24, 1892, vol. Iv, p. 398 ; — in the Dial, Dec. 16, 
 1892, vol. xiii, p. 399 ; — in the Saturday review, Jan. 28, 1893, PP- 105-106; — 
 in the Literary world, Feb. 25, 1893, vol. xxiv, p. 59. 
 
 Aldrich, Miss Anne Reeve. Francesca and Paolo, {hi her Songs about 
 life, love, and death. New York, Charles Scribner''s Sons. 1892. 16*'. 
 P- 33) 
 
I30 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Brown, George P. Dante's Divina commedia ; an interpretation. {In the 
 Public school journal. 1892. vol. xi.) 
 Concluded from 1891. 
 
 Carducci, Giosufe. Dante ; [sonnet]. — Dante. — On the sixth centenary of 
 Dante; [sonnet]. — Beatrice. {In his Poems. Translated, with two 
 introductory essays, by Frank Sewall. New York, Dodd^ Mead &* Co. 
 1892. sm. 8°. pp. 85, 120-129.) 
 
 [Carpenter, George Rice.] French Dante manuscripts. (/;/ the Nation. 
 Nov. 3, 1892. vol. Iv, p. 339.) 
 
 Reviews Auvray's " Les manuscrits de Dante des biblioth^ques de France," 
 and " Traite de reloquence vulgaire ; manuscrit de Grenoble public par 
 Maignien et Prompt." 
 
 Conway, James. Beatrice and other allegorical characters of Dante 
 Alighieri. {In the American Catholic quarterly review. May, 1892. 
 vol. xvi, pp. 253-275.) 
 
 Reprinted in part in the Literary digest., 1892, vol. v, pp. 12-13. 
 
 Dante and Ariosto. {In American notes and queries. Jan. 23, 1892. vol. 
 viii, p. 135.) 
 
 Dante Society, Cambridge, Mass. Eleventh annual report. Cambridge, 
 John Wilson Or' Son. 1892. 8°. pp. 109. 
 
 pp. 15-53, "Documents. concerning Dante's public life; pt. ii," compiled by 
 G. R. Carpenter; pp. 55-72, "Additions to the Dante collection in Harvard 
 College library," compiled by W. C. Lane; pp. 73-109, "The personal 
 character of Dante as revealed in his writings," by Lucy Allen Paton. In the 
 report proper is given an extract from one of Lowell's unpublished college- 
 lectures in which he told of his method of studying Dante. This part of the 
 report was reprinted in the Critic, Aug. 20, 1892, vol. xviii, p. 97, under the title 
 " Lowell's love of Dante "; it is also cited in the body of the present work, pp. 
 
 55-56. 
 
 Miss Paton's article, "being the essay by a member of the school of the 
 Society for the collegiate instruction for women, in Cambridge, Mass., to which 
 'The Sara Greene Timmins prize' was awarded in 1891," was also separately 
 printed as no. 4 of the Fay house monographs. Boston, Ginn ^^ Co. 1892. 
 8°. pp. 44. Noticed in the Literary world, July 1 5, 1893, vol. xxiv, pp. 228-229. 
 
 Davidson, Thomas. The Paradise of Dante ; a lecture at the Dante school, 
 April 20, [1892]. {In the Parthenon, (Chicago). May 5, 12, 1892. 
 vol. i, nos. 25, 26.) 
 
AMERICAN DANTE BIBLIOGRAPHY, 
 
 i3» 
 
 M 
 
 Davies, Samuel David. Dante's claim to poetic eminence. {In Poet-lore. 
 Oct. 1892. vol. iv, pp. 490-497.) 
 
 The author denies such claim and finds only tediousness and brutality in the 
 Divine comedy. 
 
 Noticed in the Nation, Dec. 8, 1892, vol. Iv, p. 433. 
 
 Evans, E. W., jr. The ethics of the Divine comedy. {In the Princeton 
 college bulletin. June, 1892. vol. iv, pp. 60-62.) 
 
 An abstract of a paper read before. the Princeton College Philosophical 
 Club, May 17, 1892. 
 
 Fawcett, Edgar. To Dante; [sonnet]. {In the Cosmopolitan. Oct. 1892. 
 vol. xiii, p. 719.) 
 
 Foote, Arthur. Symphonischer Prolog ; " Francesca da Rimini." [C minor.] 
 Fiir grosses Orchester. Op. 24. \_Fu II score.'] Boston & Leipzig, ^rM«r 
 P. Schmidt. 1892. 1. 8°. pp. 79. 
 
 Performed at the Boston Symphony Concerts of Jan. 23, 1891 and Mar. 2, 1895. 
 For notices, see the Boston herald, Jan. 25, 1891, the Boston evening transcript, 
 Jan. 24, 1891, Mar. 4, 1895, and *^^ bulletins issued by the management for the 
 two respective concerts. Inserted in the HCL copy is an autograph letter from 
 the composer. 
 
 Harrison, Miss Elizabeth. The vision of Dante ; a story for little children 
 and a talk to their mothers. Illustrated by Walter Crane. Chicago, 
 Kindergarten College. 1892. 4°. pp.21, -^plates. 
 
 Printed on one side of the leaf only. Second edition (a re-impression of 
 the above), 1894 [93]. 
 
 Horton, George. Dante's story of Francesca ; [sonnet]. {In his Songs of 
 the lowly, and other poems. Q\i\z2igo, F. J. Schulte &^ Co. [1892.] 12°. 
 p. 181.) 
 
 Lounsbury, Thomas Raynesfprd. [Chaucer's obligations to Dante.] {In 
 his Studies in Chaucer, his life and writings. New York, Harper &^ Bros. 
 1892. 8°. vol. ii, pp. 236-246.) 
 
 " Particularly interesting is Mr. Lounsbury's estimate of Chaucer's obliga- 
 tions to Dante, which is very different from that of Skeat and Ten Brink, but 
 seems judicious." — Nation, Mar. 17, 1892. 
 
 Mabie, Hamilton Wright. Some modern readings from Dante. {In his 
 Essays in literary interpretation. New York, Dodd^ Mead ^^ Co. 1892. 
 16°. pp. 175-205. Port.) 
 The portrait is the same as that inscribed "■ Collon de la Sorbonne." 
 
132 
 
 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Matson, Henry. Dante and Milton. (/« his References for literary- 
 workers. Chicago, A. C. McClurg &* Co. 1892. 12°. pp. 273-275.) 
 
 Mitchell, Mrs. Ellen M. Twelve lessons on Dante's Divina commedia ; 
 [syllabus]. Denver, Col. [1892.] 16°. pp. 3. 
 
 Mott, Lewis Freeman. Dante and Beatrice ; an essay in interpretation. 
 l^^yi^oxVi, William R.Jenkins. 1892. 16°. pp.48. 
 Noticed in the Critic, July 30, 1892, vol. xviii, p. 55. 
 
 Snider, Denton Jaques. Dante's Inferno; a commentary. St. Louis, Sigma 
 Publishing Co. (cop. 1892.) 8°. pp.472. 
 
 " The book . . . has never been really published. ... I printed the work 
 chiefly for the use of my classes." — From a private letter. 
 
 Reviewed in the Nation, Nov. 2, 1893, vol. Ivii, p. 329 ; — in the Literary 
 world, Feb. 10, 1894, vol. xxv, p. 39; — in the Critic, May 19, 1894, vol. xxii, 
 P- 337- 
 Speranza, Carlo L. "A new exegesis of Purg. xix. 51." (/« Modern 
 language notes. Feb., March, 1892. vol. vii, pp. 36-39, 93-95.) 
 
 Reviews Todd's "A new exegesis of Purg. xix. 51." 1891. 
 
 T[odd], H[enry] A[lfred]. "A new exegesis of Purg. xix. 51." {In 
 Modern language notes. Feb. 1892. vol. vii, p. 39.) 
 A reply to Prof. Speranza's article in the same number. 
 
