AUTHOR'S PREFACE THE author of these Essays is so sensible of their defects that he has repeatedly refused to let them appear in a form which might seem to indicate that he thought them worthy of a permanent place in English literature. Nor would he now give his consent to the republication of pieces so imperfect, if, by withholding his consent, he could make republication impossible. But, as they have been reprinted more than once in the United States, as many American copies have been imported into this country, and as a still larger importation is expected, he conceives that he cannot, in justice to the publishers of the Edinburgh Review, longer object to a measure which they consider as necessary to the protection of their rights, and that he cannot be accused of presumption for wishing that his writings, if they are read, may be read in an edition freed at least from errors of the press and from slips of the pen. These volumes contain the Reviews which have been reprinted in the United States, with a very few exceptions, which the most partial reader will not regret. The author has been strongly urged to insert three papers on the Utilitarian Philosophy, which, when they first appeared, attracted some notice, but which are not in the American editions. He has, however, determined to omit these papers, not because he is disposed to retract a single doctrine which they contain, but because he is unwilling to offer what might be regarded as an affront to the memory of one from whose opinions he still widely dissents, but to whose talents and virtues he admits that he formerly did not do justice. Serious as are the faults of the Essay on Government, a critic, while noticing those faults, should have abstained from using contemptuous language respecting the historian of British India. It ought to be known that Mr. Mill had the generosity, not only to forgive, but to forget the unbecoming acrimony with which he had been assailed, and was, when his valuable life closed, on terms of cordial friendship with his assailant. No attempt has been made to remodel any of the pieces which are contained in these volumes. Even the criticism on Milton, which was written when the author was fresh from college, and which contains scarcely a paragraph such as his matured judgment approves, still remains overloaded with gaudy and ungraceful ornament. The blemishes which have been removed were, for the most part, blemishes caused by unavoidable haste. The author has sometimes, like other contributors to periodical works, been under the necessity of writing at a distance from all books and from all advisers; of trusting to his memory for facts, dates, and quotations; and of sending manuscripts to the post without reading them over. What he has composed thus rapidly has often been as rapidly printed. His object has been that every Essay should now appear as it probably would have appeared when it was first published, if he had then been allowed an additional day or two to revise the proof-sheets, with the assistance of a good library. CRITICAL AND HISTORICAL ESSAYS I CRITICISMS ON THE PRINCIPAL ITALIAN WRITERS NO. I. DANTE Knight's Quarterly Magazine, January, 1824 "Fairest of stars, last in the train of night, If better thou belong not to the dawn, Sure pledge of day, that crown'st the smiling morn MILTON. In a review of Italian literature, Dante has a double claim to precedency. He was the earliest and the greatest writer of his country. He was the first man who fully descried and exhibited the powers of his native dialect. The Latin tongue, which, under the most favorable circumstances, and in the hands of the greatest masters, had still been poor, feeble, and singularly unpoetical, and which had, in the age of Dante, been debased by the admixture of innumerable barbarous words and idioms, was still cultivated with superstitious veneration, and received, in the last stage of corruption, more honors than it had deserved in the period of its life and vigor. It was the language of the cabinet, of the university, of the church. It was employed by all who aspired to distinction in the higher walks of poetry. In compassion to the ignorance of his mistress, a cavalier might now and then proclaim his passion in Tuscan or Provençal rhymes. The vulgar might occasionally be edified by a pious allegory in the popular jargon. But no writer had conceived it possible that the dialect of peasants and market-women should possess sufficient energy and precision for a majestic and durable work. Dante had ventured first. He detected the rich treasures of thought and diction which still lay latent in their ore. He refined them into purity. He burnished them into splendor. He fitted them for every purpose of use and magnificence. And he has thus acquired the glory, not only of producing the finest narrative poem of modern times, but also of creating a language, distinguished by unrivalled melody, and peculiarly capable of furnishing to lofty and passionate thoughts their appropriate garb of severe and concise expression. To many this may appear a singular panegyric on the Italian tongue. Indeed the great majority of the young gentlemen and young ladies, who, when they are asked whether they read Italian, answer "yes," never go beyond the stories at the end of their grammar,- The Pastor Fido, -or an act of Artaserse. They could as soon read a Babylonian brick as a canto of Dante. Hence it is a general opinion, among those who know little or nothing of the subject, that this admirable language is adapted only to the effeminate cant of sonnetteers, musicians, and connoisseurs. The fact is that Dante and Petrarch have been the Oromasdes and Arimanes of Italian literature. I wish not to detract from the merits of Petrarch. No one can doubt that his poems exhibit, amidst some imbecility and more affectation, much elegance, ingenuity, and tenderness. They present us with a mixture which can only be compared to the whimsical concert described by the humorous poet of Modena : "S'udian gli usignuoli, al primo albore, "1 I am not, however, at present speaking of the intrinsic 1 Tassoni; Secchia Rapita, canto i. stanza 6. |