Undoubtedly10 the sheets of parchment upon which the remarkable11 document is written are older than the fourteenth century, some time in whose first half Lappo, if he be the author, must have written the book. The keen scrutiny12 of powerful magnifying-glasses has revealed the fact that much of it is inscribed13 on skins which had formerly14 been used for the recording15 of a series of Lives of the Saints, whose almost effaced16 letters belong, without question, to the latter part of the twelfth century. Whoever wrote this story of Dante must have been at the economical pains to erase17 carefully the ecclesiastical script, thus curiously18 avenging19 so many palimpsests of Greek poets and Latin poets, whose lyrics20 have been scrubbed away with pumice-stone to make room for homilies and liturgies21 and hagiologies. If the writer of the story be indeed Lappo Lappi, it would be quite in keeping with his character, as we know it, to imagine him enjoying very greatly this process of obliterating22 some saintly relation in order to set down upon the restored surfaces his testimony23 to the greatest love-story of Italy. It is, however, unfortunately impossible to maintain with certainty that the writing is actually from the hand of Lappo. Though it appears to be a clerkly [Pg 345]calligraphy of the fourteenth century, such things have been imitated too often to enable any but the rashest and most headstrong of scholars to give a definite and unquestionable opinion. One may cherish with reason a private belief that the thing is indeed Lappo's work in Lappo's writing, but with the memory of some famous literary impositions fresh upon us, very notably24 the additions to Petronius, we must pause and pronounce warily25. It may be, indeed, that although the book be genuine enough in its creation, it was never intended to be regarded as a serious statement of facts, but rather to be taken as an essay in romance by one who wished the facts were as he pictured them. If this be so, the narrative is even less historically reliable than the Fiametta of Boccaccio.
In any case, the manuscript, whenever written, wherever written, and by whom written, is in a far from perfect condition. Though the care of Dom Gregory had encased it in a wrapping of purple-colored vellum, it still seems to have suffered from time and careless treatment. Probably its greatest injuries date from that period when, during the stress of the French Revolution, the treasures of the abbey library were hurriedly concealed26 in underground cellars, and suffered no little from damp and dirt during the period of their incarceration27. Many portions of the narrative are either wholly absent or exist in such a fragmentary condition [Pg 346]that, like a corrupt28 Greek text, they have to be restored by the desperate process of guesswork. Those, therefore, who thirst for the exact text of the tale, must either wait in patience for Professor Pawling's long promised edition, or satisfy their curiosity by a visit to the Abbey of Bonne Aventure in Poitou.
THE END
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varied
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adj.多样的,多变化的 | |
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amassing
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v.积累,积聚( amass的现在分词 ) | |
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3
forth
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adv.向前;向外,往外 | |
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4
narrative
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n.叙述,故事;adj.叙事的,故事体的 | |
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5
authenticity
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n.真实性 | |
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emphatic
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adj.强调的,着重的;无可置疑的,明显的 | |
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forgery
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n.伪造的文件等,赝品,伪造(行为) | |
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zeal
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n.热心,热情,热忱 | |
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pertinacity
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n.执拗,顽固 | |
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undoubtedly
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adv.确实地,无疑地 | |
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remarkable
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adj.显著的,异常的,非凡的,值得注意的 | |
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12
scrutiny
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n.详细检查,仔细观察 | |
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inscribed
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v.写,刻( inscribe的过去式和过去分词 );内接 | |
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formerly
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adv.从前,以前 | |
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15
recording
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n.录音,记录 | |
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effaced
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v.擦掉( efface的过去式和过去分词 );抹去;超越;使黯然失色 | |
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erase
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v.擦掉;消除某事物的痕迹 | |
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curiously
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adv.有求知欲地;好问地;奇特地 | |
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avenging
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adj.报仇的,复仇的v.为…复仇,报…之仇( avenge的现在分词 );为…报复 | |
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lyrics
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n.歌词 | |
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21
liturgies
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n.礼拜仪式( liturgy的名词复数 );(英国国教的)祈祷书 | |
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obliterating
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v.除去( obliterate的现在分词 );涂去;擦掉;彻底破坏或毁灭 | |
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testimony
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n.证词;见证,证明 | |
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notably
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adv.值得注意地,显著地,尤其地,特别地 | |
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warily
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adv.留心地 | |
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26
concealed
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a.隐藏的,隐蔽的 | |
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incarceration
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n.监禁,禁闭;钳闭 | |
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corrupt
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v.贿赂,收买;adj.腐败的,贪污的 | |
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