Lonsdale Ragg

“ The watchword therefore of the modern teaching is Liberty. And this principle of Liberty—the recognition that all education is, at bottom, self-education; and that the teacher’s business is to liberate (or make possible the liberation of) the inherent evolutionary forces latent in the pupil—finds its climax in the doctrine of Dante’s compatriot and sincere admirer, Madame Montessori. She is also, in a sense, the most modern of the Modernists; for in her method is carried, probably to its highest point, the application of psycho-physical science to education. ”

“ The glory of which we speak—which makes the Paradiso a marvel of dazzling, but, so to speak, graduated splendour—is the glory of Love, Divine and human; and it is of Dante, the Apostle of Love, that I would speak to you to-day. In this sexcentenary year all the civilised world is acclaiming him, and it is well that our Christian Churches should echo thanksgiving to Almighty God for this most Christian poet, and for the magnificent bequest that he left, not only to Italian literature, but to the world. ”

“ Like Shakespeare, Dante never grows old. There is a quality of universality about his genius, and a broad and deep human appeal in his writing which renders it the proper heritage of every generation. And, haughty and aloof as was his spirit during life, with an aloofness intensified by bitter exile and by the sickness of ever-deferred hope, he was not one of those great ones who are entirely out of touch with their contemporaries, living in an age not yet born. ”

“ To Dante, the theologian-poet, as to Thomas Aquinas, the theologian-philosopher, all knowledge whatsoever was ultimately one; its end and purpose, its ground and justification, its key and explanation were to be found in the mystery of the Blessed Trinity-in-Unity.
Theology was not one among many departments of knowledge; it was the sum of knowledge, the key to all problems of the universe. Some of us retain, deep down in our nature, a conviction that, in this point at least, the scholastic theologians were right. ”

“ The want of “the power to see ourselves as others see us,” the power to put ourselves in another’s place and see how our actions would look to him, would affect him, is very close to that tragic blindness—blindness to the fact that others have a like claim with ourselves to just and reverent treatment, a like right to peace and prosperity, to self-government and self-determination. These, who would set the world right by violently upsetting it and forcibly conforming it to their own pattern, have not the grace to see how ugly and ungainly that pattern looks to other eyes. ”

“ On the contrary, the world in which Dante prayed and strove and studied and dreamed and wrote-the world from which comes down to us the serene glory of his Paradise of Love—was astonishingly like our own on its uglier side: a world of religious and political unrest, of clashing interests and ideals, of faction, violence, and cruelty, of individual and corporate predatory self-assertion; a [3] world in which the poet himself, called to “abandon all that man holds most dear”—
Ogni cosa diletta
Più caramente [13] — wrought out his great work as a nameless wanderer, and died in bitter exile. ”

“ There is one force at work in the world that can teach this, that can heal the bleeding wounds of society, untie the knots of the industrial and social and international tangle—the force of Christian Love—yours and mine—a love like that of Him Who came not to be served, but to serve and to give His life as ransom for many; a love that brought Him to die for a world yet steeped in rebellion and sin, and moved Him to lay upon His disciples the injunction “Bless them that curse you.” No merely human organisation for philanthropic succour or for peace ”

“ That Love is the motive power in Paradise is obvious. It is the radiant beauty of Beatrice, ever more dazzling as they mount higher, that lifts him up, and the spirits he meets glow one and all with the fire of Divine charity. It is not easy, perhaps, to detect the influence of Love in the dark abyss of the Inferno, or in the stern, long discipline of the Mount of Purgation. ”

“ They would watch with triumph the first irresistible charge of the Aretine cavalry, which drove Dante and his fellows back in confusion upon their infantry, and they would feel the victory already won.
They would mark with wonder and horror the unaccountable retreat of Count Guido Novello, who was to have delivered a flank attack with his hundred and fifty horse, remembering perchance with scorn that it was his untimely flight which, twenty-three years before, had brought to a premature end the Ghibelline domination in Florence. ”

