I^ante •: « Ozanaip • THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES DANTE AND CATHOLIC PHILOSOPHY IN THE THIRTEENTH CENTURY BY FREDERIC OZANAM TRANSLATED FROM THE FRKN€H BY LUCIA D. PYCHOWSKA N Second Edition — •♦}3hK«®^*^«' New York THE CATHEDRAL LIBRARY ASSOCIATION 1913 Copyright 1896, PREFACE. ''^=^?ESiRnus of enlightening those who lived in the Jl^y shade or in the gloom, Dante chanted the grandest of poems m a vulgar tongue. Even the lyre of his Master, A'irgil, seemed too small for him who aspired, through a perfect art, to be a perpetual and universal teacher of Chris- tian truth. Putting aside Latin, and choosing Ital- ian as the medium of his verse, the poet did wise- ly ; and yet the use of a living language has not made him a poet of the people. We have all read the pretty tales, recounting how the simplest of Ital- ian folk were wont to please themselves as they la- bored, and, at the same time, to astonish ingenuous barbarians, by singing intelligently whole cantos of the Divine Comedy ; but vainly shall we seek the names of these intellectual proletarians. Boccaccio would not risk an interpretation of Dante's master- piece, before invoking, with the greatest humility, the assistance of the God of Light. Five centuries have passed since Boccaccio's famous and imperfect essay. Age after age, religiously, patiently, schol- ars have toiled over the pages of the Divine Com- 862185 ii. Preface. edy. Stilly in our day, a writer of uncommon learn- ing and intellect, Cesare Cantu, has said that '' even an Italian reader of Dante's trilogy is obliged to study it as if it were a foreign book, consulting, alternately, the text and a commentary." What- ever his fate, had the poet of the universe sang al- ways to the music of the little lyre he first tempted, he has been, and is, and will ever be the poet of educated people only ; and, even among these, he can be understood, inasmuch as he is intelligible, by the studious alone. Though a reckless or an incompetent translator may relieve us of many of the difficulties that an Italian cannot escape, no translator, however skil- ful, can turn Dante's text into light reading. As Frederick von Schlegel wrote, when M. Ozanam was in his cradle : " A preparatory initiation into a vast extent of varied knowledge is necessary, in order to understand the poem either as a whole or in detail." Dante's geography and astronomy are not those of our school books. The allegory of the poem is far from being transparent. One may be well read, and yet find the poet's local history and allusions puzzling. And how many fairly educated persons can follow the poet closely, ashe developes and resolves the most practical cases in ethics, and Preface. i . i . the most abstruse questions in theology and phil- osoph}^ ! Within a twelvemonth, I read a review of no less than fifty-three Italian works, recently published, intended to explicate, or to illustrate, Dante's text; and the Venetian and Tuscan critics require at least two periodicals to hold and preserve their lucubra- tions. Foreigners may consider themselves fortunate in escaping a school of criticism so voluminous and so distracting, whose chief apology is the poet's fre- quent and vain-glorious abuse of that same vulgar tongue which he adopted for the sake of the plain people; and yet the foreigner is helpless without the critic and the commentator. Within the last fifty years, in Italy as well as outside of Italy, the world of learning has shown the most helpful and healthful appreciation of Dan- te's work, great and small. American as well as Eng- lish students have composed creditable transla- tionsofhis master-poem and many volumes intended to explain away difficulties, to familiarize a read- er with the poet's personality, to explicate his teach- ing or to describe the machinery of the Inferno, the Purgatory, and the Paradise. Helpful and healthful are not epithets applicable however, to all the volumes published in English or in the Ian- iv. Preface. guages of the continent. Many have been harmful and even vicious. For a long time in Italy, the spirit of revolt has pretended to derive inspiration from Dante's pages, and, to-day, the Italian Anar- chists, enemies of God and of mankind, shamefully claim him as a precursor. The Protestant tradi- tion that the most illustrious of Catholic poets was a foe to the Papacy is still alive, and though many non-Catholics are led to study the trilogy because of Dante's glorious