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+The Project Gutenberg EBook of Dante, by Philip H. Wicksteed
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Dante
+       Six Sermons
+
+Author: Philip H. Wicksteed
+
+Release Date: June 22, 2011 [EBook #36479]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DANTE ***
+
+
+
+
+Produced by Curtis Weyant, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+
+
+
+
+
+
+DANTE
+
+
+
+
+DANTE
+
+_SIX SERMONS_
+
+BY
+
+PHILIP H. WICKSTEED
+
+M.A.
+
+[Illustration]
+
+LONDON
+C. KEGAN PAUL & CO., 1 PATERNOSTER SQUARE
+1879
+
+
+(_The rights of translation and of reproduction are reserved_)
+
+
+
+
+_PREFACE._
+
+
+The five Sermons which form the body of this little book on Dante were
+delivered in the ordinary course of my ministry at Little Portland
+Street Chapel, in the autumn of 1878, and subsequently at the Free
+Christian Church, Croydon, in a slightly altered form.
+
+They are now printed, at the request of many of my hearers, almost
+exactly as delivered at Croydon.
+
+The substance of a sixth Sermon has been thrown into an Appendix.
+
+In allowing the publication of this little volume, my only thought is
+to let it take its chance with other fugitive productions of the Pulpit
+that appeal to the Press as a means of widening the possible area
+rather than extending the period over which the preacher's voice may
+extend; and my only justification is the hope that it may here and
+there reach hands to which no more adequate treatment of the subject
+was likely to find its way.
+
+The translations I have given are sometimes paraphrastic, and virtually
+contain glosses or interpretations which make it necessary to warn the
+reader against regarding them as in every case Dante's _ipsissima
+verba_. For the most part the renderings are substantially my own; but
+I have freely availed myself of numerous translations, without special
+acknowledgment, whenever they supplied me with suitable phrases.
+
+I have only to add the acknowledgment of my obligations to Fraticelli's
+edition of Dante's works (whose numbering of the minor poems and the
+letters I have adopted for reference), to the same writer's 'Life of
+Dante,' and to Mr. Symonds' 'Introduction to the Study of Dante.'
+
+                                                    P. H. W.
+
+_June 1879._
+
+
+
+
+_CONTENTS._
+
+                                              PAGE
+
+I. DANTE: AS A CITIZEN OF FLORENCE               1
+
+II. DANTE: IN EXILE                             29
+
+III. HELL                                       59
+
+IV. PURGATORY                                   89
+
+V. HEAVEN                                      119
+
+APPENDIX                                       145
+
+
+
+
+I
+
+DANTE'S LIFE AND PRINCIPLES
+
+_I. AS A CITIZEN OF FLORENCE_
+
+
+There are probably few competent judges who would hesitate to give
+Dante a place of honour in the triad of the world's greatest poets; and
+amongst these three Dante occupies a position wholly his own, peerless
+and unapproached in history.
+
+For Homer and Shakespeare reflect the ages in which they lived, in all
+their fullness and variety of life and motive, largely sinking their
+own individuality in the intensity and breadth of their sympathies.
+They are great teachers doubtless, and fail not to lash what they
+regard as the growing vices or follies of the day, and to impress upon
+their hearers the solemn lessons of those inevitable facts of life
+which they epitomise and vivify. But their teaching is chiefly
+incidental or indirect, it is largely unconscious, and is often almost
+as difficult to unravel from their works as it is from the life and
+nature they so faithfully reflect.
+
+With Dante it is far otherwise. Aglow with a prophet's passionate
+conviction, an apostle's undying zeal, he is guided by a philosopher's
+breadth and clearness of principle, a poet's unfailing sense of beauty
+and command of emotions, to a social reformer's definite and practical
+aims and a mystic's peace of religious communion. And though his works
+abound in dramatic touches of startling power and variety, and
+delineations of character unsurpassed in delicacy, yet with all the
+depth and scope of his sympathies he never for a moment loses himself
+or forgets his purpose.
+
+As a philosopher and statesman, he had analysed with keen precision the
+social institutions, the political forces, and the historical
+antecedents by which he found his time and country dominated; as a
+moralist, a theologian, and a man, he had grasped with a firmness that
+nothing could relax the essential conditions of human blessedness here
+and hereafter, and with an intensity and fixity of definite
+self-conscious purpose almost without parallel he threw the passionate
+energy of his nature into the task of preaching the eternal truth to
+his countrymen, and through them to the world, and thwarting and
+crushing the powers and institutions which he regarded as hostile to
+the well-being of mankind. He strove to teach his brothers that their
+true bliss lay in the exercise of virtue here, and the blessed vision
+of God hereafter. And as a step towards this, and an essential part of
+its realisation, he strove to make Italy one in heart and tongue, to
+raise her out of the sea of petty jealousies and intrigues in which she
+was plunged; in a word, to erect her into a free, united country, with
+a noble mother tongue. These two purposes were one; and, supported and
+supplemented by a never-dying zeal for truth, a never-failing sense of
+beauty, they inspired the life and works of Dante Alighieri.
+
+It is often held and taught, that a strong and definite didactic
+purpose must inevitably be fatal to the highest forms of art, must clip
+the wings of poetic imagination, distort the symmetry of poetic
+sympathy, and substitute hard and angular contrasts for the melting
+grace of those curved lines of beauty which pass one into the other.
+Had Dante never lived, I know not where we should turn for the decisive
+refutation of this thought; but in Dante it is the very combination
+said to be impossible that inspires and enthrals us. A perfect artist,
+guided in the exercise of his art by an unflagging intensity of moral
+purpose; a prophet, submitting his inspirations to the keenest
+philosophical analysis, pouring them into the most finished artistic
+moulds, yet bringing them into ever fresher and fuller contact with
+their living source; a moralist and philosopher whose thoughts are fed
+by a prophet's directness of vision and a poet's tender grace of love,
+a poet's might and subtlety of imagination--Philosopher, Prophet, Poet,
+supreme as each, unique as a combination of them all--such was Dante
+Alighieri! And his voice will never be drowned or forgotten as long as
+man is dragged downward by passion and struggles upward towards God, as
+long as he that sows to the flesh shall of the flesh reap corruption,
+and he that sows to the spirit reaps of the spirit life everlasting, as
+long as the heart of man can glow responsive to a holy indignation
+with wrong, or can feel the sweetness of the harmonies of peace.