“ The youthful scholar, in his quest for knowledge and truth and the freedom that is truth’s guerdon, has not, as a rule, to face this literal isolation in drudgery and painfulness. For him the social instinct and the companionship of fellow-victims, not to say the healthy stimulus of friendly rivalry and competition, are present to lighten his burden and sweeten his lot. Yet each, after all, has to tackle the drudgery and the difficulties for himself. ”

“ But this open-air Purgatory is more than a clever artifice, by which a fine dramatic contrast is produced after the murk and [105] gloom of the Inferno. It is, as we have seen, essential to Dante’s conception of the perfect work of penitence in man, that it should draw his footsteps up to the Earthly Paradise, the primal home of Innocence. And so the background of the Purgatorio, as it were inevitably, completes the illusion of “naturalness” in the world beyond, and enforces the parallel between the upward struggle of those elect spirits and our own daily pilgrimage in this life. ”

“ When we pass into the third kingdom, up and up through sphere after sphere of the heavens, each more radiant with the light of Love, we feel ourselves “reflecting, as a mirror, the glory of the Lord, transformed into the same image from glory to glory.” “One star,” indeed, “differeth from another star in glory.” There is higher and lower in the abode of bliss, in the “many mansions” of the Father’s House. Dante questions one whom he meets in the lower sphere—Piccarda—on earth a playmate of his childhood. “Are you happy? Are you content? Have you no wish to be placed higher still?” ”

“ And the dream of the Ravenna pilgrims of 1908 has come true. Trento and Trieste, “staked out,” as it were, by Dante’s verse as Italian, proclaimed Italian by race and speech and aspiration, are at last Italian in fact.
Evviva Italia Redenta!
Postscript.—September, 1921, takes us back once more to Ravenna. Once more the short and narrow street that faces the “little cupola more neat than solemn,” is packed with an enthusiastic crowd. Once more the soul of Italy is concentrated in that exiguous space, offering votive gifts at the shrine. ”

“ And Love, and Love alone, can do the same to-day.
[9]
Let us face our bewildering problems with confidence, knowing that the secret of life is ours. Love, the only constructive principle, the only ultimately victorious power. Our enemies in the late war sounded their own doom when they promulgated a gospel of hate. Hate can never build up, only destroy. Alas! they sowed the seeds of hatred outside the sphere where armies clash, and the devil’s doctrine of class-hatred has been disseminated far and wide. If only the eyes of those concerned might be opened to see the mad futility of hate! ”

“ If we are to substantiate our claim for Dante as the many-sided Apostle of Liberty, we must satisfy ourselves that he is at least not devoid of that foundation of the sense of humour which takes a man outside himself, makes possible to him something of a detached and external point of view, enables him, if need be, even to see the ridiculous side of his own earnest efforts. ”

“ Love can be stern, and outraged love can draw down, as it were, by the law of being rather than by such vengeful wrath as we humanly attribute to the Most High, an unimaginable ruin and loss upon the outrager. In the stern, grim, cruel, sometimes grotesquely revolting picture Dante draws of the eternal future sinners can deliberately make for themselves, we see but the fruits of Love offered and rejected—the inevitable outcome of their own choice. ”

“ Such erudition, originality, insight, give promise that we shall find in Dante a real teacher; and the promise is abundantly fulfilled to those who tread the spacious halls of his School, which is his Poem.
The very language in which the Divina Commedia is written is a testimony to the Poet’s grasp of the fundamental condition of all teaching—that it should be intelligible! There is a saying of Alcuin’s great disciple, Rabanus Maurus, which expresses simply and well this obvious, but oft-forgotten principle. “Teach,” he says, “in words that teach; not in words that do not teach.” ”

“ In the vision with which the book closes—the vision of his Beatrice after God has called her to Himself—lies the germ of the greatest poem of Christendom; the poem which, just because it sings the story of man’s freewill in contact with God’s redeeming grace, has as its supreme and final theme—Love. We are familiar, no doubt, with the main lines of Dante’s vision of the world beyond—of the three kingdoms as he conceived them, of hell, purgatory, and heaven. ”