imagination; strange philosophical and theological science ; forcible, compact, unique style; passionate expression of sentiment and of creed; there are few who are not prejudiced in his favor, especially, and one might say invincibly, because, more or less justly, he at- tacked ecclesiastics of the Roman Catholic Church, and, more or less considerately, censured evils that afflicted the Church, in his day. Only a Cath- olic can duly estimate the value of Dante's cen sures, which, however violent, impugn in no wise the doctrine or the divine organization of the Church; as only a Catholic can, with full intelli- gence and perfect sympathy, comprehend the phil- osophical views and theological tenets of the medi- tative religious poet, who "towers above all others in solitary grandeur.'' Preface. V. Of Catholic English guides through the intrica- cies of the Dantean labyrinth, there has been a dearth, all the more surprising when we recall the many good books written in Italian, French and German, Not more than a couple, among the sev- eral volumes deserving a careful translation, have been offered to a public that should have, and that daily shows an increasing desire to have, a more familiar acquaintance with the grandest of Catholic poets, and the most sublime of all poets. We can- not doubt, therefore, of the success of this agree- able translation of Frederic Ozanam's: Dante, and Catholic Fhilosophy in the Thirteenth Century, a work received with general applause at the time of its publication, and one whose utility has not been di- minished by the lapse of years. More than once M. Ozanam has told how his in- terest in the poet was first awakened. During a visit to Rome, in the year 1833, when he was just twenty years of age, the sensitive and thoughtful Frenchman found himself, one day, standing in the Camera delta Segnatura before Raphael's Disputa. Lowering his eyes from the heaven in which angels and saints are grouped beneath the Blessed Trinity, he began to examine the faces of the doctors and pontiffs of the Church, who are distributed on vi. Preface. either side of the altar of the Most Blessed Sacra- ment. One head, garlanded with laurel, attracted him. Who was the noble and austere stranger that Raphael deemed worthy of a place beside St. Am- brose, St. Augustine, St. Thomas Aquinas, St. Bonaventure, and Innocent III. ? Dante! Why should the painter thus honor a poet? This question M. Ozanam answered satisfactorily, only after years of most patient and enthusiastic study. His first essay on the subject was written ni 1838, when he competed for the degree of Doctor of Letters. Seven years later the first edition of the present work appeared; and shortly afterwards, it found one German and no less than four Italian translators. In 1843 M- Ozanam began a series of studies, which were printed in Le Correspondant, on " The Franciscan poets in Italy during the Thir- teenth century " ; a series that he completed and published only a short time before his death in 1853. Not the least valuable chapter in this ad- mirable volume, which still awaits a translator, is the one dealing with " The Poetical Sources of the Divine Comedy." To fit himself to solve the prob- lem that Raphael made for him, M. Ozanam under- took a French translation of the Divine Comedy, with an extended commentary on the poem. Seven Preface. vii. years he devoted to this work; and of the sev- en, four were expended on the Purgatory alone. Could we ask for a more telling proof that Dante can be " popularized " only among the educated and the studious! Nominated, in the autumn of 1844, a Professor in the Sorbonne, for life, M. Ozanam determined to turn his studies on Dante to profitable use. He had always intended that they should serve to illus- trate the comprehensive history of Christian civili- zation which he had planned in his youth; and it was in accordance with this design that he made the Divine Comedy the subject of his lectures, at the Sorbonne, between the years 1847 and 1850. Of his translation and commentary, we have only " The Purgatory of Dante,'' published after M. Ozanam's death; a work that has passed through several editions, and that has benefited many students of the incomparable Catholic poet. Readers of '' Dante, and Catholic Philosophy in the Thirteenth Century " can feel assured of the competence and honesty of their guide. His chief aim was, once for all, to expose the guile of those who sought to associate