 %* Reviews : — Butler's "Hell," in the Nation, May 1 2, 1892, vol. liv, p. 365, 
 in the Literary world. May 21, 1892, vol. xxiii, p. 183, in the Critic, June 4, 
 1892, vol. xvii, p. 311, by W. M. Payne in the Dial, June, 1892, vol. xiii, p. 56; 
 
 — Berthier's " La divina commedia commentata secondo la scolastica," and 
 Ricci's " L'ultimo rifugio di Dante," in the Nation, May 19, 1892, vol. liv, p. 378; 
 
 — Scartazzini's " Dante-Handbuch," in the Nation, June 2, 1892, vol. liv, pp. 
 414-415. O. Browning's "Dante," noticed in the Nation, Jan. 28, 1892, vol. 
 liv, p. 72, in the Critic, March 5, 1892, vol. xvii, p. 137, in the Literary world, 
 April 9, 1892, vol. xxiii, p. 130. 
 
 1893. 
 
 The divine comedy of Dante Alighieri. Translated into English verse by 
 Thomas William Parsons. With a preface by Charles Eliot Norton, 
 and a memorial sketch by Louise Imogen Guiney. Boston, etc., 
 Houghton, Mifflin ^ Co. 1893. sm. 8°. pp. xix + 353. 
 
 The preface is a reprint of the remarks made by Mr. Norton at the annual 
 meeting of the Dante Society, May, 1893. 
 
AMERICAN DANTE BIBLIOGRAPHY. 133 
 
 Reviewed in tlie Literary world, Dec. 30, 1893, vol. xxiv, pp. 462-463 ; — by 
 W. M. Payne in the Dial, Feb. i, 1894, vol. xvi, pp. 85-86; — in the Critic, 
 July 14, 1894, vol. XXV, pp. 21-22. 
 
 See also [Carpenter, G. R.] A poet's Dante. 1894. 
 
 Cacciaguida's prophecy of Dante's banishment ; Paradise, canto xvii. [46- 
 138.] [Translated by] Basil Tempest. {In the Week, (Toronto). 
 Dec. 15, 1893. vol. xi, p. 58.) 
 A free rendering in terza rim a. 
 El infierno del Dante ; traduccidn en verso ajustada al original, con nuevos 
 comentarios, [by] Bartolome Mitre. 3a ed., corregida y aumentada. 
 Buenos Aires, /. /'^wj'^r. 1893. 16°. pp. xxxi + 490 -f (i). Frontisp. 
 
 CUL. 
 
 Bryant, William McKendree. Historical presuppositions and foreshadow- 
 ings of Dante's Divine comedy. (/« the Andover review. Sept.-Oct. 
 1893. vol. xix, pp. 525-550.) 
 
 " This paper is one of a course of lectures on Dante, delivered under the 
 auspices of the ' Froebel Society ' (Kindergartners) of St. Louis, February, 
 1893." 
 
 Same., separately printed. [Boston, 1893.] 8°. pp.26. CUL. 
 
 Inserted in the CUL copy are two letters from the author. 
 
 Clark, William. Notes on Dante. I-VII. {In the Week, (Toronto). 
 Oct. 27, Nov. 3, ID, 17, 24, Dec. i, 8, 1893.) 
 
 Cram, Ralph Adams. Dante in exile ; [sonnet]. {In the New England 
 magazine. June, 1893. vol. viii, p. 525.) 
 
 Dante. {In the Reader, (Cambridge, Mass.). Feb. 16, 1893. vol. i, p. 46.) 
 A short list of books for the study of Dante. 
 
 Dante on the glory of Mary. {In the Ave Maria. July 8, 1893. vol. 
 xxxvii, p. 49.) CUL. 
 
 Dante Society, Cambridge., Mass. Twelfth annual report. Cambridge, 
 John Wilson &^ Son. 1893. 8°. pp. 39. 
 
 In the Report proper are given Mr. Norton's remarks on Dr. Parsons' life- 
 long devotion to Dante, together with some criticism of his translation. 
 
 pp. 17-24, "Dante's obligations to the De officiis in regard to the division 
 and order of sins in the Inferno," by E. Moore, — an elaboration of an article 
 published in the Academy, June 4, 1892 ; pp. 25-39, "Additions to the Dante 
 collection in Harvard College library," compiled by W. C. Lane. 
 
 Noticed in the Critic, May 19, 1894, vol. xxi, pp. ';^2^32i7 '■> — ^^ ^^^ Dial, 
 Feb. I, 1895, vol. viii, p. 89. 
 
134 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Harris, William Torrey. Dante's Inferno and Purgatorio: the essential 
 difference of their punishments. (/« St. Louis Froebel society, 1892- 
 1893. [St. Louis. 1893.] 24°. pp. 11-20.) 
 
 At the celebration of the 20th anniversary of the introduction of the Kinder- 
 garten into the St. Louis Public Schools, and the opening of the Public 
 Library, a " Dante School " was held during the week of Feb. 18-25, 1893. 
 Besides the address from which the above extract is taken the following papers 
 were read: Geo. P. Brown, " The relation of the Divine comedy to education"; 
 Wm. M. Bryant, "Historical presuppositions and fore-shadowings of Dante's 
 Divine comedy"; Mrs. J. C. Learned, "The symbolism of Dante"; H. W. 
 Mabie, "Some modem lessons from Dante"; D. J. Snider, "Dante's Purga- 
 torio." 
 
 Hovey, Richard. Seaward ; an elegy on the death of T. W. Parsons. 
 Boston, D. Lothrop ^ Co. 1893. sm. 8°. pp. (48). Port. 
 
 Contains, among the notes, estimates of Parsons by E. C. Stedman, W. R. 
 Alger ; also the author's paper, " Thomas William Parsons ; a study " (from 
 the Atlantic monthly, Feb. 1893, vol. Ixxi, pp. 264-270), in which Parsons' 
 theory of translation is supported. 
 
 Marsh, Arthur Richmond. Dante Alighieri. (/« Johnson's universal 
 cyclopaedia. New edition. New York, A. J. Johnson Co. 1893. 1. 8°. 
 vol. ii, pp. 656-663.) 
 
 Dante at Oxford. {In the Nation. April 27, 1893. vol. Ivi, pp. 311- 
 
 312.) 
 
 Called forth by a review, of the "Translatio et comentum totius libri 
 Dantis " of Johannes de Serravalle, in the Nation, April 6, 1893, P* 262. 
 
 McClintock, William D. and Porter Lander McClintock. Song and legend 
 from the Middle Ages. Meadville, Pa., Flood &^ Vincent. 1893. 12°. 
 pp. xii+ 141. 
 
 pp. 1 13-132, Dante. Gives an account of the Vita nuova and Divina 
 commedia, with selections from Rossetti's and Gary's translations. 
 
 Sewall, Frank. Dante and Swedenborg ; with other essays on the new 
 Renaissance, l^on^on, James Spiers. 1893. sm. 8°. pp. (2)+ 149+ (3). 
 
 p. I, "Dante"; [sonnet] ; pp. 2-59, "Dante and Swedenborg"; pp. 60-80, 
 "The spiritual sense of Dante, a review" [of W. T. Harris' book, 1889]. 
 
 Reviewed in the New Jerusalem magazine, Feb. 1893, ^°^* ^^^^' PP* 'M-i^Sj 
 — in the Literary world (London). 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 135 
 
 Sherman, Lucius A. Analytics of literature; a manual for the objective 
 study of English prose and poetry. Boston, Ginn Or' Co. 1893. 8°. 
 pp. XX + 468. 
 
 pp. 44-46, 130-132, 385-388, treat of Dante's verse structure. 
 
 Snider, Denton Jaques. Dante's Purgatorio and Paradiso ; a commentary. 
 St. Louis, Sigma Publishing Co. (cop. 1893.) 8°. pp. 584. 
 