+
+It is little that I can hope to do, and yet I would fain do something,
+towards opening to one here and there some glimpse into that mighty
+temple, instinct with the very presence of the Eternal, raised by the
+master hand, nay rather wrought out of the mighty heart of Dante; but
+before we can even attempt to gather up a few fragments of the 'Divine
+Comedy,' as landmarks to guide us, in our turn, through Hell and
+Purgatory up to Heaven, it is needful for us to have some conception
+who Dante Alighieri was, and what were his fortunes in this mortal
+life.
+
+And here I must once for all utter a warning, and thereby discharge
+myself of a special duty. The Old Testament itself has not been more
+ruthlessly allegorised than have Dante's works and even his very life.
+The lack of trustworthy materials, in any great abundance, for an
+account of the poet's outward lot, the difficulty of fixing with
+certainty when he is himself relating actual events and when his
+apparent narratives are merely allegorical, the obscurity,
+incompleteness, and even apparent inconsistency of some of the data he
+supplies, the uncertainty as to the exact time at which his different
+works were composed and the precise relation in which they stand to
+each other, and the doubts which have been thrown upon the authenticity
+of some of the minor documents upon which the poet's biographers
+generally rely, have all combined to involve almost every step of his
+life in deep obscurity. Here, then, is a field upon which laborious
+research, ingenious conjecture, and wild speculation can find unending
+employment, and consequently every branch of the study has quite a
+literature of its own.
+
+Now into this mass of controversial and speculative writings on Dante,
+I do not make the smallest pretensions to have penetrated a single
+step. I am far from wishing to disparage such studies, or to put
+forward in my own defence that stale and foolish plea, the refuge of
+pretentious ignorance in every region of inquiry, that a mind coming
+fresh to the study has the advantage over those that are already well
+versed in it; but surely the students who are making the elucidation of
+Dante their life work would not ask or wish, that until their endless
+task is completed all those whose souls have been touched by the direct
+utterance of the great poet should hold their peace until qualified to
+speak by half a life of study.
+
+With no further apology, then, for seeming to venture too rashly on the
+task, we may go on to a brief sketch of Dante's life and principles.
+The main lines which I shall follow are in most cases traced distinctly
+enough by Dante's own hand, and to the best of my belief they represent
+a fair average of the present or recent conclusions of scholars; but,
+on the other hand, there have always been some who would unhesitatingly
+treat as allegory much of what I shall present to you as fact, who for
+instance would treat all Dante's love for Beatrice, and indeed
+Beatrice's very existence, as purely allegorical; and, again, where the
+allegory is admitted on all hands, there is a ceaseless shifting and
+endless variety in the special interpretations adopted and rejected by
+the experts.
+
+       *       *       *       *       *
+
+Dante, or properly Durante, Alighieri was born in Florence of an
+ancient and noble family, in the year 1265. We may note that his life
+falls in a period which we used to be taught to regard as an age of
+intellectual stagnation and social barbarism, in which Christianity had
+degenerated into a jumbled chaos of puerile and immoral superstitions!
+We may note also that in the early years of his life the poet was a
+contemporary of some of the noblest representatives of the
+feudo-Catholic civilisation, that is to say of medi�val philosophy,
+theology, and chivalry, while his manhood was joined in loving
+friendship with the first supremely great medi�val artist, and before
+he died one of the great precursors and heralds of the revival of
+learning was growing up to manhood and another had already left his
+cradle. To speak of Roger Bacon, Thomas Aquinas, and St. Louis, as
+living when Dante was born, of Giotto as his companion and friend, of
+Petrarch and Boccaccio as already living when he died, is to indicate
+more clearly than could be done by any more elaborate statement, the
+position he occupies at the very turning point of the Middle Ages when
+the forces of modern life had begun to rise, but the supremacy of
+medi�val faith and discipline was as yet unbroken. Accordingly Dante,
+in whom the truest spirit of his age is, as it were, 'made flesh,' may
+be variously regarded as the great morning star of modern
+enlightenment, freedom, and culture, or as the very type of medi�val
+discipline, faith, and chivalry. To me, I confess, this latter aspect
+of Dante's life is altogether predominant. To me he is the very
+incarnation of Catholicism, not in its shame, but in its glory. Yet the
+future is always contained in the present when rightly understood, and
+just because Dante was the perfect representative of his own age, he
+became the herald and the prophecy of the ages to come, not, as we
+often vainly imagine them, rebelling against and escaping from the
+overshadowing solemnity of the ages past, but growing out of them as
+their natural and necessary result.
+
+In the year 1265, then, Dante was born in Florence, then one of the
+most powerful and flourishing, but also, alas! one of the most factious
+and turbulent of the cities of Europe. He was but nine years old when
+he first met that Beatrice Portinari who became thenceforth the
+loadstar of his life. As to this lady we have little to say. The
+details which Dante's early biographers give us add but little to our
+knowledge of her, and so far as they are not drawn from the poet's own
+words, are merely such graceful commonplaces of laudatory description
+as any imagination of ordinary capacity would spontaneously supply for
+itself. When we have said that Beatrice was a beautiful, sweet, and
+virtuous girl, we have said all that we know, and all that we need care
+to know, of the daughter of Folco Portinari, who lived, was married,
+and died in Florence at the end of the thirteenth century. All that she
+is to us more than other Florentine maidens, she is to us through that
+poet who, as he wept her untimely death, hoped with no vain hope 'to
+write of her, what ne'er was writ of woman.'[1]
+
+       *       *       *       *       *
+
+It puts no great strain on our powers of credence, to accept Dante's
+own statement of the rush of almost stupefying emotions which
+overwhelmed his childish heart when at the age of nine he went with his
+father to Portinari's house, and was sent to play with other children,
+amongst them the little Beatrice, a child of eight years old. The 'New
+Life' waked within him from that moment, and its strength and purity
+made him strong and pure.[2]
+
+       *       *       *       *       *
+
+Nine more years have passed. Dante is now eighteen. He has made rapid
+progress in all the intellectual and personal accomplishments which are
+held to adorn the position of a Florentine gentleman. His teachers have
+in some cases already discerned the greatness of his powers, and he has
+become aware, probably by essays which never saw the light, that he has
+not only a poet's passions and aspirations, but a poet's power of
+moulding language into oneness with his thought. He and Beatrice know
+each other by sight, as neighbours or fellow-citizens, but Dante has
+never heard her voice address a word to him. Yet she is still the
+centre of all his thoughts. She has never ceased to be to him the
+perfect ideal of growing womanhood, and to his devout and fervid
+imagination, just because she is the very flower of womanly courtesy,
+grace, and virtue, she is an angel upon earth. Not in the hackneyed
+phrase of complimentary commonplace, not in the exaggerated cant of
+would-be poetical metaphor, but in the deep verity of his inmost life,
+Dante Alighieri believes that Beatrice Portinari, the maiden whose
+purity keeps him pure, whose grace and beauty are as guardian angels
+watching over his life, has more of heaven than of earth about her and
+claims kindred with God's more perfect family.
