The Atlantic Monthly, Volume 05, No. 31, May, 1860: A Magazine of Literature, Art, and PoliticsVarious
Philosophy
The Atlantic Monthly, Volume 05, No. 31, May, 1860: A Magazine of Literature, Art, and Politics
Various
American periodicals
There
seems to us to be some ground for believing the second reading
suggested above,
Perocch' è il Sol che v' allumò ed arse
Con caldo e con la luce, e sì iguali.
to be the true one, not only from its correspondence with most of the
early copies, but from the rarity of the use of _en_ by Dante. There is
but one other passage in the poem where it is found (_Purgatory_, xvi.
121).
Such is an example, taken at random, of the doubts suggested and the
illustration afforded by these editions in the study of the text. Of
course such minute criticism is of interest only to those few who
reckon Dante's words at their true worth. The common reader may be
content with the text as he finds it in common editions, But Dante,
more than any other author, stimulates his student to research as to
his exact words; for no other author has been so choice in his
selection of them. He is not only the greatest modern master of
condensation in style, but he has the deepest insight into the value
and force of separate words, the most delicate sense of appropriateness
in position, and in the highest degree the poetic faculty of selecting
the word most fitting for the thought and most characteristic in
expression. It rarely happens that the place of a word of any
importance is a matter of indifference in his verse, no regard being
had to the rhythm; and every one sufficiently familiar with the
language in which he wrote to be conscious of its indefinable powers
will feel, though he may be unable to point out specifically, a marked
distinction in the quality and combinations of the words in the
different parts of the poem. The description of the entrance to Hell,
in the third canto of the _Inferno_ is, for instance, hardly more
different from the description of the Terrestrial Paradise,
(_Purgatory_, xxviii.,) in scenery and imagery, than it is in the vague
but absolute qualities of language, in its rhythmical and verbal
essence.
But, leaving these subtilties, let us look at some of the disputed
passages of the poem, upon which the texts before us may give their
evidence.
Public-domain text, read in full here on John Shaqi.
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