 Tassin, Algernon de Vivier. The allegory of the Inferno. MS. [1893.] 
 pp. (2) + 49. 
 
 Thesis written in the course Italian 4, Harvard College, 1892-93 ; deposited 
 in the library. 
 
 Thayer, William Roscoe. Dante. (Jn his The dawn of Italian independ- 
 ence. Boston, etc., Houghton^ Miffiifi &> Co. 1893 (cop. 1892.) 8°. 
 vol. i, pp. 52-59-) 
 
 Waugh, Arthur. London letter. (In the Critic. May 13, 1893. vol. xix 
 pp. 315-316.) 
 
 A description of the London Dante exhibition of 1893. 
 
 *j,t* Reviews : — Shadwell's " Purgatory," in the Dial, March 16, 1893, vol. 
 xiv, pp. 183-184, in the Literary world, June 3, 1893, vol. xxiv, p. 172, in the 
 Critic, Oct. 21, 1893, vol. xx, p. 253; — Gurney's "Dante's Pilgrim's progress," 
 in the Critic, July 29, 1893, vol. xx, pp. 65-66; — Scartazzini's "Companion 
 to Dante " (Butler's translation), in the Nation, Nov. 9, 1893, vol. Ivii, p. 350 ; 
 — Symonds' " Introduction to the study of Dante," in the Critic, Aug. 19, 1893, 
 vol. XX, p. 124. Janitschek's "Die Kunstlehre Dante's und Giotto's Kunst," 
 noticed in the Nation, Feb. 9, 1893, vol. Ivi, p. 105. 
 
 1894. 
 
 La divina commedia di Dante Alighieri ; teste comune colle variazione dei 
 codici publicati da Carlo Witte. Prima edizione americana arricchita 
 del ritratto di Dante per Gustavo Dord. Boston, Lee e Shepard. 1894. 
 8°- PP- (9) + 545. Port. 
 
 Re-impression from the plates of the Boston edition of 1867. 
 
 Dante's Inferno, condensed [from the translation by J. A. Carlyle], 
 Edited with introduction and notes by Isabella White. New York. 
 
136 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Maynard, Merrill ^ Co. (cop. 1894.) 16°. pp.48. (English classic 
 series. No. 147.) 
 
 Gives also Mrs. Oliphant's rendering of Inf. ii. 52-117, and D. G. Rossetti's 
 rendering of Inf. v. 1 12-142. Inserted in the HCL copy is a letter from the 
 editor. 
 
 Aldrich, Thomas Bailey. A portrait of Thomas William Parsons ; a foot- 
 note. {In the Century magazine. July, 1894. vol. xlviii, pp. 323-324. 
 Port.) 
 
 Speaks of Dr. Parsons' lifelong devotion to Dante, and prints the " Lines 
 on a bust of Dante." 
 
 The portrait, reproduced in a photo-engraving (T. Johnson, jr.), is from a 
 photograph by Mr. Dexter, an amateur. It is to be found also in the Bostonian^ 
 June, 1895. 
 
 Berenson, Bemhard. Dante's visual images and his early illustrators. (Jn 
 the Nation. Feb. i, 1894. vol. Iviii, pp. 82-83.) 
 
 Bogue, Horace P. V. Paradise lost and the Divine comedy. (Jn Dodge, 
 M. G. and D. W. Burke, editors. The Clark prize book. Clinton, N.Y. 
 1894. 16°. pp. 1 1 5-1 23.) 
 
 Exhibition of 1863, Hamilton College. Here printed for the first time. 
 
 Cappon, James. The legend of Ulysses in Dante and Tennyson. I-II. 
 {In Queen's quarterly, (Kingston, Canada). April, July, 1894. vol. i, 
 PP- 305-315 ; vol. ii, pp. 62-70.) 
 
 [Carpenter, George Rice.] A poet's Dante. {In the Atlantic monthly. June, 
 1894. vol. Ixxiii, pp. 843-846.) 
 
 A review of the work of T. W. Parsons. Reprinted in part in the Literary 
 digest^ 1894, vol. ix, p. 160. 
 
 Cooke, George Willis. Browning's interpretation of romantic love as com- 
 pared with that of Plato, Dante, and Petrarch. {In Poet-lore. 1 894. 
 vol. vi, pp. 225-238.) 
 
 The author has also drawn a comparison between Browning and Dante in 
 his " Poets and problems," Boston, Ticknor dr» Co., 1886, p. 324. 
 
 Crane, Thomas Frederick. The Dante library. {In the Cornell magazine. 
 May, 1894. vol. vi, pp. 273-281.) CUL. 
 
AMERICAN DANTE BIBLIOGRAPHY. 137 
 
 < Same, separately printed. The Dante library presented by Willard 
 
 Fiske to Cornell University, 1 893-1 894. Ithaca, 1894. 8°. pp. 11. 
 See also [Snell, F. J.] Dante in America. 1896. 
 
 Dante Society, Cambridge, Mass. Thirteenth annual report. Boston, 
 Ginn &> Co. 1894. 8°. pp. 16 + 17 + 28. 
 
 pp. 1-16, "Additions to the Dante collection in Harvard College library," 
 compiled by W. C. Lane; pp. 1-28, " Index of proper names in the prose works 
 and Canzoniere of Dante," by Paget Toynbee. 
 
 Noticed in the Athen<zum, Jan. 19, 1895, P- ^4> — ^^ the Dial, Feb. i, 1895, 
 p. 89. 
 
 Durand-Fardel, Max. One view of Dante's Beatrice. (In the Literary 
 digest. 1894. vol. viii, p. 583.) 
 
 Translated and condensed from the Nouvelle revue, Mar. 1894. 
 
 Howells, William Dean. [Dante.] (/« the Ladies home journal. Dec. 
 1894.) 
 
 Reprinted in his " My literary passions." New York, Harper and Bros. 
 1895. sm. 8°. pp. 198-205. 
 
 Kuhns, Levi Oscar. Dante Alighieri and the " New life." {In the 
 Methodist review. May-June, 1894. vol. Ixxvi, pp. 369-386.) 
 
 [McKenzie, Kenneth.] The rise of the " dolce stil nuovo " and its develop- 
 ment up to the time of Dante. An essay by " Coeur de Lion" [^pseud.']. 
 1894. 4°. ff. xiv + 203. MS. 
 
 Deposited in HCL. The prize offered by the Dante Society was awarded 
 the author for this essay. 
 
 Norton, Charles Eliot. [Syllabus of] Lectures on Dante ; Percy TurnbuU 
 memorial lectureship of poetry, Johns Hopkins University. [Baltimore. 
 March, 1894.] n. t.-p., n. p., n. d. 8°. pp. 6. 
 
 Reported briefly in the Baltimore American for Mar. 30, 31, April 3, 5, 7, 10, 
 1894. Noticed in the Bolletino delle pubblicazioni italiane, May 31, 1894. 
 
 These lectures were repeated in March and April, 1895, ^^ Harvard 
 University. Reported in the Harvard daily crimson and Harvard daily news 
 for Mar. 26, 29, April 2, 6, 9, 13, 16, 1895. HCL has a volume made up of 
 these press-notices. 
 
 Pease, Theodore Claudius. Dante's vision of sin and judgment ; a study 
 of the Inferno. (Jn his The Christian ministry, its present claim and 
 attraction, and other writings ; with an introduction by E. C. Smyth, 
 
138 AMERICAN DANTE BIBLIOGRAPHY. 
 
 edited by ** The Fortnightly Club." Boston, etc., Houghton, Mifflin ^ 
 Co. 1894. sm. 8°- pp. 1 41 -1 69.) 
 
 Sinesi, Ireneo. The Beatrice of Dante. (/« the Literary digest. 1894. 
 vol. viii, p. 344.) 
 