+
+Beatrice is now seventeen, she is walking with two companions in a
+public place, she meets Dante and allows herself to utter a few words
+of graceful greeting. It is the first time she has spoken to him, and
+Dante's soul is thrilled and fired to its very depths. Not many hours
+afterwards, the poet began the first of his sonnets that we still
+possess, perhaps the first he ever wrote.[3]
+
+       *       *       *       *       *
+
+Let us pass over eight or nine years more. Dante, now about twenty-six,
+is the very flower of chivalry and poetry. The foremost men of his own
+and other cities--artists, musicians, poets, scholars, and
+statesmen--are his friends. Somewhat hard of access and reserved, but
+the most fascinating of companions and the faithfulest of friends to
+those who have found a real place in his heart, Dante takes a rank of
+acknowledged eminence amongst the poets of his day. His verses, chiefly
+in praise of Beatrice, are written in a strain of tender sentiment,
+that gives little sign of what is ultimately to come out of him, but
+there is a nervous and concentrated power of diction, a purity and
+elevation of conception in them, which may not have been obvious to his
+companions as separating him from them, but which to eyes instructed by
+the result is full of deepest meaning.
+
+And what of Beatrice? She is dead. It was never given to Dante to call
+her his. We know not so much as whether he even aspired to more than
+that gracious salutation in which, to use his own expression, he seemed
+to touch 'the very limits of beatitude.'[4]
+
+Be this as it may, it is certain that Beatrice married a powerful
+citizen of Florence several years before her death. But she was still
+the guardian angel of the poet's life, she was still the very type of
+womanhood to him; and there was not a word or thought of his towards
+her but was full of utter courtesy and purity. And now, in the flower
+of her loveliness she is cut down by death, and to Dante life has
+become a wilderness.[5]
+
+       *       *       *       *       *
+
+Yet eight or nine years more. Dante is now in what his philosophical
+system regards as the very prime of life.[6] He is thirty-five. The
+date is 1300. Since we left him weeping for the death of Beatrice, the
+unity of his life has been shattered and he has lost his way, but only
+for a time. Now his powers and purposes are richer, stronger, more
+concentrated than ever.
+
+In his first passion of grief for Beatrice's death he had been
+profoundly touched by the pity of a gentle-eyed damsel whom a far from
+groundless conjecture identifies with Gemma Donati, the lady whom he
+married not long afterwards. With this Gemma he lived till his
+banishment, and they had a numerous family. The internal evidence of
+Dante's works, and the few circumstances really known to us, give
+little support to the tradition that their marriage was an unhappy one.
+
+Dante's friends had hoped that domestic peace might console him for his
+irreparable loss, but he himself had rather sought for consolation in
+the study of philosophy and theology; and it befell him, he tells us,
+as one who in seeking silver strikes on gold--not, haply, without
+guidance from on high;--for he began to see many things as in a dream,
+and deemed that Dame Philosophy must needs be supreme![7]
+
+But neither domestic nor literary cares and duties absorbed his
+energies. In late years he had begun to take an active part in the
+politics of his city, and was now fast rising to his true position as
+the foremost man of Florence and of Italy.
+
+Thus, we see new interests and new powers rising in his life, but for a
+time the unity of that life was gone. While Beatrice lived Dante's
+whole being was centred in her, and she was to him the visible token of
+God's presence upon earth, the living proof of the reality and the
+beauty of things Divine, born to fill the world with faith and
+gentleness. But when she was gone, when other passions and pursuits
+disputed with her memory the foremost place in Dante's heart, it was as
+though he had lost the secret and the meaning of life, as though he had
+lost the guidance of Heaven, and was whirled helplessly in the vortex
+of moral, social, and political disorder which swept over his country.
+For Italian politics at this period form a veritable chaos of shifting
+combinations and entanglements, of plots and counterplots, of intrigue
+and treachery and vacillation, though lightened ever and again by
+gleams of noblest patriotism and devotion.
+
+Yet Dante's soul was far too strong to be permanently overwhelmed.
+Gradually his philosophical reflections began to take definite shape.
+He felt the wants of his own life and of his country's life. He pierced
+down to the fundamental conditions of political and social welfare; and
+when human philosophy had begun to restore unity and concentration to
+his powers, then the sweet image of the pure maiden who had first waked
+his soul to love returned glorified and transfigured to guide him into
+the very presence of God. She was the symbol of Divine philosophy. She,
+and she only, could restore his shattered life to unity and strength,
+and the love she never gave him as a woman, she could give him as the
+protecting guardian of his life, as the vehicle of God's highest
+revelation.[8]
+
+       *       *       *       *       *
+
+With his life thus strengthened and enriched, with a firm heart and a
+steady purpose, Dante Alighieri stood in the year 1300 at the helm of
+the State of Florence. And here accordingly it becomes necessary for us
+to dwell for a moment on some of the chief political forces with which
+he had to deal.
+
+The two great factions of the Guelfs and Ghibellines were tearing the
+very heart of Italy; and without going into any detail, we must try to
+point out the central ideas of each party. The Ghibellines, then,
+appear to have represented an aristocratic principle of order,
+constantly in danger of becoming oppressive, while the Guelfs
+represented a democratic principle of progress, ever verging upon
+chaotic and unbridled licence. The Ghibellines longed for a national
+unity, resting on centralisation; the Guelfs aimed at a local
+independence which tended to national disintegration. The Ghibellines,
+regarding the German Empire as the heir and representative of the
+Empire of Rome, and as the symbol of Italian unity, espoused the
+Emperor's cause against the Pope, declared the temporal power
+independent of the spiritual, and limited the sphere of the priests
+entirely to the latter. The Guelfs found in the political action of the
+Pope a counterpoise to the influence of the Emperor; the petty and
+intriguing spirit of the politics of the Vatican made its ruler the
+natural ally of the disintegrating Guelfs rather than the centralising
+Ghibellines, and accordingly the Guelfs ardently espoused the cause of
+the Pope's temporal power, and often sought in the royal house of
+France a further support against Germany.
+
+These broad lines, however, were constantly blurred and crossed by
+personal intrigue or ambition, by family jealousies, feuds, and
+rivalries, by unnatural alliances or by corruption and treachery.