Dante, — whoso passionately loved truth and the disciples of truth and who glo- ried in anathematizing public errors and the adepts viii. Preface. of error, — with " thetumultuousrabbleof the hetero- dox"; and then, doing the poet justice, to prove his right to stand, where Raphael placed him, '•'among the most noble disciples of eternal orthodoxy." With textual difficulties, with criticism purely literary, M. Ozanam did not occupy himself. He confined himself to the study of Dante as a states- man and philosopher; to his political experiences and philosophical education; to a sketch of the philosophical movement, prior to the thirteenth century; to a review of the poet's philosophical opinions and of the teaching of his preceptors. The author of ^'Daiifc, and the Philosophy of the Thirteenth Centi/ry" cUd not exhaust the subject. He made no such pretension. His purpose was merely to culture a small part of a most fruitful field that had long been allowed to lie fallow. Commendation of a work which has stood the test of half a century of criticism, would be pre- sumptuous. M. Ozanam knew how to interest as well as to instruct. A reader of this volume will find that he has formed an acquaintance not alone with Dante, the philosopher, but also with Dante the man; and that the author has brought the thirteenth century very near to us, permitting us to appreciate more intelligently its characteristics, Preface. ix. and profitably to compare mediaeval civilization with that which we call modern. Perhaps, treating of the poet's political opinions, M. Ozanam attrib- uted to them, here and there, a signification that the poet himself would have disowned. Still the author's ingenious views may suggest to some in- dustrious Catholic a closer study of a tempestuous period of French history; a period covering the years between 1S30 and 1853. If M. Ozanam's political views had a peculiar tint, it was merely a reflection of the color of his time. The mere mention of the name of Antoine Fred- eric Ozanam tempts one to write at length of the virtuous and talented and brave, and, above all, charitable champion of the Catholic faith, rather than of the scholar, writer and orator. Still it is fitting here to recall his gift of eloquence; a gift that, long before his appointment to the Sorbonne, had gained him fame and position. How elo- quent he could be, with the written as well as with the spoken word, many passages in this book man- ifest. The mastery of the Italian singer, the majesty of his conception, the virile power of his language, the vivacity of his imagination, could not fail to arouse the sensitive soul of Ozanam, es- pecially when he was engaged in searching the 3£. Preface. soul of one who loved, with a love so tender, so ar- dent, so loyal " the daughter of God, the Queen of things, noble and beautiful above all others, Phil- osophy." The translation of '■'Dante, and the Philosophy of the Thirteenth Century," now presented to an en- lightened public, needs no compliment other than that paid it by an American writer, widely es- teemed, and affectionately cherishedby all who knew him personally, — Brother Azarias, He stood spon- sor for the work, as I am informed by the distin- guished Director of the Cathedral Library, pro- nouncing it excellent. Thanks to him also, it found a long-sought publisher, in the person of one who has done much to keep alive the memory of the modest Christian Brother, whose rare talent? were ever devoted to the cause of Catholic truth. His scholarly essay on the Spiritual Sense of the Divina Commedia, evinced extensive research and fruitful study, and adds weight to his approval of this vol- ume. Hearing that the translator is one of the gentler — and shall I not say : the more poetical — sex, Cath- olic men may express surprise ; and indeed a few may feel remorse. Let us hope that, influenced by ihe example of one painstaking and intellectual Preface. xi. woman, others may be led to attempt work no less serious and serviceable, leaving the " short story " to the more volatile and vain male sex. To me, it seems eminently right and proper that a woman should have made it possible for English readers to acquire a correct notion of the philosophy of Dante, as well as of the scope and aim of the Divine Com- edy. Was there ever a man who honored women with an affection like unto that the poet avowed for those " three blessed ladies," Beatrice, St. Lucy and the Virgin Mother of God! Great works demand