Throughout the 19th century, Italian critics attributed to Dante's Commedia the formal and linguistic unity they desired for their country. It is 'a national Bible', de Sanctis said; 'harmony,' Mazzini affirmed, 'flows throughout in full tide.' Similar ideas flourished in Britain and Ireland, encouraged by the tendency of early translators to naturalise Dante in flattened versions of recognisable styles. Cary's pioneering version of 1805 was predominantly Miltonic; in later years, Robert Morehead transformed Dante into a second Spenser, while Thomas William Parsons made him out to be 'stately and solemn' in the manner of 'Gray and Dryden'. T.S. Eliot's essay of 1929 argues against such Anglocentric and Italocentric definitions, but only by ascribing even greater consistency and homogenising power to Dante. Written in 'the perfection of a common language', the Commedia expresses the mentality of a united Europe: so 'universal' is its poetry that it is mysteriously able to 'communicate', in the original, even to readers who know no Italian.

LRB 8 May 2003 | PDF Download