+
+Now Dante was by family tradition a Guelf. Florence too was nominally
+the head quarters of Guelfism, and Dante had fought bravely in her
+battles against the Ghibellines. But the more he reflected upon the
+sources of the evils by which Italy was torn, the more profoundly he
+came to distrust the unprincipled meddling of the greedy princes of the
+house of France in Italian politics, and the more jealously did he
+watch the temporal power of the Pope. Perhaps the political opinions he
+afterwards held were not as yet fully consolidated, but his votes and
+proposals--which we read with a strange interest in the city archives
+of Florence nearly six hundred years after the ink has dried--show that
+in 1300 he was at any rate on the highway to the conclusions he
+ultimately reached. And we may therefore take this occasion of stating
+what they were.
+
+It appeared to Dante that Italy was sunk in moral, social, and
+political chaos, for want of a firm hand to repress the turbulent
+factions that rent her bosom; and that no hand except an Emperor's
+could be firm enough. The Empire of Rome was to him the most imposing
+and glorious spectacle offered by human history. God had guided Rome by
+miracles and signs to the dominion of the world that the world might be
+at peace.
+
+And parallel with this temporal Empire founded by Julius C�sar, was the
+spiritual Empire of the Church, founded by Jesus Christ. Both alike
+were established by God for the guidance of mankind: to rebel against
+either was to rebel against God. Brutus and Cassius, who slew Julius
+C�sar, the embodiment of the Empire, are placed by Dante in the same
+depth of Hell as Judas Iscariot, who betrayed Jesus Christ, the
+incarnation of the Church.[9] These three had done what in them lay to
+reduce the world to civil and religious chaos, for they had compassed
+the death of the ideal representatives of civil and religious order.
+But both powers alike laid a mighty trust upon the human agents who
+administered them; and as the Empire and the Church were the sublimest
+and the holiest of ideal institutions, so a tyrannical Emperor and a
+corrupt or recreant Pope were amongst the foulest of sinners, to be
+rebuked and resisted with every power of body and soul.
+
+Dante could no more conceive of the spiritual life without the
+authoritative guidance of the all-present, all-pervading Church, than
+he could conceive of a well-ordered polity without the all-penetrating
+force of law. But it appeared to him as monstrous for the Pope to seek
+political influence and to use his spiritual powers for political ends
+as he would have judged it for the Emperor to exercise spiritual
+tyranny over the faith of Christians.[10]
+
+There can have been little in the political life of Florence at this
+time to attract one who held such views. But Dante of all men hated and
+despised weak shrinking from responsibility. If there is one feature in
+his stern character more awful than any other, it is his unutterable,
+withering contempt for those who lived without praise or blame, those
+wretches who never were alive. He saw them afterwards in the outer
+circle of Hell, mingled with that caitiff herd of angels who were not
+for God and yet were not for the rebels, but were only for themselves.
+
+    Heaven drove them forth, Heaven's beauty not to stain,
+    Nor would the deep Hell deign to have them there
+    For any glory that the damned might gain!
+
+No fame of them survives upon the earth, Pity and Justice hold them in
+disdain, their cries of passion and of woe are ever whirled through the
+starless air, and their forgotten lot appears to them so base that they
+envy the very torments of the damned. 'Let us not speak of them,' says
+Virgil to Dante, 'but gaze and pass them by.'[11]
+
+So Dante shrank not from his task when called to public office, but
+laid his strong hand upon the helm of Florence. During a part of this
+year 1300, he filled the supreme magistracy, and at that very time the
+old disputes of Guelf and Ghibelline broke out in the city afresh under
+a thin disguise. We have seen that Dante's sympathies were now almost
+completely Ghibelline, but as the first Prior of Florence his duty was
+firmly to suppress all factious attempts to disturb the city's peace
+and introduce intestine discord. It was not by party broils that Italy
+would be restored to peace and harmony. He behaved with a more than
+Roman fortitude, for it is easier for a father to chastise a rebellious
+son than for a true friend to override the claims of friendship.
+Dante's dearest friend, Guido Cavalcanti, bound to him by every tie of
+sympathy and fellowship which could unite two men in common purposes
+and common hopes, was one of the leaders of the party with which Dante
+himself sympathised; and yet, for the good of his country and in
+obedience to his magisterial duty, he tore this friend from his side
+though not from his heart, and pronounced on him the sentence of
+banishment, the weight of which he must even then have known so well.
+It speaks to the eternal honour of Guido, as well as Dante, that this
+deed appears not to have thrown so much as a shadow upon the friendship
+of the two men.[12]
+
+Had Dante's successors in office dealt with firmness and integrity
+equal to his own, all might have been well; but a vacillating and
+equivocal policy soon opened the door to suspicions and recriminations,
+Florence ceased to steer her own course and permitted foreign
+interference with her affairs, while the Pope, with intentions that may
+have been good but with a policy which proved utterly disastrous,
+furthered the intervention of the French Prince Charles of Valois. It
+was a critical moment. An embassy to the Papal Court was essential, and
+a firm hand must meanwhile hold the reins at Florence. 'If I go, who
+shall stay? If I stay, who shall go?' Dante is reported to have said;
+and though the saying is probably apocryphal, yet it points out happily
+enough the true position of affairs. Dante was now no longer the chief
+magistrate of his city, but he was in fact, though not in name, the one
+man of Florence, the one man of Italy.
+
+Finally he resolved to go to Rome. But the blindness or corruption of
+the Papal Court was invincible; and while Dante was still toiling at
+his hopeless task, Charles of Valois entered Florence with his troops,
+soon to realise the worst suspicions of those who had opposed his
+intervention. Nominally a restorer of tranquillity, he stirred up all
+the worst and most lawless passions of the Florentines; and while Dante
+was serving his country at Rome, the unjust and cruel sentence of
+banishment was launched against him, his property was confiscated and
+seized, a few months afterwards he was sentenced to be burned to death
+should he ever fall into the power of the Florentines, and, not content
+with all this, his enemies heaped upon his name the foulest calumnies
+of embezzlement and malversation--calumnies which I suppose no creature
+from that hour to this has ever for one moment believed, but which
+could not fail to make the envenomed wound strike deeper into Dante's
+heart.
+
+So now he must leave 'all things most dear--this the first arrow shot
+from exile's bow,' in poverty and dependence his proud spirit must
+learn 'how salt a taste cleaves to a patron's bread, how hard a path to
+tread a patron's stair;' and, above all, his unsullied purity and
+patriotism must find itself forced into constant association or even
+alliance with selfish and personal ambition, or with tyranny,
+meanness, and duplicity.[13] How that great soul bore itself amid all
+these miseries, what it learnt from them, where it sought and found a
+refuge from them, we shall see when we take up again the broken thread
+which we must drop to-day.