 Translated and condensed from the Giornale dantesco. With a woodcut of 
 Scheffer's " Dante and Beatrice." 
 
 Swing, David. Dante. (/« his Old pictures of life. Chicago, Stone &» 
 Kimball. 1894. 16°. vol. i, pp. 165-197.) 
 
 Trask, Mrs. Katrina. Paolo to Francesca ; [sonnet]. (/« her Sonnets and 
 lyrics. New York, A. D. F. Randolph. 1894. 16°. p. 25.) 
 
 Tucker, Genevieve. A study of Dante. (/;/ the Chatauquan magazine. 
 June, 1894. vol. xix, pp. 284-289.) 
 
 Watson, John. Dante and medieval thought. I-III. (/« Queen's quarterly, 
 (Kingston, Canada). April, July, Oct. 1894. vol. i, pp. 253-266; vol. ii, 
 pp. 25-38, 1 10-122.) 
 Concluded in 1895. 
 
 Wibbelt, August. Mary in Dante's Paradise. [Translated by John M. 
 ToOHEY.] (/» the Ave Maria. June 2, 9, 1894. vol. xxxviii, pp. 589- 
 591, 625-627.) CUL. 
 
 The original article appeared in Der Katholik. 
 
 %* Reviews : — Sullivan's " Hell," in the Critic, May 19, 1894, vol. xxiv, 
 p. 337, in the Literary world, Feb. 10, 1894, vol. xxv, p. 39; — Vernon's " Read- 
 ings on the Inferno of Dante," in the Literary world, June 16, 1894, vol. xxv, 
 pp. 182-183, in the Nation, July 12, 1894, vol. lix, pp. 33-34. Lajolo's " Indagini 
 suUa vita di Dante," noticed in the Nation, Mar. 29, 1894, vol. Iviii, p. 230. 
 
 1895. 
 
 The young Dante to the lady at the window. (From " La vita nuova.") 
 [" Color d' amore, e di pietk sembianti."] Translated by L[ouise] 
 I[mogen] G[uiney]. (Jn the Critic. Aug. 10, 1895. vol. xxiv, p. 91.) 
 Reprinted in the Boston evening transcript, Aug. 15, 1895. 
 
 Baraard, William Francis. To Dante; [sonnet]. (/« Donahoe's magazine. 
 July, 1895. vol. xxxiv, p. 790.) 
 With a photographic reproduction of the Giotto portrait. 
 
AMERICAN DANTE BIBLIOGRAPHY. 130 
 
 Block, Louis James. Dante. (/« his The new world, with other verse. 
 New York, G. P. Putnain's Sons. 1895. 8°. pp. 45-50.) 
 
 Butler, Arthur John. Some Dante questions. {In the Nation. May 23, 
 1895. vol. Ix, p. 399.) 
 
 In answer to a review of his " Dante : his times and his work " in the Nation 
 for April 18, 1895, p. 303. With a reply by the reviewer. 
 
 Dante Society, Cambridge, Mass. Fourteenth annual report. Boston, 
 Ginn &^ Co. 1895 [96]. 8°. pp. 54. 
 
 pp. 21-34, "Illustrations of the Divine comedy from the Chronicle of Fra 
 Salimbene," by C. E. Norton ; pp. 35-36, "A variant in the Vita nuova," by 
 E. Moore (from the Academy, Dec. i, 1894, vol. xlvi, pp. 448-449) ; pp. 37-54, 
 "Additions to the Dante collection in the Harvard College library," compiled 
 by W. C. Lane. 
 
 Davenport, Benjamin R. Dante's Inferno [epitomized]. {In Davenport, 
 B. R., editor. The best fifty books of the greatest authors condensed 
 for busy people ; comprising the most famous works in all literature, 
 with biographies of the great writers of all ages. Buffalo, Matthews- 
 Nozthrup Co. 1895. 8°. pp. 43-69. Port.) 
 The portrait is after Raphael Morghen's engraving. 
 
 Dole, Nathan Haskell. The teacher of Dante. {In the Bachelor of arts. 
 Nov. 1895. vol. i, pp. 721-7 so.) 
 
 An account of the work of Brunetto Latini, with original translations from 
 his " II tesoretto." 
 
 Drury, Belle P. A woman's view of Dante. {In the Globe quarterly review. 
 Jan. 1895. vol. V, pp. 77-84.) 
 
 Ford, Jeremiah Denis Matthias. Dante's influence upon Spanish literature 
 during the fifteenth and sixteenth centuries. 1895. 4°. ff. 145. MS. 
 
 The prize offered by the Dante Society was awarded the author for this 
 essay in 1896. 
 
 Howe, Mrs. Julia Ward. Dante and Beatrice. {In her Is polite society 
 polite? and other essays. Boston, ^/<;., Zawj^«, Wolffe ^^ Co. 1895. 
 8°. pp. 181-202.) 
 
 A lecture written for the Summer School of Philosophy at Concord, Mass., 
 and delivered there in 1886. For a list of other papers read there, see Concord 
 school (The) on Dante. 1886. 
 
I40 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Kuhns, Levi Oscar. Some verbal resemblances in the Orlando furioso and 
 the Divina commedia. {In Modern language notes. June, 1895. vol. x, 
 pp. 170-174.) 
 
 Same^ separately printed. [Baltimore, 1895.] 4°. pp.4. 
 
 [La Ram^, Mile. Louise de,] pseud. Ouida. Paolo and Francesca. (/« the 
 Cosmopolitan magazine. Jan. 1895. vol. xviii, pp. 259-270.) 
 
 The fifth in a series of articles by popular authors on the " Great passions 
 of history." Illustrated by photographic reproductions of paintings, on the 
 theme of Francesca's love, by G. F. Watts, Gustave Dore, A. Gisbert, Alex. 
 Cabanel, and Ary Scheffer, with views of the town of Rimini. 
 
 Reprinted, without the illustrations, in her "Toxin and other papers/* 
 Leipzig, B. Tauchnitz. 1896. 16°. pp. 135-162. 
 
 Lawton, William Cranston. "Ere a thousand years are told"; Purg. xi. 
 
 100-106. — La Commedia finita. (Jn his Folia dispersa ; poems. 
 
 New York, Correll Press. 1895. 16°. pp. 16-19. Port.') 
 The portrait is from D. G. Rossetti's painting, " Dante's dream." 
 " • La Commedia finita' expresses, as a soliloquy, Dante's supposed feelings 
 
 at the end of his work. * Ere a thousand years are told ' is an assertion of his 
 
 undying earthly fame, in the form of a protest against Purgatorio xi. 100-106." 
 
 — From a private letter. 
 
 Leland, Charles Godfrey. The apparition of Dante. (Jn his Legends of 
 Florence ; collected from the people and re-told, ist series. London, 
 Mactnillan. 1895. sm. 8° pp. 62-65.) 
 
 Loines, Russell Hillard. In a copy of the 'Vita nuova'; [poem]. (Jn the 
 Harvard monthly. Nov. 1895. vol. xxi, p. 79.) 
 
 Mitchellf Mrs. Ellen M. The 'Paradise' of Dante, introductory cantos. 
 (Jn Poet-lore. Aug.-Sept. 1895. vol. vii, pp. 399-405.) 
 
 O'Malley, Austin. A study in Dante. (/« the Ave Maria. Aug. 24, 31, 
 1895. vol. xli, pp. 197-203, 234-240.) 
 Inserted in the CUL copy are two letters from the author. 
 
 Sadlier, Miss Anna Theresa. The angels of Dante. {In the Ave Maria. 
 Oct. 26, 1895. vol. xli, pp. 449-453.) CUL. 
 
 Scudder, Miss Vida Dutton. Ideals of redemption, mediaeval and modern ; 
 Dante, Spenser, and Shelley. {In her Life of the spirit in the modern 
 English poets. Boston, etc., Houghton, Mifflin 6^ Co. 1895. 12°. 
 pp. 96-144.) 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 141 
 
 Watson, John. Dante and medieval thought. IV-V. {Jn Queen's quarterly. 
 Jan., April, 1895. vol. ii, pp. 235-248, 269-287.) 
 
