Tag Archives: poetry

1302: Dante Alighieri condemned

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(Thanks to Jeffrey Fisher [jeffreyfisher at me.com] for the guest post.)

On this day in 1302, the governing commune of the city of Florence condemned to death Dante Alighieri, statesman, philosopher, and above all, poet. Arguably the greatest mind of his generation, Dante is most famous for his authorship of the Divine Comedy, relating his journeys through, successively, hell, purgatory, and heaven.

Born in 1265 to a noble family of Florence that, while not the city’s most prominent family, had already seen several of his ancestors banished as a result of political turmoil, Dante could hardly have avoided becoming embroiled in public life had he even wanted to. In brief, a long-running struggle between pro-imperial (the so-called Holy Roman Empire) and pro-papal factions was finally won by the pro-papal forces, known as the Guelphs. Two decisive battles in 1289 established both Florence’s independence (particularly from their old nemesis, Pisa) and the rule of the Guelphs, Dante’s own party.

Dante is likely to have taken part in those battles and was active in city politics in the following decade, culminating in a turn in 1300 as prior (one of six key counsellors to the city, serving a two-month term). Florence prided itself on a tradition of democratic rule going back to the death of the Holy Roman Emperor Frederick II in 1250.

Persona Non Grata

Giotto painted Dante prior to his exile — the oldest portrait of Dante known.

Unfortunately, by the time Dante took on the priorate, the old rivalries had reshaped themselves into new factions eerily parallel to their predecessors: the so-called “Black” Guelphs, who aligned themselves with the Pope (as of 1294, Boniface VIII), and “White” Guelphs, who took a more moderate political stance and saw themselves as defending an independent Florence from the Pope and his allies (namely, the Blacks).

Things got so bad that, at the time of Dante’s priorate, the city’s ruling body banished leaders of both sides in an effort to stabilize the city. The pope took the opportunity to send emissaries to Florence on the pretext of negotiating a peace. After more than a year of this maneuvering, the commune sent Dante and two others to have words with Boniface in Rome in 1301.

The Pope “invited” Dante to stay in Rome while his companions returned to Florence to try to bring the commune around. In the meantime, the Pope’s key man had got himself into Florence and helped the Blacks take power, whereupon they confiscated properties and levied fines.

Dante was ordered to appear before a tribunal to answer for his alleged crimes. When he did not show up, he was banished to two years of exile, permanently banned from holding city office, and ordered to pay a further fine of some five thousand florins–a staggering sum–within three days. When that did not happen, either (Dante was apparently in Siena, a short ways from Florence, when he heard this news), the commune confiscated all of his goods and condemned him to death by burning should he ever return.

Fortunately, there were others in Italy at the time who had more sense, but Dante spent the rest of his life–almost another twenty years–wandering from city to city with his sons. He was excluded from an amnesty in 1311, and when he refused the terms of another in 1315, his death sentence was not only reaffirmed, but extended to include his sons. Despite all this, he still held out hope of returning to Florence to be crowned as poet, declining to be so crowned in Bologna as little as a year or two before he died.

Art in Exile

It was over the course of that time in exile that Dante composed his political and philosophical works, together with what must be considered his single greatest contribution to letters, the three-volume Divina Commedia.

There is no way to do justice to any of these works, much less all of them, but in the present context it is worth noting that in three key works — the Commedia (Dante’s title is this simple), Il Convivio (or The Banquet), and De Monarchia (On Monarchy) — Dante develops a serious, even strikingly modern, religious political philosophy.

In contrast to many of his religious contemporaries, taking issue with the great St. Augustine even as he espouses positions derived from Thomas Aquinas, Dante argues in favor of a strong central secular authority, specifically an emperor, and even more particularly, that this authority should be understood by Christians as co-equal with, not subordinate to, the spiritual authority of the Church: “two suns,” he says, rather than the sun and the moon (which merely reflects the light of the sun).

Indeed, he held out an almost messianic hope for the return of an emperor who would restore peace and order. He even wrote public letters to the Emperor Henry VII requesting that he restore justice in Florence (and this is surely a factor in the commune’s treatment of him with respect to amnesty). When Henry died before accomplishing these things, much of Dante’s hope for imperial cohesion died along with him.

(Consider this Open Yale Courses podcast series for more Dante appreciation.)

He Knew Beatrice All Along

It would be nothing short of travesty to write anything of this length about Dante and not mention Beatrice, the love of his life from the age of nine, when he first laid eyes on her, to the day he died in exile. Beatrice, who only spoke to Dante once and who died an early death, directly inspired his poetic-explicatory work, the Vita Nuova (New Life), an exemplar of the dolce stil nuovo (“sweet new style”) movement in poetry. As a character in the Commedia, Beatrice sends Virgil to rescue Dante from a dark forest in the Inferno, and guides him through the spheres of Heaven in Paradiso.

“Dante and Beatrice in the Constellation of Gemini and the Sphere of Flame”, one of William Blake‘s (uncompleted) series of watercolors illustrating Dante’s magnum opus.