+
+
+FOOTNOTES:
+
+[Footnote 1: _Vita Nuova_, xliii.]
+
+[Footnote 2: _Vita Nuova_, i, ii.]
+
+[Footnote 3: _Vita Nuova_, iii.; _Inferno_, xv. 55 sqq. &c.]
+
+[Footnote 4: _Vita Nuova_, iii.]
+
+[Footnote 5: _Vita Nuova_, iv-xxx.]
+
+[Footnote 6: _Convito_, iv. 23.]
+
+[Footnote 7: _Convito_, ii. 13.]
+
+[Footnote 8: _Vita Nuova_, xxxi-xliii.; _Convito_, ii.; _Purgatorio_,
+xxx, xxxi.]
+
+[Footnote 9: _Inferno_, xxxiv. 55-67.]
+
+[Footnote 10: See the _De Monarchia_. Compare _Purgatorio_, xvi.
+103-112; _Paradiso_, xviii. 124-136.]
+
+[Footnote 11: _Inferno_, iii. 22-51.]
+
+[Footnote 12: Compare _Inferno_, x. 52-72, 109-111.]
+
+[Footnote 13: _Paradiso_, xvii. 55-63.]
+
+
+
+
+II
+
+DANTE'S LIFE AND PRINCIPLES
+
+_II. IN EXILE_
+
+
+A rapid sketch of the most decisive events and the leading motives of
+the life of Dante Alighieri has brought us to the eventful period of
+his Priorate in 1300 and his banishment in 1302. His unsuccessful
+efforts to carry out a firm and statesmanlike policy in Florence, with
+the wreck of his own fortunes consequent upon their failure, may be
+regarded as the occasion if not the cause of his conceiving his
+greatest work, the 'Divine Comedy.'
+
+Nineteen years elapsed between Dante's exile and his death, and both
+tradition and internal evidence indicate that the main strength of his
+life was poured during the whole of this period into the channels
+already laid down in its opening years. 'Forging on the anvil of
+incessant toil' the several parts of his great work, and 'welding them
+into imperishable symmetry,'[14] the might of his intellect and the
+passion of his heart grappled for nineteen years with the task of
+giving worthy utterance to his vast idea. Line by line, canto by canto,
+the victory was won. Dante had shown that his mother tongue could rise
+to loftier themes than Greek or Roman had ever touched, and had wrought
+out the fitting garb of a poem that stands alone in the literature of
+the world in the scope and sublimity of its conception.
+
+Barely to realise what it was that Dante attempted, wakes feelings in
+our hearts akin to awe. When we think of that work and of the man who,
+knowing what it was, deliberately set himself to do it, an appalling
+sense of the presence of overwhelming grandeur falls upon us, as when a
+great wall of rocky precipice rises sheer at our side, a thousand and
+yet a thousand feet towards heaven. Our heads swim as we gaze up to the
+sky-line of such a precipice, the ground seems to drop from beneath our
+feet, all our past and present becomes a dream, and our very hold of
+life seems to slip away from us. But the next moment a great exultation
+comes rushing upon our hearts, with quickened pulses and drawing
+deeper breath we rise to the sublimity of the scene around us, and our
+whole being is expanded and exalted by it. After holding converse with
+such grandeur our lives can never be so small again. And so it is when
+the meaning of Dante's Comedy breaks upon us. When we follow the poet
+step by step as he beats or pours his thought into language, when we
+note the firmness of his pace, the mastery with which he handles and
+commands his infinite theme, the unflinching directness, the godlike
+self-reliance, with which he lays bare the hearts of his fellow-men and
+makes himself the mouthpiece of the Eternal, when we gaze upon his
+finished work and the despair of Hell, the yearning of Purgatory, the
+peace of Heaven, sweep over our hearts, we are ready to whisper in
+awe-struck exultation:
+
+    What immortal hand or eye
+    Dared form thy fearful symmetry?
+
+The allegory with which the 'Divine Comedy' opens, shadows forth the
+meaning and the purpose of the whole poem. In interpreting it we may
+at first give prominence to its political signification, not because
+its main intention is certainly or probably political, but because we
+shall thus be enabled to pass in due order from the outer to the inner
+circle of the poet's beliefs and purposes.
+
+In the year 1300, then, Dante Alighieri found that he had wandered, he
+knew not how, from the true path of life, and was plunged into the
+deadly forest of political, social, and moral disorder which darkened
+with terrific shade the fair soil of Italy. Deep horror settled upon
+the recesses of his heart during the awful night, but at last he saw
+the fair light of the morning sun brightening the shoulders of a hill
+that stretched above: this was the peaceful land of moral and political
+order, which seemed to offer an escape from the bitterness of that
+ghastly forest. Gathering heart at this sweet sight, Dante set himself
+manfully to work, with the nether foot ever planted firmly on the soil,
+to scale that glorious height. But full soon his toilsome path would be
+disputed with him. The dire powers of Guelfism would not allow the
+restoration of peace and order to Italy. His first foe was the
+incurable factiousness and lightness of his own fair Florence. Like a
+lithe and speckled panther it glided before him to oppose his upward
+progress, and forced him once and again to turn back upon his steps
+towards that dread forest he had left. But though forced back, Dante
+could not lose hope. Might he not tame this wild but beauteous beast?
+Yes; he might have coped with the fickle, lustful, factious, envious
+but lovely Florence, had not haughty France rushed on him like a lion,
+at whose voice the air must tremble, had not lean and hungry Rome,
+laden with insatiable greed, skulked wolf-like in his path. It was the
+wolf above all that forced him back into the sunless depths of that
+forest of dismay, and dashed to the ground his hopes of gaining the
+fair height. When could he, when could his Italy, rise from this chaos
+and be at peace? Not till some great political Messiah should draw his
+sword. With no base love of pelf or thirst for land, but fed with
+wisdom, love, and virtue, he should exalt the humbled Italy and drive
+away her foes. Like a noble hound, he should chase the insatiable wolf
+of Roman greed from city to city back to the Hell from which it
+came.[15]
+
+Dante's hope in this political Messiah rose and fell, but never died in
+his heart. Now with the gospel of Messianic peace, now with the
+denunciation of Messianic judgment on his lips, he poured out his lofty
+enthusiasm in those apostolic and prophetic letters, some few of which
+survive amidst the wrecks of time as records of his changing moods and
+his unchanging purposes.