 Concluded from 1894. 
 
 *^* Reviews: — Moore's "Tutte le opera di Dante," [by G. R. Carpenter] 
 in the Nation, Feb. 21, 1895, vol. Ix, p. 147. Oelsner's " The influence of Dante 
 on modem thought," noticed in the Nation, July 18, 1895, vol. Ixi, p. 47. 
 
 1896. 
 
 The new life. Dante Alighieri. Translated by Dante Gabriel Rossetti. 
 Portland, Maine, T'-^^/zz^ J ^. J/t?j^^r. 1896. 12°. pp. (i)-|-xiii4-(2) + 96. 
 Frontisp. (Old world series.) 
 
 925 copies printed on Van Gelder hand-made paper; also 100 copies on 
 Japan vellum. First appearance of this translation as a separate work. 
 
 Contents: — p. (i), Rossetti's sonnet "On the Vita nuova of Dante"; 
 pp. ix-xiii, Foreword [publisher's note] ; pp. 1-88, The new life ; pp. 89-96, 
 Notes. 
 
 Frontispiece : — A reproduction of Rossetti's painting, "Dante's dream." 
 
 Berenson, Bemhard. Botticelli's illustrations to the Divina commedia. {In 
 the Nation. Nov. 12, 1896. vol. Ixiii, p. 363-364.) 
 
 Reviews Lippmann's " Drawings by Sandro Botticelli for Dante's Divina 
 commedia," London, 1896. 
 
 [Bryant, William McKendree.] Dante study. {In American journal of 
 education. May 9, 1896. vol. xxix, p. 8.) 
 Speaks of the CUL Dante collection. 
 
 Dante and St. Louis. {In the Atlantic monthly. Sept. 1896. vol. Ixxviii, 
 p. 432.) 
 
 On Dante's failure to mention the canonized king, Louis IX of France. 
 
 Ounsaulus, Frank W. On the Duchess Sforza with the stolen cast of the 
 head of Dante ; [sonnet]. {In his Songs of night and day. Chicago, 
 A. C. McClurg&^ Co. 1896 (cop. 1895). 8°. p. 26.) 
 
 Harper, George M'Lean. Dante in Spenserian verse. {In the Dial. 
 March i, 1896. vol. xx, pp. 136-137.) 
 
 A review of Musgrave's translation of the Inferno. 
 
142 
 
 AMERICAN DANTE BIBLIOGRAPHY. 
 
 Harris, William Torrey. The spiritual sense of Dante's Divina commedia. 
 [New ed.] Boston, etc., Houghton, Miffli7i &* Co. 1896. sm. 8°. 
 pp. xxi + 193. 
 
 "In the summer and fall of 1883 I made new studies on the whole [of 
 Dante's] poem, and gave a course of ten lectures to a St. Louis audience in 
 1884 (January to March). The present paper, which was written in 1886 for 
 the Concord School of Philosophy, is a summary of the St. Louis course, with 
 marginal notes added at this time." — Preface. 
 
 Hereon, Miss Hannah Gertrude. An index to the classical and mythological 
 references of the Divine comedy, preceded by an essay upon Dante's 
 use of mythological material. MS. [1896.] pp. 52 + 32 + 6. CUL. 
 Thesis presented at Cornell University for the degree of Ph.M. 
 
 Holland, Frederic M. Reading Dante with Lowell. (Jn the New England 
 magazine. Jan. 1896. vol. xiii, pp. 575-576.) 
 
 Howells, William Dean. The white Mr. Longfellow. (/« Harper's 
 magazine. Aug. 1896. vol. xciii, pp. 327-343.) 
 
 Describes incidentally the meetings of the " Dante Club " and speaks of 
 Longfellow's translation. 
 
 Kuhns, Levi Oscar. Dante's treatment of nature in the "Divina commedia.'* 
 {In Modern language notes. Jan. 1896. vol. xi, pp. 1-9.) 
 First paper : — His conventional treatment of nature. 
 
 Same, separately printed. [Baltimore, 1896.] 4°. pp.9. 
 
 The " Divine comedy." (/« the Methodist review. March-April, 
 
 1896. vol. Ixxviii, pp. 242-259.) 
 
 [Marsh, Arthur Richmond.] Scartazzini's Dante commentary. {In the 
 Nation. April 16, 1896. vol. Ixii, pp. 310-31 1.) 
 
 A review of the second edition of " La divina commedia riveduta nel testo 
 e commentata da G. A. Scartazzini," Milano, 1896. 
 
 Mott, Lewis Freeman. The system of courtly love studied as an introduc- 
 tion to the Vita nuova of Dante. Boston, etc., Ginn 6r* Co. 1896. 8°. 
 pp. vi-f 153 + (I). 
 
 "Submitted in partial fulfillment of the requirements for the degree of 
 Doctor of Philosophy in the Faculty of Philosophy, Columbia University." 
 
 Paine, Selma Ware. Some glimpses of the unity of truth in Dante. (In 
 the New-church review. Oct. 1896. vol. iii, pp. 542-552.) 
 
AMERICAN DANTE BIBLIOGRAPHY. 
 
 43 
 
 Pohl, Richard. Introduction to Liszt's Dante-symphony. Translated by 
 Max M[uller] Bryant. [St. Louis, 1896.] sm. 8°. pp. 16. 
 Privately printed on the occasion of a rendering of Liszt's music. 
 
 Sadlier, Miss Anna Theresa. The word-painting of Dante. (/« the Catholic 
 world. Sept. 1896. vol. Ixiii, pp. 746-752.) 
 
 [Snell, Frederick John.] Dante in America. {In the Speaker, (London). 
 April 4, 1896. pp. 368-369.) 
 
 A description of the CUL Dante collection, taken largely from Professor 
 Crane's account. Noticed in the Manchester guardian, April 11, and New York 
 world, April 26, 1896 (CUL). 
 
 Wright, Elizabeth. Dante's Banquet. {In the Globe quarterly review. 
 May, 1896. vol. vi, pp. I35-I39-) 
 
INDEX TO BIBLIOGRAPHY. 
 
 Note : — As the bibliography is a chronological one, it was thought best to index it by referring 
 to the years under which, and not to the pages on which, the various entries are to be found. The 
 references have been abbreviated by writing '86, '87, and so on, for 1886, 1887. When the number 
 of entries under a particular author is more than one for a given year, the number is indicated by an 
 exponent enclosed in parentheses. An asterisk (*) refers to the reviews of foreign works grouped 
 in footnotes under the more recent years. To the extreme conciseness of the form of reference are 
 due several bibliographical inconsistencies of no great moment. 
 
 ed. ■=■ editor. 
 illus. ^=- illustrator. 
 
 rev. ^ reviewer. 
 tr. := translator. 
 
 Abbott, P. S., rev. See Dante. '91. 
 
 Adams, O. F. '86. 
 
 Adams. S. H., tr. See Grimm, H. '86. 
 
 tr. See Meyers, C. F. '87. 
 
 Agnelli, G. See '91.* 
 Aldrich, A. R. '92. 
 Aldrich, T. B. '94. 
 Alger, W. R. '66, '67. 
 Allen, J. H. '83. 
 
 rev. See Dante. '67. 
 
 Allston, W. '36 O. 
 
 Altenhoefer, A. J., rev. iSV^ Dante. '67. 
 
 tr. See Longfellow, H. W. '67. 
 
 American Dante Society. '91. 
 Ampere, J. J. '89. 
 
 Aretino, L. See Dante Society, Cam- 
 bridge^ Mass. '83. 
 Aube, J. P. '89. 
 
 Auvray, L. See Carpenter, G. R. '92. 
 Azarias, Brother. '86. 
 
