Stories from the Italian Poets: with Lives of the Writers, Volume 1 — A Reader’s Guide
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Machiavelli was of opinion, that if Christianity had not reverted to its first principles, by means of the poverty and pious lives of St. Francis and St. Dominic,[2] the faith would have been lost. It may have been; but such are not the secrets of its preservation in times of science and progression, when the spirit of inquiry has established itself among all classes, and nothing is taken for granted, as it used to be. A few persons here and there, who confound a small superstitious reaction in England with the reverse of the fact all over the rest of Europe, may persuade themselves, if they please, that the world has not advanced in knowledge for the last three centuries, and so get up and cry aloud to us out of obsolete horn-books; but the community laugh at them. Every body else is inquiring into first principles, while they are dogmatising on a forty-ninth proposition. The Irish themselves, as they ought to do, care more for their pastors than for the Pope; and if any body wishes to know what is thought of his Holiness at head-quarters, let him consult the remarkable and admirable pamphlet which has lately issued from the pen of Mr. Mazzini.[3] I have the pleasure of knowing excellent Roman Catholics; I have suffered in behalf of their emancipation, and would do so again to-morrow; but I believe that if even their external form of Christianity has any chance of survival three hundred years hence, it will have been owing to the appearance meanwhile of some extraordinary man in power, who, in the teeth of worldly interests, or rather in charitable and sage inclusion of them, shall have proclaimed that the time had arrived for living in the flower of Christian charity, instead of the husks and thorns which may have been necessary to guard it. If it were possible for some new and wonderful Pope to make this change, and draw a line between these two Christian epochs, like that between the Old and New Testaments, the world would feel inclined to prostrate itself again and for ever at the feet of Rome. In a catholic state of things like that, delighted should I be, for one, to be among the humblest of its communicants. How beautiful would their organs be then! how ascending to an unperplexing Heaven their incense! how unselfish their salvation! how intelligible their talk about justice and love! It would be far more easy, however, for the Church of England to do this than the Church of Rome; since the former would not feel itself hampered with pretensions to infallibility. A Church once reformed, may reform itself again and again, till it remove every blemish in the way of its perfection. And God grant this may be the lot of the Church of my native country. Its beautiful old ivied places of worship would then want no harmony of accordance with its gentle and tranquil scenery; no completeness of attraction to the reflecting and the kind.
But if Charity (and by Charity I do not mean mere toleration, or any other pretended right to permit others to have eyes like ourselves, but whatever the delightful Greek word implies of good and lovely), if this truly and only divine consummation of all Christian doctrine be not thought capable of taking a form of belief "strong" enough, apart from threats that revolt alike the heart and the understanding, Superstition must look out for some new mode of dictation altogether; for the world is outgrowing the old.
I cannot, in gratitude for the facilities afforded to myself, as well as for a more obvious and public reason, dismiss this Preface without congratulating men of letters on the establishment and increasing prosperity of the _London Library_, an institution founded for the purpose of accommodating subscribers with such books, at their own houses, as could only be consulted hitherto at the British Museum. The sole objection to the Museum is thus done away, and the literary world has a fair prospect of possessing two book-institutions instead of one, each with its distinct claims to regard, and presenting in combination all that the student can wish; for while it is highly desirable that authors should be able to have standard works at their command, when sickness or other circumstances render it impossible for them to go to the Museum, it is undoubtedly requisite that one great collection should exist in which they are sure to find the same works unremoved, in case of necessity,--not to mention curious volumes of all sorts, manuscripts, and a world of books of reference.
[Footnote 1: "It is probable that a prose translation would give a better idea of the genius and manner of this poet than any metrical one." Vol. i. p. 310.]
Leigh Hunt opens this volume with a dedication to Sir Percy Shelley that reveals his own temperament: he praises a combination of "the most romantic fiction with the coolest good sense" and a capacity to move "from the driest metaphysical questions to the heartiest enjoyment of humour." This duality shapes the entire project. Hunt is not merely a translator but a curator who selects, condenses, and occasionally versifies passages from Dante, Pulci, Boiardo, Ariosto, and Tasso. His preface states plainly that the book is "particularly intended for such students or other lovers of the language as are pleased with any fresh endeavours to recommend it."
Hunt’s Narrative Voice and Editorial Interjections
Hunt does not hide behind the originals. He intrudes with opinions, footnotes, and even regret. In a note on Dante’s famous evening passage—"Era già l'ora che volge 'l desio"—he exclaims, "Alas! why could not the great Tuscan have been superior enough to his personal griefs to write a whole book full of such beauties, and so have left us a work truly to be called Divine?" This is not scholarly detachment; it is a reader’s longing. Elsewhere, he glosses a word like nasetto ("small nose") to argue that Dante used nose size to imply determination. These asides give the volume a conversational, sometimes argumentative texture, as if Hunt is talking through the poems with a friend.
Pacing Through Condensation and Expansion
Hunt’s method of "reducing into one continuous narrative, when diffused and interrupted" stories like those of Angelica and Armida creates a new rhythm. He compresses sprawling episodes into streamlined prose, but he also lingers on moments he admires. The preface promises to "retain as much of the poetry of the originals as it is in the power of the writer's prose to compass." This leads to uneven pacing: some passages race through plot, while others slow to quote a stanza or to offer a verse translation. The effect is that of a guided tour where the guide stops at favorite paintings and hurries past corridors. Readers should watch for these shifts in tempo as clues to Hunt’s own tastes.
The Biographical Frame and Its Limits
Each poet receives a "careful biographical notice" that Hunt treats as essential context. The volume’s subtitle—with Lives of the Writers—signals that the stories are embedded in the poets’ lives. Yet the excerpts show Hunt relying on chroniclers and earlier biographers, sometimes reporting conflicting accounts. Of Nello della Pietra, he writes that "some chroniclers of these remote times report that Nello employed the dagger to hasten her end" but that "the mode of her death remained a mystery." He does not resolve the uncertainty; he presents it as part of the historical record. This restraint keeps the biographies from becoming novelized, though Hunt’s own sympathies are never far from the surface.
Because Hunt’s volume is a hybrid—part translation, part anthology, part critical commentary—it rewards readers who treat it as a conversation rather than a reference work. Pay attention to the footnotes: they contain some of Hunt’s sharpest observations, from the etymology of Saint Lucy’s name to the comparison between Dante’s evening lines and Gray’s Elegy. The original Italian passages in the appendix are not afterthoughts but invitations to compare Hunt’s prose with the source. Reading them side by side reveals the choices—and the losses—inherent in any act of translation.
In Stories from the Italian Poets, Leigh Hunt speaks of Dante’s wayward soul finding peace only through long wandering. That quiet patience—the idea that wisdom arrives after we stop wrestling the path—echoes faintly in Wisdom and Destiny — Inside the Classic, a work I’ve shelved beside Hunt for years, their companionship a gentle secret between protective covers.
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