St Francis Xavier Academy - Xavier Yearbook (Providence, RI)

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©lie (jjtemus of 0autc (irp HE thirteenth, greatest of centuries!” How inevitably these words recall to I us to the grandeur of civilization in the Middle Ages, particularly in the cities of Italy. Florence, the birthplace of Dante—gay, capricious Florence, was the center of art, of intellectualism, and of culture. It was natural to expect that from the midst of her culture and development a great genius would arise. Ah, yes! But Dante the crowning glory of her greatness exceeded by far the highest hopes of all. There have often been prodigies in some one field of mental achievement—in music, art, or science, in history, philosophy, or theology; but Dante is the master prodigy. His knowledge of the Ptolemaic system of astronomy, of heathen mythology, of the laws of physiology and therapeutics, of the customs of ecclesiastical and civil courts, of Greek ethics, and of scholastic philosophy is stupendously amazing. But it is almost equally surprising to find that under his firm hand, all those hard laws, stern facts, and uninteresting principles are transformed, by imagery, into sweet and musical poetry. Nowhere is this more discernible than in his masterpiece the “Divine Comedy.” All other works of literature must be subordinated to the Divine Comedy. It has had more influence on the literature of the world than any one production. In Italy, even during the poet’s life, commentaries on the Divine Comedy” were produced, and this high estimation of Dante continued throughout the highest periods of Italian litera- ture. Among the distinguished Dante scholars during the Renaissance was Michael Angelo, himself famous poet, architect, and sculptor. His appreciation of Dante is beautifully expressed in the following sonnet; ‘ What should be said of him, speech may not tell; His splendor is too great for men’s dim sight; And easier ’twere to blame his foes aright Than for his poorest gifts to praise him well. He tracked the path that leads to depths of Hell To teach us wisdom, scaled the eternal height. And heaven with open gates did him invite. Who in his own loved city might not dwell. Ungrateful country step-dame of his fate. To her own loss: full proof we have in this That souls most perfect bear the greatest woe. Of thousand things suffice in this to state: No exile ever was unjust as his. Nor did the world his equal ever know.” “The Xavier' Page Nine

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Qfn Hattie Dante, thou truly lives! at this hour. As truly as six hundred years ago; Thy name today proclaims a mighty power No other bard can claim, no fame can show. Great Tuscan, King of Poets, Nations love thee. Thou art “the central man of all the world”; Thy theme, the greatest work e’er wrought in story. Doth unto man Faith’s lesson deep unfold. On thee, deep Mystic, Bard of mighty vision. Six centuries of homage we bestow. Oh. may earth’s tribute be but the Elysian Bliss above, reflected here below. —Elizabeth Mulve ) I’age Eight The Xavier

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Excepting Italy, England was the first country to feel the influence of Dante, and to recognize the merits of his work. Chaucer, “Father of English Poetry” is in- debted to Dante for many inspirations, and from him. down through the ages, we may trace the course of Dante’s influence on English literature. Germany was never without some famous Dante scholars, and consequently, the world has been enriched by the fruit of their labor. In fact, the intensive study of the Supreme Poet in Germany has taught his own countrymen to understand and appreciate their wondrous gift. Here in our own United States the Cambridge Dante Society contributed not a little towards the world's understanding and appreciation of the Divine Comedy.” Future generations will gratefully remember Longfellow for his excellent tianslation and annotation of the Comedy, and Lowell for his magnificent essay on Dante. In fact, there is scarcely a nation in the world that does not contain a library of Dante. Were it not for the “Divine Comedy” the bookshelves of our libraries, private and public alike, would lack many noted commentaries, essays, and sonnets, relating either to Dante himself or to his “Divine Comedy. Many a poet and author would never have been able to realize his talent had he not devoted a great part of his time to the study of Dante’s masterpiece. It brings out what is best in man, encourages his good traits, elevates his ideals, and raises him to a higher plane. Critics differ in their explanations and annotations, yet they all unite in declaring that the Divine Comedy ’ is the masterpiece of literature, surpassed by no other, since the beginning of the world. It is, quotes Dr. Walsh, in “The Thirteenth, Greatest of Centuries,” “the most astonishing poem in the world, dwarfing ali others by its theme, pulverizing most of them by its majesty and sustainment, unique in the force of its paraded personality and the thunderous reverberation of its judgments on the living and the dead.” —Catherine Fitzgerald “And you who judge so harshly. Are you sure the stumbling-stone That tipped the feet of others Might not have bruised your own? Are you sure the sad-faced angel Who writes your errors down Will ascribe to you more honor Than him on whom you frown?” Page Ten The Xavier”