 B., E. See Dante. '07. 
 
 Baker, J. K. W. See Wetherill, J. K. 
 
 Ball, B. W. '51. 
 
 Bariow, H. C. 't^. 
 
 Barnard, W. F. '95. 
 
 Bates, E. B., tr. See Ampere, J. J. '89. 
 
 Baumgartner, A. See Dante. '67. 
 
 tr. See Longfellow, H. W. '67. 
 
 Benson, E. '72. 
 
 Berdoe, E. '90. 
 
 Berenson, B. '94, '96. 
 
 Bernard!, J. '61, '64. 
 
 Bemays, T., tr. See Scartazzini, J. A. 
 
 '88. 
 Berthier, G. See '92.* 
 Bicker, A. '85. 
 Bierwirth, H. C. '87. 
 Block, L. J. '95. 
 Blow, S. E. '84, '85, '86. 
 Bogue, H. P. V. '94. 
 Boker, G. H. '55, '56. 
 Bone, J. H. A. See Dante. '67. 
 
 rev. See Dante. '67. 
 
 Bonghi, R., rev. See Dante Society, 
 
 Cambridge, Mass. '88. 
 Borsari, F. '87. 
 Botta, V. '65. 
 
 Botticelli, S. See Berenson, B. '96. 
 Bowen, F., rev. See Longfellow, H. 
 
 W. '45. 
 Branchi, E. '83. 
 Brooks, C. T., tr. See Dante. '58. 
 
 See also Norton, C. E. '59. 
 
INDEX TO BIBLIOGRAPHY. 
 
 145 
 
 Brown, G. P. '91, '92. 
 
 Brown, S. G. '46. 
 
 Browning, O. See '92.* 
 
 Bryant, M. M., tr. See Pohl, R. '96. 
 
 Bryant, W. C. '69. 
 
 Bryant,- W. M. '93, '96. 
 
 Buonarroti, M. A. '78, '81, '82. 
 
 Butler, A. J, '95. See also '80,* '86,* 
 
 92 * 
 Byrne, S., tr. See Dante. '89. 
 Byron, G. G. N. '2 if), '22, '50, '86. 
 
 Calderon de la Barca, F. I. See Inglis, 
 
 F. '33. 
 Caldwell, W. W., tr. See Geibel, E. '57. 
 Calvert, G. H. '66, '68. 
 Calvi, C. '90. 
 Cappon, J. '94. 
 Capri, P. G. '74, '76. 
 Carducci, G. '88, '92. 
 Carlyle, J. A., tr. See Dante. '49, 
 Carlyle, T. See '41. 
 Carpenter, G. R. '88, '91, " 
 . also Dante Society, 
 
 Mass. '89, '91, '92. 
 
 ed. See Dante. '91. 
 
 rev. See Dante. '88, '89. 
 
 rev. See Moore, E. '95.* 
 
 rev. See Fay, E. A. '88. 
 
 Gary, H. F., tr. See Dante. '22, '45, '88, 
 
 '89.* See also Ossoli, S. M. F. '59. 
 Cavazza, E. '87. 
 
 rev. See Dante. '92. 
 
 Chapman, J. J., tr. See Dante. '90. 
 Cheney, E. D. L., tr. See Buonarroti, 
 
 M. A. '81. 
 Childs, T. H. '86. 
 Chipman, J. G. '19. 
 Church, F. J., tr. See Dante. '88. 
 Church, R. W. See '79,* '88.* 
 Clapp, H. A., rev. See Boker, G. H. '56. 
 Clark, M. B., tr. See Dante. '66. 
 Clark, W. '93. 
 Clarke, S. '40. 
 
 '94. 
 
 '92, '94. See 
 Cambridge, 
 
 Clarke, S. F. '84 O. 
 Coan, T. M. '74. 
 
 tr. See Dante. '74. 
 
 Concord School. '86. 
 
 Cone, H. G. '86. 
 
 Conway, J. '92. 
 
 Cook, A. S. '91. 
 
 Cooke, G. W. '94. 
 
 Cooke, P. P., tr. See Dante. '47. 
 
 Coronini, C. G. See '80.* 
 
 Cram, R. A. '93. 
 
 Crane, T. F. '82, '94. 
 
 rev. See Butler, A. J. '80. * 
 
 rev. See Tunison, J. S. '88. 
 
 Crane, W., illus. See Harrison, E. '92. 
 Creighton, M. '81. 
 Cristofori, F., rev. See Dante. '89. 
 Curtis, G. W., rev. See Dante. '67. 
 Cutler, E. J., rev. See Dante. %^ f). 
 
 Dante Society, Cambridge, Mass. '82- 
 
 '95- 
 
 Dante Society, Philadelphia. '81. 
 
 Darling, A. D. '86. 
 
 Davenport, B. R. '95. 
 
 Davidson, T. '87, '92. See also Ameri- 
 can Dante Society. '91. 
 
 tr. See Scartazzini, J. A. ''Z'j. 
 
 Davies, S. D. '92. 
 
 Dayman, J. See Calvert, G. H. '68. 
 See Norton, C. E. '66. 
 
 Delff, H. K. H. '82. 
 
 Dennett, J. R. '72. 
 
 De Peyster, J. W., tr. See Dante. '85. 
 
 Dole, N. H. '95. 
 
 Dore, G. '63, '65. 
 
 illus. See Dante. '67, '88, '89. 
 
 Drury, B. P. '95. 
 
 Duffield, C. W. '91. 
 
 Durand-Fardel, M. '94. 
 
 Durant, H. '84, '89. 
 
 Elliott, A. M., rev. See Coronini, C. 
 G. '80.* 
 
146 
 
 INDEX TO BIBLIOGRAPHY. 
 
 Evans, E. W. '92. 
 Everett, E. '50. 
 
 F., tr. See Uhland, (J.) L. '53. 
 
 Farrar, F. W. '85. 
 
 Fawcett, E. '92. 
 
 Fay, E. A. '87, '88. 
 
 Featherstonhaugh, G. W. '30. 
 
 Fellowes, C. W. '86. 
 
 Felton, C. C, rev. See Dante. '43. 
 
 rev. See Longfellow, H. W. '45. 
 
 Ferguson, J. '64. 
 
 Field, H. M., rev. See Dante. '91. 
 
 Finotti, J. M. '68. 
 
 Fiske, J. '76. 
 
 rev. See Dante. '67. 
 
 Flaxman, J., illus. See Dante. '45. 
 
 Foote, A. '92. 
 
 Ford, J. See Norton, C. E. '66. 
 
 Ford, J. D. M. '95. 
 
 Frattini, C, tr. See Longfellow, H. W. 
 
 '45- 
 Frenfanelli Cibo, S., tr. See Bryant, 
 
 W. C. '69. 
 Fuller, M. '59. See also Goodrich, S. 
 
 G. '36. 
 Funahashi, T., tr. See Norton, C. E. 
 
 '65. 
 Furman, R., tr. See Dante. '59. 
 
 Gates, C. H., tr. See Calvi, C. '90. 
 Geibel, E. '57, '71. 
 Gilder, R. W. '76. 
 
 tr. See Dante. '87. 
 
 Gitterman, J. M. '90. 
 
 Golovanov, N., tr. See Lowell, J. R. 
 
 '59- 
 
 tr. See Norton, C. E. '65. 
 
 Good, J. H., tr. See Schaff, P. '46. 
 
 Goodrich, S. G. '36, '45. 
 
 Gozzaldi, M. '89. 
 
 Gray, F. C., tr. See Boccaccio, G. '45. 
 
 tr. See Dante. '45. 
 
 Gray, J. C. '19. . 
 
 Greene, G. W. '67. 
 
 Griffin, E. D. '31. 
 
 Grimm, H. '86. 
 
 Guiney, L. L, ed. See Dante. '93. 
 
 tr. See Dante. '87 (»), '95. 
 