+
+Now one and now another of the Ghibelline leaders may have seemed to
+Dante from time to time to be the hero, the Messiah, for whom he
+waited. But again and yet again his hopes were crushed and blighted,
+and the panther, the lion, and the wolf still cut off the approach to
+that fair land.
+
+More than once the poet's hopes must have hung upon the fortunes of the
+mighty warrior Uguccione, whose prodigies of valour rivalled the fabled
+deeds of the knights of story. To this man Dante was bound by ties of
+closest friendship; to him he dedicated the Inferno, the first cantica
+of his Comedy, and he may possibly have been that hero ''twixt the two
+Feltros born'[16] to whom Dante first looked to slay the wolf of Rome.
+
+Far higher probably, and certainly far better grounded, were the poet's
+hopes when Henry VII. of Germany descended into Italy to bring order
+into her troubled states. To Dante, as we have seen, the Emperor was
+Emperor of Rome and not of Germany. He was C�sar's successor, the
+natural representative of Italian unity, the Divinely appointed
+guardian of civil order. With what passionate yearning Dante looked
+across the Alps for a deliverer, how large a part of the woes of Italy
+he laid at the feet of Imperial neglect, may be gathered from many
+passages in his several works; but nowhere do these thoughts find
+stronger utterance than in the sixth canto of the Purgatory. The poet
+sees the shades of Virgil and the troubadour Sordello join in a loving
+embrace at the bare mention of the name of Mantua, where both of them
+were born. 'O Italy!' he cries, 'thou slave! thou hostelry of woe! Ship
+without helmsman, in the tempest rude! No queen of provinces, but
+house of shame! See how that gentle soul, e'en at the sweet sound of
+his country's name, was prompt to greet his fellow-citizen. Then see
+thy living sons, how one with other ever is at war, and whom the
+self-same wall and moat begird, gnaw at each other's lives. Search,
+wretched one, along thy sea-bound coasts, then inward turn to thine own
+breast, and see if any part of thee rejoice in peace. Of what avail
+Justinian's curb of law, with none to stride the saddle of command,
+except to shame thee more? Alas! ye priests, who should be at your
+prayers, leaving to C�sar the high seat of rule, did ye read well the
+word of God to you, see ye not how the steed grows wild and fell by
+long exemption from the chastening spur, since that ye placed your
+hands upon the rein? O German Albert! who abandonest, wild and untamed,
+the steed thou should'st bestride, may the just sentence from the stars
+above fall on thy race in dire and open guise, that he who follows thee
+may see and fear. For, drawn by lust of conquest otherwhere, thou and
+thy sire, the garden of the empire have ye left a prey to desolation.
+Come, thou insensate one, and see the Montagues and Capulets, Monaldi,
+Philippeschi, for all whom the past has sadness or the future fear.
+Come, come, thou cruel one, and see oppression trampling on thy
+faithful ones, and heal their ills.... Come thou, and see thy Rome, who
+weeps for thee, a lonely widow crying day and night, "My C�sar,
+wherefore hast thou left me thus?" Come, see how love here governs
+every heart! Or if our sorrows move thee not at all, blush for thine
+own fair fame.--Nay, let me say it: O Thou God Most High, Thou Who wast
+crucified for us on earth, are Thy just eyes turned otherwhither now?
+Or in the depth of counsel dost Thou work for some good end, clean cut
+off from our ken? For all Italia's lands are full of tyrants, and every
+hind--so he be factious--grows Marcellus-high.'[17]
+
+Such was the cry for deliverance which went up from Dante's heart to
+the Emperor. Picture his hopes when Henry VII. came with the blessing
+of the Pope, who had had more than his fill of French influence at
+last, to bring peace and order into Italy; picture the exultation with
+which he learnt alike from Henry's deeds and words that he was just,
+impartial, generous, and came not as a tyrant, not as a party leader,
+but as a firm and upright ruler to restore prosperity and peace;
+picture his indignation when the incurable factiousness and jealousies
+of the Italian cities, and of Florence most of all, thwarted the
+Emperor at every step; picture the bitterness of his grief when, after
+struggling nigh three years in vain, Henry fell sick, and died at
+Buonconvento. In Paradise the poet saw the place assigned to 'Henry's
+lofty soul--his who should come to make the crooked straight, ere Italy
+was ready for his hand;' but the dream of his throne on earth was
+broken for ever.[18]
+
+Henry died in 1313. This blow was followed by the fall of Uguccione
+when he seemed almost on the point of realising some of Dante's dearest
+hopes. The poet and the warrior alike found refuge at Verona now, with
+Can Grande della Scala, to whom Dante dedicated the third cantica of
+his Comedy, the Paradise.[19] Did the exile's hopes revive again at
+the Court of Verona? Did the gallant and generous young soldier whose
+gracious and delicate hospitality called out such warm affection from
+his heart,[20] seem worthy to accomplish that great mission in which
+Uguccione and Henry had failed? It is more than probable that such
+thoughts found room in Dante's sorrow-laden heart. And yet we cannot
+but suppose that while his certainty remained unshaken that in God's
+good time the deliverer would come, yet the hopes which centred in any
+single man must have had less and less assurance in them as
+disappointment after disappointment came.
+
+Be this as it may, near the close of his life Dante was still able to
+make Beatrice testify of him in the courts of Heaven: 'Church militant
+has not a son stronger in hope than he. God knows it.'[21] Simple as
+these words are, yet by him who has scanned Dante's features and
+pondered on his life, they may well be numbered amongst those moving
+and strengthening human utterances that ring like a trumpet through the
+ages and call the soul to arms.
+
+But were Dante's hopes all concentrated on the advent of that political
+Messiah who was not to come in truth till our own day? Had it been so,
+the 'Divine Comedy' would never have been born.
+
+When Dante realised his own helplessness in the struggle against the
+panther of Florence, the lion of France, and the wolf of Rome, when he
+saw that to reorganise his country and remodel the social and political
+conditions of life would need the strong hand and the keen sword of
+some great hero raised by God, he also saw that for himself another way
+was opened, an escape from that wild forest into which his feet had
+strayed, an escape which it must be the task of his life to point out
+to others, without which the very work of the hero for whom he looked
+would be in vain.
+
+The deadly forest represented moral as well as political confusion; the
+sunlit mountain, moral as well as political order; and the beasts that
+cut off the ascent, moral as well as political foes to human progress.
+
+From this moral chaos there was deliverance for every faithful soul,
+despite the lion and the wolf; and though the noble hound came not to
+chase the foul beasts back to Hell, yet was Dante led from the forest
+gloom even to the light of Heaven.
