It would be strange, indeed, if the youthful book of one so sensitive to external influences as Dante did not give evidence of sympathy with such pervading emotion. And so apparent is this,--that one may say that only at such a period, when strength of sentiment was finding vent in all manner of free expression, was such a book possible. Confidence, frankness, directness in the rendering of personal feeling are rare, except in conditions of society when the emotional spirit is stronger than the critical. The secret of the active power of the arts at this time was the conscious or unconscious resort of those who practised them to the springs of Nature, from which the streams of all true Art proceed. Dante was the first of the moderns to seek Poetry at the same fountain, and to free her from the chains of conventionality which had long bound her. In this he shows his close relation to his times. It is his fidelity to Nature which has made him a leader for all successive generations. The "Vita Nuova" was the beginning of a new school of poetry and of prose as completely as Giotto's O was the beginning of a new school of painting.
The Italian poets, before Dante, may be broadly divided into two classes. The first was that of the troubadours, writing in the Provençal language, hardly to be distinguished from their contemporaries of the South of France, giving expression in their verses to the ideas of love, gallantry, and valor which formed the base of the complex and artificial system of chivalry, repeating constantly the same fancies and thoughts in similar formulas of words, without scope or truth of imagination, with rare exhibitions of individual feeling, with little regard for Nature. Ingenuity is more characteristic of their poetry than force, subtilty more obvious in it than beauty. The second and later class were poets who wrote in the Italian tongue, but still under the influence of the poetic code which had governed the compositions of their Provençal predecessors. Their poetry is, for the most part, a faded copy of an unsubstantial original,--an echo of sounds originally faint. Truth and poetry were effectually divided. In the latter half of the thirteenth century, however, a few poets appeared whose verses give evidence of some native life, and are enlivened by a freer play of fancy and a greater truthfulness of feeling. Guido Guinicelli, who died in 1276, when Dante was eleven years old, and, a little later, Guido Cavalcanti, and some few others, trusting more than had been done before to their own inspiration, show themselves as the forerunners of a better day.[8] But as, in painting, Margheritone and Cimabue, standing between the old and the new styles, exhibit rather a vague striving than a fulfilled attainment, so is it with these poets. There is little that is distinguishingly individual in them. Love is still treated mostly as an abstraction, and one poet might adopt the others' love-verses with few changes of words for any manifest difference in them of personal feeling.