and deserve meditation ; and, in a sense, all good books are great. Dante's epic compels meditation ; M. Ozanam's good book deserves meditation. Not alone silver shall a delver find m it, but also the more precious gold. The poet gave an example to all who would have sound knowledge about deep things. At first it was difift- cult for him to enter into the thoughts of the phil- osophers; but he persisted, and finally, through patience, he penetrated them. Not to his patience, or to the natural powers of his mind, did he award all the credit for his successful mastery of things subtle and profound. After pondering long over books, having sought Philosophy where alone she loves to dwell, " in the schools of the religious and xii. Preface. in the assemblies of philosophers," Dante felt bound, giving the world the result of his experience, to inculcate a lesson; an old lesson, though one not easily learned. '' May God permit thee, reader, to gather fruit fro7n thy reading^' said the poet, in " the twentieth strain of the first song, whose awful theme records the spirits whelmed in woe." These sig- nificant words may well serve as an introduction to Frederic Ozanam's: Dante, and Catholic Philosophy in the Thirteenth Century. John A. Mooney. TABLE OF CONTENTS. Page ruEMMiNARY DISCOURSE. — Tradition of Letters in Italy, from the Latin Decadence to Dante 3 I.VTRODUCTiON.— Authority of Dante in regard to Philoso- phy. — Design of the Proposed Work 47 • PART I. Chaptek I. — Religious, Political, and Intellectual Situation of Christendom from the Thirteenth to the Fourteenth Century; Causes Favoring the Development of Phil- osophy 63 Chapter II. — Scholastic Philosophy in the Thirteenth Cen- tury 76 Chapter III. — Special Characteristics of Italian Philosophy. 96 Chapter IV. — Life, Studies, and Genius of Dante. General Design of the Divine Comedy. Place Occupied in it by the Philosophical Element 104 PART IL Exposition of Dante's Philosophical Doctrines. Chapter L — Prolegomena 133 Chapter IT.— Evil 145 xiii. xiv. Table of Cotitetits. Page Chapter III. — Evil and Good, in Conjunction and in Con- flict 175 Chaptek IV. — Good 222 PART III. Chapter L — Dante's Philosophy Considered. — Analogies with Oriental Doctrines 270 Chapter II. — Relations of Danie's Philosophy to the Schools of Antiquity. Plato and Aristotle. — Idealism and Sensism 280 Chapter III. — Relations of Dante's Philosophy with the Schools of the Middle Ages. — St. Bonaventura and St. Thomas Aquinas. Mysticism and Dogmatism 302 Chapter IV. — Analogy between the Philosophy of Dante and Modern Philosophy. — Empiricism and Rationalism. 327 Chapter V. — The Orthodoxy of Dante 343 PART IV. Inquiries and Documents irt Aid of the History of Dante and of Conte77iporary Philosophy. I. Daxte'sPoliticalLife.— WasheaGuelfor a Ghibelline? 361 II. Beatrice. — Influence of "Women in Christian Society, and of Catholic Symbolism in the Arts. — The Three Blessed Women, Beatrice, St. Lucy, and the Blessed Virgin Mary 383 Tabic of Contents. xv. Page III. Daxte's First Studies ix Philosophy. — Extracts from the Conviio. — Conjectures in Regard to the Period of Dante's Journey to Paris. — Researches of M. Victor le Clerc Concerning Siger de Brabant. — Conclusions, in Aid of the Interpretation of tlie Poem 423 DOCUMENTS In Elucidation of the History of Philosophy in the Thirteenth Cetitury. I. Bull of Innocent IV. For tiie Revival of Philosophical Studies 443 II. General Classification of Human Knowledge. Treatise by St. Bonaventura 445 III. God : an Extract from St. Bonaventura 455 IV. Man : Extracts from St. Bonaventura 460 V. Society : Philosophy of the Law ; Politics : Extracts from St. Thomas Aquinas 471 VI. Nature : Extracts from Albert the Great, and from Eoger Bacon 493 Appendix. N?? I., XL, and III 503, 504, 506 Dante, and Catholic Philosophy in the Thirteenth Century. PRELIMINARY DISCOURSE. Tradition of Letters in Italy, from the Latin Decadence to Dante. MID tlie doubts and passions disquieting our age, the past in- terests us mainly by its relations to ourselves, that is, by what we still retain of it. The chief interest of the his- tory of literature consists in seeking out among the intellectual monuments of all the ages, the ways of Providence and the general laws governing the human mind. Literatures follow one another : we are concerned in knowing whether they are bound together and continue one another ; whether, by the side of the poetic instincts which everywhere awake spontaneously, there is a learned dis- cipline, which constitutes art, and which the nations transmit one to another, always taught and always teaching, accomplishing but one and the same work as they follow one and the same destiny. To- state the question in briefer terms, what we wish to know is, if there exists a tradition of letters. 