+
+And how was he delivered? By Divine grace he saw Hell and Purgatory and
+Heaven--so was he delivered. He saw the souls of men stripped of every
+disguise, he saw their secret deeds of good or ill laid bare. He saw
+Popes and Emperors, ancient heroes and modern sages, the rich, the
+valiant, the noble, the fair of face, the sweet of voice; and no longer
+dazzled, no longer overawed, he saw them as they were, he saw their
+deeds, he saw the fruits of them. So was he delivered from the
+entanglements and perplexities, from the delusions and seductions of
+the world, so were his feet set upon the rock, so did he learn to sift
+the true from the false, to rise above all things base, and set his
+soul at peace, even when sorrow was gnawing his heart to death. He,
+while yet clothed in flesh and blood, went amongst the souls of the
+departed, 'heard the despairing shrieks of spirits long immersed in
+woe, who wept each one the second death; saw suffering souls contented
+in the flames, for each one looked to reach the realms of bliss, though
+long should be the time,' and lastly he saw the souls in Heaven, and
+gazed upon the very light of God.[22]
+
+All this he saw and heard under the guidance of human and Divine
+philosophy, symbolised, or rather concentrated and personified, in
+Virgil and Beatrice.
+
+Of Virgil, and the unique position assigned to him in the Middle Ages,
+it is impossible here to speak at length. Almost from the first
+publication of the �neid, and down to the time when the revival of
+learning reopened the treasures of Greek literature to Western Europe,
+Virgil reigned in the Latin countries supreme and unchallenged over the
+domain of poetry and scholarship. Within two generations of his own
+lifetime, altars were raised to him, by enthusiastic disciples, as to a
+deity. When Christianity spread, his supposed prediction of Christ in
+one of the Eclogues endowed him with the character of a prophet; and a
+magic efficacy had already been attributed to verses taken from his
+works. Throughout the Middle Ages, his fame still grew as the supreme
+arbiter in every field of literature, and as the repositary of more
+than human knowledge, while fantastic legends clustered round his name
+as the great magician and necromancer. To Dante there must also have
+been a special fascination in the Imperial scope and sympathies of the
+�neid; for Virgil is pre-eminently the poet of the Roman Empire. But we
+must not pause to follow out this subject here. Suffice it that Dante
+felt for Virgil a reverence so deep, an admiration so boundless, and an
+affection so glowing, that he became to him the very type of human
+wisdom and excellence, the first agent of his rescue from the maze of
+passion and error in which his life had been entangled.
+
+But Beatrice, the loved and lost, was the symbol and the channel of a
+higher wisdom, a diviner grace. She it was round whose sweet memory
+gathered the noblest purposes and truest wisdom of the poet's life. If
+ever he suffered the intensity of his devotion to truth and virtue for
+a moment to relax; if ever, as he passed amongst luxurious courts, some
+siren voice soothed his cares with a moment of unworthy forgetfulness
+and ignoble ease; if ever he suffered meaner cares or projects to draw
+him aside so much as in thought from his great mission, then it was
+Beatrice's glorified image that recalled him in tears of bitter shame
+and penitence to the path of pain, of effort, and of glory. It was her
+love that had rescued him from the fatal path; Virgil was but her agent
+and emissary, and his mission was complete when he had led him to her.
+Human wisdom and virtue could guide him through Hell and Purgatory,
+could show him the misery of sin, and the need of purifying pain and
+fire, but it was only in Beatrice's presence that he could _feel_ the
+utter hatefulness and shame of an unworthy life, could _feel_ the
+blessedness of Heaven.[23]
+
+Under the guidance of Virgil and Beatrice, then, Dante had seen Hell
+and Purgatory and Heaven. This had snatched his soul from death, had
+taught him, even in the midst of the moral and political chaos of his
+age, how to live and after what to strive. Could he show others what
+he himself had seen? Could he save them, as he was saved, from the
+meanness, from the blindness, from the delusions of the life they led?
+He could. Though it should be the toil of long and painful years, yet
+in the passionate conviction of his own experience he felt the power in
+him of making real to others what was so intensely real to him. But
+what did this involve? The truth if wholesome was yet hard. He had dear
+and honoured friends whose lives had been stained by unrepented sin,
+and whose souls he had seen in Hell. Was he to cry aloud to all the
+world that these loved ones were amongst the damned, instead of
+tenderly hiding their infirmities? Again, he was poor and an exile, he
+had lost 'all things most dear,' and was dependent for his very bread
+on the grace and favour of the great; yet if he told the world what he
+had seen, a storm of resentful hatred would crash upon him from every
+region of Italy. How would proud dames and lords brook to be told of
+their dead associates in sin and shame cursing their names from the
+very depths of Hell, and looking for their speedy advent there? How
+would pope and cardinal and monarch brook to be told by the powerless
+exile what he had heard from souls in Heaven, in Purgatory, and in
+Hell? E'en let them brook it as they might. His cry should be like the
+tempest that sweeps down upon the loftiest forest trees, but leaves the
+brushwood undisturbed. The mightiest in the land should hear his voice,
+and henceforth none should think that loftiness of place or birth could
+shield the criminal. He would tell in utter truth what he had seen. He
+knew that power was in him to brand the infamous with infamy that none
+could wash away, to rescue the fair memory of those the world had
+wrongfully condemned, to say what none but he dare say, in verse which
+none but he could forge, and bring all those who hearkened through Hell
+and Purgatory into Heaven.[24]
+
+To deliver this message was the work of his life, the end to which all
+his studies were directed, from the time of his exile to that of his
+death. Hence his studious labours came to have a representative and
+vicarious character in his mind. He was proudly conscious that he
+lived and worked for mankind, and that his toil deserved the grateful
+recognition of his city and his country.
+
+This trait of his character comes out with striking force in the noble
+letter which he wrote in answer to the proffered permission to return
+to his beloved Florence, but upon disgraceful conditions which he could
+not accept. The offer came when his fortunes were at their lowest ebb.
+Henry VII. was dead, Uguccione had lost his power. All hope of the
+exile's returning in triumph seemed at an end. Then came the offer of a
+pardon and recall, for which he had longed with all the passionate
+intensity of his nature. And yet it was but a mockery. It was a custom
+in Florence upon the Day of St. John the Baptist, the patron saint of
+the city, to release certain malefactors from the public gaols on their
+performing set acts of contrition; and a decree was passed that all the
+political exiles might return to their home on St. John's Day in 1317
+if they would pay a sum of money, walk in procession, with tapers in
+their hands and with other tokens of guilt and penitence, to the
+church, and there offer themselves as ransomed malefactors to the
+saint.