“ Dante is Imperialist; but if we enquire of him what is the raison-d’-être of Empire, he will answer: “It is the temporal well-being of mankind.” This “well-being” consists in the fulfilment of the purpose of man’s earthly life; the true and unobstructed self-expression of that personal freedom of choice—that prerogative of self-determination—which God has given to man as His divinest gift: unique and universal endowment of His intelligent creatures—that “Liberty of Will” which is so nobly hymned by Beatrice in the Paradiso (v. 19-24) ”

“ In opening the Divina Commedia one would venture to issue a further warning on the mistake of limiting the field of observation to the Inferno, or of allowing its temper and atmosphere too great a place in our estimate of the characteristics of Dante. Whatever he was to the women of Verona, Alighieri is to us much more than “the man who goes down to Hell and comes up again at will.” ”

“ Boccaccio and Sacchetti, the Novellino, nay, even the Franciscan Legend with its Jaculatores Domini, and not least the charming Fioretti, cry out with one voice against the unjust imputation. But one single name would be enough to vindicate for the Italy of Dante’s elder contemporaries, and for the men who figure largely in Dante’s writings, the possession of the sense of humour and the gift of wit. Fra Salimbene of Parma, the immortal gossip, who so dearly loves a joke, and is so ready to pardon other failings in the man who has “a pretty wit.” ”

“ He also devised for her and bequeathed to her the noble instrument of a classical vernacular; and if it be not strictly true that a nation cannot exist save where there is one national language spoken, yet it is more than half true. Dante doubtless did more in the end for the cause of Italian nationality by his bequest of that splendid vehicle of thought and feeling which the mother-tongue became in his hands, and by his initiation of a glorious literary tradition, than he or any other man could have done by actual utterances, however inspired. ”

“ We might note the curious resemblances and the curious differences, and see our own World-War prefigured in that old-time adventure which, like our own linked together representatives of almost all the European nations in one great league for an ideal, impelling them to give up all that the individual life holds dear, to forego all material hopes and prospects, for the sake of a Cause that offered as immediate guerdon little but danger and extreme discomfort, wounds and death, or worse than death. ”

“ When we enter the second kingdom, and begin to climb the mount which forms the pedestal to Eden, the home of man’s innocency, the breath of Love is stronger and its radiance more clear. It reveals itself in the changing beauty of sky and landscape, in the glories of star-light, dawn and sunset and high noon, in the glad brilliance of wild-flowers, in the melody and harmony of music, but, not least, in the very structure and arrangement of Purgatory. ”

“ But Love, after all, sits enthroned above the water floods, and abideth king for ever. There is no limit to our opportunity for blessing this poor world alike by prayer and by action—blessing our own immediate circle, our civic and Church life, blessing our country, our Empire, and the world’s fellowship of Nations—if but our wills are moving in one motion with His—
L’amor che move il sole e l’altre stelle. ”

“ Is it not almost as incongruous, it may be asked, to look for humour in the Divina Commedia as it would be to search for jokes in the Bible? We are prepared to maintain that even the intense seriousness of Dante—that sublime and solemn earnestness which can only be compared to the temper of Holy Writ, is not merely compatible with a playful use of the intellect, artistically restrained, but is rendered more complete and effective thereby. And what about Holy Scripture itself? ”

“ Dante, for his soul’s health—and for the benefit of untold generations—must needs pass through all three kingdoms of the world to come, guided by Virgil, who represents human reason. Descending down and down into the very bowels of the earth he sees the doom of unrepented sin. ”

“ It is impartiality, [69] above all, that Dante looks for; an impartiality to be guaranteed by that absence of ambition which an undisputed, world-wide supremacy might carry with it, “leaving nothing to be desired.” The authority that is free from taint of greed and self-interest, and so from the temptation to use human lives as means for its own ends, will most effectually display that “charity or love which gives vigour to justice.” ”