INTRODUCTION TO THE PROPHECY OF DANTE.
The Prophecy of Dante was written at Ravenna, during the month of June, 1819, "to gratify" the Countess Guiccioli. Before she left Venice in April she had received a promise from Byron to visit her at Ravenna. "Dante's tomb, the classical pinewood," and so forth, had afforded a pretext for the invitation to be given and accepted, and, at length, when she was, as she imagined, "at the point of death," he arrived, better late than never, "on the Festival of the Corpus Domini," which fell that year on the tenth of June (see her communication to Moore, Life, p. 399). Horses and books were left behind at Venice, but he could occupy his enforced leisure by "writing something on the subject of Dante" (ibid., p. 402). A heightened interest born of fuller knowledge, in Italian literature and Italian politics, lent zest to this labour of love, and, time and place conspiring, he composed "the best thing he ever wrote" (Letter to Murray, March 23, 1820, Letters, 1900, iv. 422), his Vision (or Prophecy) of Dante.
It would have been strange if Byron, who had sounded his Lament over the sufferings of Tasso, and who had become de facto if not de jure a naturalized Italian, had forborne to associate his name and fame with the sacred memory of the "Gran padre Alighier." If there had been any truth in Friedrich Schlegel's pronouncement, in a lecture delivered at Vienna in 1814, "that at no time has the greatest and most national of all Italian poets ever been much the favourite of his countrymen," the reproach had become meaningless. As the sumptuous folio edition (4 vols.) of the Divina Commedia, published at Florence, 1817-19; a quarto edition (4 vols.) published at Rome, 1815-17; a folio edition (3 vols.) published at Bologna 1819-21, to which the Conte Giovanni Marchetti (vide the Preface, post,