 Gunsaulus, F. W. '96. 
 Gumey, E. R. See '93.* 
 
 H. P., rev. See Gitterman, J. M. '90. 
 Hardy, A. S. '78. 
 Harper, G. M'L. '96. 
 Harris, W. T. '87, '89, '93, '96. See 
 also American Dante Society. '91. 
 
 ed. See Blow, S. E. '86. 
 
 Harrison, E. '92. 
 Haskins, J. '48. 
 Hazard, R. N. '87, '91. 
 Herson, H. G. '96. 
 Hillard, G. S. '53. 
 Hillard, K. '91. 
 
 tr. See Dante. '89. 
 
 Hitchcock, E. A. '66. 
 
 Holland, F. M. '96. 
 
 Hooper, L. H. J., tr. See Geibel, E. '71. 
 
 tr. See Hugo, V. (M.). '71. 
 
 Horton, G. '92. 
 
 Hovey, R. '93. 
 
 Howe, J. W. '57, '66, '95. 
 
 Howell, A. G. F. See '91.* 
 
 Howells, W. D. '67, '94, '96. 
 
 rev. See Dante. '67. 
 
 Hugo, V. (M.). '71. 
 
 Hunt, (J. H.) L. '16, '88. 
 
 Hunter, T. W., rev. See Dante. '67. 
 
 Hyde, A. B. '52. 
 
 Ingleby, C. M. '79. 
 Inglis, F. '33. 
 Irving, W. '41. 
 
 Janitschek, H. See '93.* 
 
 Johnson, W. H., rev. See Tunison, J. 
 
 S. '88. 
 Junkin, M. '50. 
 
INDEX TO BIBLIOGRAPHY. 
 
 47 
 
 Karsten, G. '88. 
 
 Kelly, W. '88. 
 
 Kemble, F. A. '59. 
 
 Kennedy, W. S. See Dante. '67. 
 
 Knapp, P. C, jr. '84. See also Dante 
 
 Society, Cambridge, Mass. '84. 
 Knortz, K. '83, '86. See also Dante. '67. 
 Kolstoi, C. S. '86. 
 Kraus, F. X., rev. See Dante. '91. 
 
 rev. See Lane, W. C. '90. 
 
 Kroeger, A. E., tr. See Delff, H. K. 
 ." H. '82. 
 Kuhns, L. O. '94, '95, '96 (^). 
 
 Lajolo, G. See '94.* 
 
 Lane, W. C. '85, '90. See also Dante 
 
 Society, Cambridge, Mass. '87-'95. 
 La Ramee, L. de. '95. 
 Lawrence, E. '78. 
 Lawton, W. C. '84, '95. 
 Lea, H. C., tr. See Buonarroti, M. A. 
 
 '82. 
 Leahy, W. A. '87. 
 Leland, C. G. '95. 
 
 Lessona, M., tr. See Schaff, P. '90. 
 Lieber, F., tr. See Niebuhr, B. G. '35. 
 Lillie, L. C. '^7. 
 Locke, J. E. S. '54. 
 Loines, R. H. '95. 
 Longfellow, H. W. '45 {% '57, '64, '66 
 
 tr. See Buonarroti, M. A. '78. 
 
 tr. See Dante. '39, '64, '65, '66, 
 
 '67, '86, '90. 
 tr. See Schelling, F. W. J. von. 
 
 '50- 
 
 See also Dante Society, Cambridge, 
 
 Mass. '82, '85. 
 Lord, J. '84. 
 Lounsbury, T. R. '92. 
 Lowe, M. A. P. '59. 
 Lowell, J. R. '48, '59, '72, '76, '88. 
 
 See also Dante Society, Cambridge, 
 
 Mass. '92. 
 
 Also Holland, F. M. '96. Also 
 
 Wendell, B. '91. 
 Lungo, I. del. See '91.* 
 Lyell, C. See Hitchcock, E. A. '66. 
 
 M., J. W. '%■]. 
 
 Mabie, H. W. '92. 
 
 McAllister, F. M. '-j-]. 
 
 McCabe, W. G. '62. 
 
 McClintock, P. L. '93. 
 
 McClintock, W. D. '93. 
 
 McKenzie, K. '94. 
 
 McLean, L. M. '89. 
 
 Marcucci, E., tr. See Longfellow, H. 
 
 W. '45. 
 Marsh, A. R. '93 f), '96. 
 Martin, J. L. '31. 
 Marvin, F. R. '76. 
 Masi, , tr. See Parsons, T. W. 
 
 '41. 
 Matson, H. '92. 
 Mead, E. D. '81. 
 Merkel, C., rev. See Gitterman, J. M. 
 
 '90. 
 Meyer, C. F. '87. 
 Michael Angelo. See Buonarroti, 
 
 M. A. 
 Minchin, J. I. See '85.* 
 Mitchell, E. M. '92, '95. 
 Mitre, B., tr. See Dante. '89, '93. 
 Moody, W. v., rev. See Dante. '91. 
 Moore, E. See Dante Society, Cam- 
 bridge, Mass. '93, '95. See also '87,* 
 
 '89,* '90,* '95.* 
 
 rev. See Dante. '89.* 
 
 Morison, J. H. '86. 
 
 Morley, H., ed. See Dante. '86. 
 
 Mott, L. F. '92, '96. 
 
 Moyes, D., tr. See Capri, P. G. '74, 
 
 '76. 
 Muir, M. '81. 
 
 Mullany, P. F. See Azarias, Brother. '86. 
 Murat, L. '90. 
 Musgrave, G. See Harper, G. M'L. '96. 
 
48 
 
 INDEX TO BIBLIOGRAPHY. 
 
 ed. 
 
 rev. 
 
 rev. 
 
 rev. 
 
 rev. 
 
 rev. 
 
 tr. 
 
 Niebuhr, B. G. '35. 
 
 Norton, C. E. '59 (»), '60 0,'6i O, '65, 
 '66, '67 (*), '84, '86, '94. 
 
 ed. See Dante. '91. 
 
 See Salimbene, Fra. 
 See Dante. '57. 
 See Butler, A. J. '80.* 
 See Moore, E. '87.* 
 See Plumptre, E. H. '87.* 
 See Scartazzini, J. A. '87. 
 See Dante. '67, '91, '92 (^). 
 Sec also Dante Society, Cambridge, 
 Mass. '82, '85, '93. 
 
 Oelsner, H. See '95.* 
 Oliphant, M. O. W. See '77.* 
 O'Malley, A. '95. 
 " Ouida." '95. 
 Osgood, S. '59. 
 Ossoli, S. M. F. '59. 
 Ozanam, A. F. '89, '90. See also Py- 
 chowska, L. D. '86. 
 
 liani, A., rev. See Fay, E. A. '88. 
 Paine, S. W. '96. 
 Pallen, C. B. '90. 
 Parsons, R. '87. 
 Parsons, T. W. '41, '54. 
 ir. See Dante. '43, '54, '65, '66, 
 
 '67, '69, '70 n, '720, '73 a '740, 
 
 '75.'76, '77, '780, '79 f), '80 (3), '81, 
 
 '83, '93- 
 
 Pasqualigo, C, rev. See Dante, 'gr. 
 
 rev. See Harris, W. T. '89. 
 
 Pasqualigo, F., rev. See Dante Society, 
 Cambridge, Mass. '89. 
 
 Paton, J. N. See Kolstoi, C. S. '86. 
 
 Paton, L. A. See Dante Society, Cam- 
 bridge, Mass. '92. 
 
 Payne, W. M., rev. See Dante. '91 {^), 
 
 '92 O, '93- 
 
 rev. See Butler, A. J. '92.* 
 
 Peabody, E. P. See Goodrich, S. G. '36. 
 Peabody, J. C., tr. See Dante. '57. 
 
 Pease, T. C. '94. 
 