Despite two decades of exile, Dante never gave up hope of returning to Florence in his lifetime, and clearly hoped (perhaps “expected” is more accurate) to be united with his other true love in the next. His body remains in Ravenna, where he died and was buried in 1321.

Florentines wish they could have him back.

Part of the Themed Set: The Written Word.

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1684: Baillie of Jerviswood

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On this date in 1684, the Scottish patriot Baillie of Jerviswood was convicted of treason and immediately executed, for his part in the Rye House Plot against the Stuart King Charles II.

Baillie was a lesser player in the Protestant scheme — whose nature and extent, or even existence, are matters of historical debate — supposedly to do away with the Catholic-leaning ruler and his outright catechumen brother and heir James. Baillie was implicated under torture, and while disowning any part of a conspiracy declined — “with striking truthfulness” — to deny a design on Scottish rebellion.

His summary hanging would enter the pantheon of English depravities in the north country, but he achieved another sort of immortality as well.

During an earlier stint in prison, a proscribed fellow patriot’s 12-year-old daughter had smuggled him messages — becoming acquainted with Baillie’s own son, whom she would eventually wed. The girl gained fame in adulthood as Lady Grizel (or Grisel, or Griselle) Baillie.

“Werena my Heart’s licht I wad dee”
-Lady Baillie

THERE ance was a may, and she lo’ed na men;
She biggit her bonnie bow’r doun in yon glen;
But now she cries, Dool and a well-a-day!
Come doun the green gait and come here away!

When bonnie young Johnnie cam owre the sea,
He said he saw naething sae lovely as me;
He hecht me baith rings and mony braw things—
And werena my heart’s licht, I wad dee.

…

The legendary tableau of intrigue between Baillie and his future daughter-in-law was itself fruit for literature, given time enough to ripen into legend. Kinswoman Joanna Baillie, one of the great litterateurs of the early 19th century, made use of the episode to open a lengthy ballad to Lady Grizel in Metrical Legends of Exalted Characters:

I.
Within a prison’s hateful cell,
Where, from the lofty window fell,
Thro’ grated bars, the sloping beam,
Defin’d, but faint, on couch of stone,
There sat a pris’ner sad and lone,
Like the dim tenant of a dismal dream.
Deep in the shade, by low-arch’d door,
With iron nails thick studded o’er,
Whose threshold black is cross’d by those
Who here their earthly being close,
Or issue to the light again
A scaffold with their blood to stain,–
Moved something softly. Wistful ears
Are quick of sense, and from his book
The pris’ner rais’d his eyes with eager look,–
“Is it a real form that thro’ the gloom appears?”

II
It was indeed of flesh and blood,
The form that quickly by him stood;
Of stature low, of figure light,
In motion like some happy sprite;
Yet meaning eyes and varying cheek,
Now red, now pale, seem’d to bespeak
Of riper years the cares and feeling
Which with a gentle heart were dealing.
“Such sense in eyes so simply mild!
“Is it a woman or a child?
“Who art thou, damsel sweet? are not mine eyes beguiled?”

III
“No; from the Redbraes’ tower I come;
“My father is Sir Patrick Hume;
“And he has sent me for thy good,
“His dearly honour’d Jerviswood.
“Long have I round these walls been straying,
“As if with other children playing;
“Long near the gate have kept my watch
“The sentry’s changing-time to catch.
“With stealthy steps I gain’d the shade
“By the close-winding staircase made,
“And when the surly turnkey enter’d,
“But little dreaming in his mind
“Who follow’d him so close behind,
“Into this darken’d cell, with beating heart, I ventured.”

IV
Then from the simple vest that braced
Her gentle breast, a letter traced
With well-known characters, she took,
And with an eager, joyful look,
Her eyes up to his visage cast,
His changing countenance to scan,
As o’er the lines his keen glance past.
She saw a faint glow tinge the sicky wan;
She saw his eyes thro’ tear-drops raise
To heaven their look of silent praise,
And hope’s fresh touch undoing lines of care
Which stress of evil times had deeply graven there.
Meanwhile, the joy of sympathy to trace
Upon her innocent and lovely face
Had to the sternest, darkest sceptic given
Some love of human kind, some faith in righteous Heaven.

V
What blessings on her youthful head
Were by the grateful patriot shed,
(For such he was, good and devoted,
And had at risk of life promoted
His country’s freedom and her faith,
Nor reck’ning made of worldly skathe)
How warm, confiding, and sincere,
He gave to her attentive ear
The answer which her cautious sire
Did to his secret note require;–
How after this with ‘quiries kind,
He ask’d for all she left behind
In Redbraes’ tower, her native dwelling,
And set her artless tongue a-telling,
Which urchin dear had tallest grown,
And which the greatest learning shown,
Of lesson, sermon, psalm, and note,
And Sabbath questions learnt by rote,
And merry tricks and gambols play’d
By ev’ning fire, and forfeits paid,–
I will not here rehears, nor will I say,
How, on that bless’d and long-remember’d day,
The pris’ner’s son, deserving such a sire,
First saw the tiny maid, and did admire,
That one so young and wise and good and fair
Should be an earthly thing that breath’d this nether air.

…

On this day..