3 4 Dante, and Catholic Philosophy Modern researches liave begun to ro-link in history the suc- cession of epochs. On one side, the languages, legends, and doc- trines of classic antiquity, which were thought to have originated in the regions where they chiefly flourished, have been connected with the civilizations of the Orient. The old pretensions to au- tochthonous development have disappeared before the proofs of a common and distant derivation. On the other side, in the little known depths of the Middle Ages, in the systems of its schools, and in the works of its great masters, we have been obliged to recognize the legitimate sources of modern science and art. The world at large has ceased to date from Luther the awakening of human reason. Thus has been established on the one hand the unity of the centuries of antiquity, and on the other, that of the Christian ages. It now remains to study more closely the inter- val separating these two eras in the world's historj'. We must examine whether letters perished during the terrible years occu- pied by the fall of the Roman Empire and the incursions of the barbarians. "Were they then extinguished to be subsequently re- vived by a concurrence of favorable circumstances, or did they un- dergo a transformation which was to save them, and thus preserve continuity of instruction? The Renaissance, for a long time placed at the period of the taking of Constantinople, has by some been thrown back to the date of the Crusades, and by others to the reign of Charlemagne. In the Thirteenth Cejitury. 5 Even before Charlemagne, we find tlic Roman muses sheltered in Irish and Anglo-Saxon monasteries. But we must come to closer quarters with these researches. Thej'^ should l^e pursued on their proper ground, in Italy, the last refuge of antiquity and the start- ing point of the Middle Ages. There it is that we may obtain a view of the most memorable transition which has ever taken place. Tlirough what phases did letters pass during eleven hundred years, from Jie Latin decadence to the first writings in the vul- gar tongue ? How did the human mind lay aside its pagan liabits to take on a new character? This is the revolution we shall en- deavor to follow, seeking in its long course to discover, if we can, the unity of the tradition of letters. First, we will consider that tradition as existing among the Romans, such as antiquity had made it in the age of Augustus; then we will watch it as re- generated by Christianity ; we will examine whether it traversed the period of barbarism, and how it was reproduced in the works of Italian genius, whence in turn it went forth to reign over every literature in Europe. I. If we consider Roman civilization at the opening of the mod- ern era, we shall find that it had its roots in the whole of antiquity. We see in it the result and abridgment of the anterior civilizations, and, as it were, the latest effort of the Iniman mind after the lapse of four thousand years. The Latin language itself. I)y tlio incoii 6 Dimtc, and Catliolic Philosophy testable originality of its character, by its radical analogies with tlie Clreek and the Sanscrit, bears witness to the primitive rela- tions existing between the Orient, Greece, and Italy. Rome appears to have received from the East, through the Etruscans, its gravest religious institutions, the remains of a disfigured truth not lacking grandeur. I mean that science of auguries and worship of the manes which made of life a ceaseless communion with the gods and with ancestral spirits. The arts and the sense of beauty came to Rome from Greece, through the neighborhood of the Dorian cities of Calabria and Sicily. Later, after the Macedonian war, Greek pedagogues were to be bought in the slave market ; patrician youths studied in the schools of Athens or of Rhodes ; the Latin muses grew rich by imitation, another species of conquest. But the characteristic quality of the Roman genius, that wliich it owed only to itself and to the old Latium where it had its Ijirth, was the practical sense of justice, the instinct of rights, of Ian'. Laws were reduced to a science— yMr«.s^jn