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THE

PROPHECY OF DANTE.

'Tis the sunset of life gives me mystical lore,
And coming events cast their shadows before.

CAMPBELL.

DEDICATION.

LADY! if for the cold and cloudy clime

Where I was born, but where I would not die,
Of the great poet-sire of Italy

I dare to build the imitative rhyme,
Harsh Runic copy of the South's sublime,

THOU art the cause; and, howsoever I
Fall short of his immortal harmony,
Thy gentle heart will pardon me the crime.
Thou, in the pride of beauty and of youth,
Spakest; and for thee to speak and be obey'd

Are one; but only in the sunny South

Such sounds are utter'd, and such charms display'd, So sweet a language from so fair a mouth—

Ah! to what effort would it not persuade?

Ravenna, June 21, 1819

PREFACE.

In the course of a visit to the city of Ravenna, in the summer of 1819, it was suggested to the author that, having composed something on the subject of Tasso's confinement, he should do the samne on Dante's exile— the tomb of the poet forming one of the principal objects of interest in that city, both to the native and to the stranger.

"On this hint I spake," and the result has been the following four cantos, in terza rima, now offered to the reader. If they are understood and approved, it is my purpose to continue the poem in various other cantos to its natural conclusion in the present age. The reader is requested to suppose that Dante addresses him in the interval between the conclusion of the Divina Commedia and his death, and shortly before the latter event, foretelling the fortunes of Italy in general in the ensuing centuries. In adopting this plan I have had in my mind the Cassandra of Lycophron, and the Prophecy of Nereus by Horace, as well as the Prophecies of Holy Writ. The measure adopted is the terza rima of Dante, which I am not aware to have seen hitherto tried in our language, except it may be by Mr. Hayley, of whose translation I never saw but one extract, quoted in the notes to Caliph Vathek; so that-if I do not err-this poem may be considered as a metrical experiment. The cantos are short, and about the same length as those of the poet whose name I have borrowed, and most probably taken in vain.

Amongst the inconveniences of authors in the present day, it is difficult for any who have a name, good or bad, to escape translation. I have had the fortune to see the fourth canto of Childe Harold translated into Italian versi sciolti—that is, a poem written in the Spenserean stanza into blank verse, without regard to the natural divisions of the stanza, or of the sense. If the present poem, being on a national topic, should chance to undergo the same fate, I would request the Italian reader to remember, that when I have failed in the imitation of his great "Padre Alighier," I have failed in imitating that which all study and few understand; since to this very day it is not yet settled what was the meaning of the allegory in the first canto of the Inferno,

unless Count Marchetti's ingenious and probable conjecture may be considered as having decided the question.

He may also pardon my failure the more, as I am not quite sure that he would be pleased with my success, since the Italians, with a pardonable nationality, are particularly jealous of all that is left them as a nation—their literature; and, in the present bitterness of the classic and romantic war, are but ill disposed to permit a foreigner even to approve or imitate them, without finding some fault with his ultramontane presumption. I can easily enter into all this, knowing what would be thought in England of an Italian imitator of Milton, or if a translation of Monti, or Pindemonte, or Arici, should be held up to the rising generation as a model for their future poetical essays. But I perceive that I am deviating into an address to the Italian reader, when my business is with the English one, and, be they few or many, I must take my leave of both.

THE PROPHECY OF DANTE.*

CANTO I.

ONCE more in man's frail world! which I had left
So long that 't was forgotten; and I feel
The weight of clay again,-too soon bereft
Of the immortal vision which could heal

My earthly sorrows, and to God's own skies
Lift me from that deep gulf without repeal,
Where late my ears rung with the damned cries
Of souls in hopeless bale! and from that place
Of lesser torment, whence men may arise
Pure from the fire, to join the angelic race;
'Midst whom my own bright Beatrice bless'd'
My spirit with her light; and to the base
Of the Eternal Triad! first, last, best,
Mysterious, three, sole, infinite, great God!
Soul universal! led the mortal guest,
Unblasted by the glory, though he trod

From star to star to reach the almighty throne.
Oh Beatrice! whose sweet limbs the sod
So long hath press'd, and the cold marble stone,
Thou sole pure seraph of my earliest love,
Love so ineffable, and so alone,

That nought on earth could more my bosom move,

And meeting thee in heaven was but to meet

That without which my soul, like the arkless dove,

Had wander'd still in search of, nor her feet

"There were in this poem, originally, three lines of remarkable strength and severity, which, as the Italian poet against whom they were directed was then living, were omitted in the publication. I shall here give them from memory:

The prostitution of his muse and wife,
Both beautiful, and both by him debased,
Shall salt his bread, and give him means of life.

MOORE, Life.

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