 Pellico, S. '65. 
 
 Pelton, M. L. '84. 
 
 Pinheiro, J. P. X., tr. See Dante. '85. 
 
 Plumptre, E. H. See Vincent, M. R. 
 
 '87. Also '87 * 
 Pohl, R. '96. 
 Ponte, L. da. '25, '27. 
 tr. ^^i-Byron, G. G. N. '21, '22. 
 
 See also Bernard!, J. '61, '64. 
 Ponte, L. L. da. *2)Z- 
 Prescott, W. H. See Ticknor, G. '63. 
 Preston, M. J. See Junkin, M. 
 Pullen, C. L. '88. 
 Pychowska, L. D. '86. 
 tr. See Ozanam, A. F. '89, '90. 
 
 Rambaldi, Benvenuto, da Imola. See 
 Norton, C. E. '61. Also Dante 
 Society, Cambridge, Mass. '82, '87. 
 Reade, J. '72. 
 Reinhart, C. S., illus. See Longfellow, 
 
 H. W. '67. 
 Rennert, H. A., rev. See Agnelli, G. 
 '91.* 
 
 See Howell, A. G. F. '91.* 
 See Lungo, I. del. '91.* 
 See Ricci, C. '91.* 
 See '91,* '92.* 
 
 T., rev. See Boker, 
 
 rev. 
 
 rev. 
 
 rev. 
 
 Ricci, C. 
 Richardson, G. 
 
 G. H. '56. 
 Richardson, M. M. See Muir, M. 
 Robertson, D. '84. 
 Robertson, E. S. See Dante. '67. 
 Robinson, H. L. S. See Shattuck, H. 
 
 L. R. 
 Rod, E. '91. 
 
 Rose, H. D. See Durant, H. 
 Rossetti, C. G. '84. 
 Rossetti, D. G., tr. See Dante. '87, 
 
 '96. 
 
 See also Hitchcock, E. A. '66. Also 
 
 Ware, L. G. '62. See also '74, '76.* 
 Rossetti, M. F. '86. 
 
INDEX TO BIBLIOGRAPHY. 
 
 149 
 
 See also Dennett, J. R, '72. Also 
 
 Lowell, J. R. '72. 
 Rossetti, W. M. See Norton, C. E. 'dd. 
 Russell, A. P. '79. 
 
 S., G., rev. See Lane, W. C. '90. 
 Sadlier, A. T. '95, '96. 
 Saint Louis — Public library. '90. 
 Salimbene, Fra. See Dante Society, 
 
 Cambridge., Mass. '95. 
 Sanborn, F. B. '82. 
 " Sarepta." '88. 
 
 Sargent, W., rev. See Boker, G. H. '56. 
 Savage, M. J., tr. See Dante. '82. 
 Scartazzini, J. A. '87, '88. See also 
 
 '92,* '93.* Also Marsh, A. R. '96. 
 Schaff, P. '46, '48, '90 (^), '91. 
 Schanz, P., tr. See Longfellow, H. W. 
 
 '67. 
 Scheffer, A. See Lowe, M. A. P. '59. 
 
 Also Parsons, T. W. '54. 
 Schelling, F. W. J. von. '50. 
 Scherb, E. V. '58. 
 Schuyler, E. '88 f). 
 Schwerdtfeger, E. '76. 
 Scott, F. N. '91. 
 Scotti, C. F. '80. 
 
 Scudder, H. E., ed. See Dante. '86. 
 Scudder, V. D. '95. 
 Sears, E. I. '67. 
 Seguier, U. F. A. '73. 
 Sellar, W. Y., rev. ^'^^Tunison, J. S. '88. 
 Sewall, F. '89, '93. 
 
 rev. See Harris, W. T. '89. 
 
 tr. See Carducci, G. '92. 
 
 Shadwell, C. L. See '93.* 
 
 Shattuck, H. L. R. '87. 
 
 Sherman, C. K. '87. 
 
 Sherman, L. A. '93. 
 
 Sibbald, J. R. See '85.* 
 
 Simms, W. G., tr. See Dante. '53. 
 
 Simon, H., tr. See Longfellow, H. W. 
 
 '45' '67- 
 
 Sinesi, I. '94. 
 Smith, E. V. '60. 
 Smith, J. A. '75. 
 Snell, F. J. '96. 
 Snider, D. J. '92, '93. 
 Soldan, L. F. '75, '77. 
 Speranza, C. L. '92. 
 
 rev. See Dante. '67. 
 
 Stevens, S. J. D. '88. 
 
 Stoddard, R. H. '61. 
 
 Strong, A. H. '88. 
 
 Sullivan, E. See '94.* 
 
 Swing, D. '94. 
 
 Symonds, J. A. See '90,* '93.* 
 
 T., M. '41. 
 
 Tassin, A. de V. '93. 
 
 Tempest, B., tr. See Dante. '93. 
 
 Thackray, E. A., rev. See Harris, 
 W. T. '89. 
 
 Thaxter, C. '90. 
 
 Thayer, W. R. '93. 
 
 rev. See Dante. '91 (^), '92. ' 
 
 Thomas, E. M. '90. 
 
 Thompson, R. E., rev. See Dante. '88. 
 
 Ticknor, G. '63. 
 
 Todd, H. A. '91, '92. 
 
 Toohey, J. M., tr. See Wibbelt, A. '94. 
 
 Toynbee, P. See Dante Society, Cam- 
 bridge, Mass. '86, '94. 
 
 rev. See Dante. '91 (^), '92. 
 
 rev. See Fay, E. A. '88. 
 
 Trask, K. '94. 
 
 Tucker, G. '94. 
 
 Tuckerman, F. G. '60. 
 
 Tuckerman, H. T. '65. 
 
 Tudor, ^.,rev See Hunt, (J. H.) L. '16. 
 
 Tunison, J. S. '88. 
 
 Turner, C. T. '76. 
 
 Uhland, (J.) L. '53. 
 
 Underwood, F. H. See Dante. '67. 
 
 Unity Club, St. Louis. '91. 
 
 Unity Study Class, -5"/. Paul, Minn. '85. 
 
ISO 
 
 INDEX TO BIBLIOGRAPHY. 
 
 v.. U. de. '33. 
 
 Venable, W. H. '85. 
 
 Vemon, W. W. See '94* 
 
 Villa da Barra, , tr. See Dante. 
 
 •87. 
 Vincent, G. E. '86. 
 Vincent, M. R. '87. See also American 
 
 Dante Society. '91- 
 Vinton, F. '-jy 
 Vizcayno, A. M., tr. See Byron, G. G. 
 
 N. '50. 
 
 Walford, L. B. '89. 
 
 Wall, A. R. '90. 
 
 Walsh, H. C, ed. See Dante. '88, '89. 
 
 Walter, E. L. '89. 
 
 rev. See Blow, S. E. '86. 
 
 rev. See Butler, A. J. '86.* 
 
 rev. See Fay, E. A. '88. 
 
 rev. See Plumptre, E. H. '87.* 
 
 Ward, M. A. '87. 
 
 Ward, S. G. '44. 
 
 Ware, L. G. '62. 
 
 Watson, J. '94, '95. 
 
 Waugh, A. '93. 
 
 Welles, B. '07. 
 
 Wendell, B. '91. 
 
 Wetherill, J. K. '84. 
 
 Wheaton, R. '47. 
 
 White, I., ed. See Dante. '94. 
 
 Wibbelt, A. '94. 
 
 Williams, F. H. '91. 
 
 Wilde, R. H. See '50. See also Hil- 
 
 lard, G. S. '53. Also Irving, W. 
 
 '41. 
 Wilson, E. '90. 
 
 Wilstach, J. A., tr. See Dante. '88. 
 Winter, W. See Boker, G. H. '56. 
 Witte, K., ed. See Dante. '65, '94. 
 Wright, E. '96. 
 
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