+
+Many of the exiles accepted the terms, but Dante's proud and indignant
+refusal shows us a spirit unbroken by disappointment and disaster,
+scorning to purchase ease by degradation. 'Is this,' he cries to the
+friend who communicated to him the conditions upon which he might
+return, 'is this the glorious recall by which Dante Alighieri is
+summoned back to his country after well-nigh fifteen years of exile? Is
+this what innocence well known to all, is this what the heavy toil of
+unbroken study, has deserved? Far be it from him who walks as her
+familiar with Philosophy to stoop to the base grovelling of a soul of
+clay and suffer himself thus to be treated like a vile malefactor. Far
+be it from the preacher of justice, when suffering outrage, to pay the
+acknowledgment of fair desert to the outrageous.
+
+'Not by this path can I return. But let a way be found that hurts not
+Dante's honour and fair fame, and I will tread it with no tardy feet.
+If no such road leads back to Florence, then will I never enter
+Florence more. What! can I not gaze, wherever I may be, upon the
+spectacle of sun and stars? Can I not ponder on the sweetest truths in
+any region under heaven, but I must first make myself base and vile
+before the people of the State of Florence?'[25]
+
+Such was the answer of Dante Alighieri to that cruel insult which makes
+our cheeks glow even now with indignation. Such was the temper of the
+man who had seen Hell and Purgatory and Heaven, and who shrank not from
+the utterance of all that he had seen.
+
+       *       *       *       *       *
+
+Dante must now have been engaged in writing the Paradise. Amongst the
+sufferings and burdens which were fast drawing him to the grave,
+amongst the agonies of indignation, of regret, of hope, of
+disappointment which still wracked his soul, the deep peace of God had
+come upon him; beneath a storm of passion at which our hearts quail was
+a calm of trustful self-surrender which no earthly power could disturb;
+for the harmonies of Paradise swelled in the poet's heart and sought
+for utterance in these last years.
+
+But though his spirit was thus rapt to Heaven, he never lost his hold
+upon the earth; never disdained to toil as best he might for the
+immediate instruction or well-being of his kind. More than once his
+eloquence and skill enabled him to render signal service to his
+protectors in conducting delicate negotiations, and at the same time to
+further that cause of Italian unity which was ever near his heart. Nor
+did the progress of his great work, the Comedy, withhold him from a
+varied subsidiary activity as a poet, a moralist, and a student of
+language and science.
+
+One characteristic example of this by-work must suffice. In the last
+year but one of his life when he must have been meditating the last,
+perhaps the sublimest, cantos of the Paradise, when he might well have
+been excused if he had ceased to concern himself with any of the lower
+grades of truth, he heard a certain question of physics discussed and
+re-discussed, and never decided because of the specious but sophistical
+arguments which were allowed to veil it in doubt. The question was
+whether some portions of the sea are or are not at a higher level than
+some portions of the land; and Dante, 'nursed from his boyhood in the
+love of truth,' as he says, 'could not endure to leave the question
+unresolved, and determined to demonstrate the facts and to refute the
+arguments alleged against them.'[26] Accordingly he defended his thesis
+on a Sunday in one of the churches of Verona under the presidency of
+Can Grande.
+
+This essay is a model of close reasoning and sound scientific method,
+and the average nineteenth century reader, with the average contempt
+for fourteenth century science, would find much to reflect upon should
+he read and understand it. The vague and inconclusive style of
+reasoning against which Dante contends is still rampant everywhere,
+though its forms have changed; while the firm grasp of scientific
+method and the incisive reasoning of Dante himself are still the
+exception in spite of all our modern training in research.
+
+Thus Dante was engaged to the last upon the whole field of human
+thought. Such was the scope and power of his mind that he could embrace
+at the same moment the very opposite poles of speculation; and such
+was his passion for truth that, when gazing upon the very presence of
+God, he could not bear to leave men in error when he could set them
+right, though it were but as to the level of the land and sea.
+
+       *       *       *       *       *
+
+But we must hasten to a close. Let us turn from the consideration of
+Dante's work to a picture of personal character drawn by his own hand.
+It is his ideal of a life inspired by that 'gentleness' for which,
+since the days of chivalry, we have had no precise equivalent in
+language, and which is itself too rare in every age.
+
+    The soul that this celestial grace adorns
+      In secret holds it not;
+      For from the first, when she the body weds,
+      She shows it, until death:
+      Gentle, obedient, and alive to shame,
+      Is seen in her first age,
+      Adding a comely beauty to the frame,
+      With all accomplishments:
+      In youth is temperate and resolute,
+      Replete with love and praise of courtesy,
+      Placing in loyalty her sole delight:
+      And in declining age
+      Is prudent, just, and for her bounty known;
+      And joys within herself
+      To listen and discourse for others' good:
+      Then in the fourth remaining part of life
+      To God is re-espoused,
+      Contemplating the end that draws a-nigh,
+      And blesseth all the seasons that are past:
+      --Reflect now, how the many are deceived![27]
+
+Cherishing such an ideal, Dante wandered from court to court of Italy,
+finding here and there a heart of gold, but for the most part moving
+amongst those to whom grace and purity and justice were but names. Can
+we wonder that sometimes the lonely exile felt as if his own
+sorrow-laden heart were the sole refuge upon earth of love and
+temperance?
+
+Three noble dames, he tells us--noble in themselves but in nought else,
+for their garments were tattered, their feet unshod, their hair
+dishevelled, and their faces stained with tears--came and flung
+themselves at the portal of his heart, for they knew that Love was
+there. Moved with deep pity, Love came forth to ask them of their
+state. They were Rectitude, Temperance, and Generosity, once honoured
+by the world, now driven out in want and shame, and they came there for
+refuge in their woe. Then Love, with moistened eyes, bade them lift up
+their heads. If they were driven begging through the world, it was for
+men to weep and wail whose lives had fallen in such evil times; but not
+for them, hewn from the eternal rock--it was not for them to grieve. A
+race of men would surely rise at last whose hearts would turn to them
+again. And hearing thus how exiles great as these were grieved and
+comforted, the lonely poet thought his banishment his glory.
+
+Yet when he looked for his sweet home and found it not, the agony that
+could not break his spirit fast destroyed his flesh, and he knew that
+death had laid the key upon his bosom.[28]
+
+When this sublime and touching poem was composed we have no means of
+knowing, but it can hardly have been long before the end. When that end
+came, Dante can barely have completed his great life work, he can
+barely have written the last lines of the 'Divine Comedy.' He had been
+on an unsuccessful mission in the service of his last protector, Guido
+da Polenta of Ravenna. On his return he was seized with a fatal
+illness, and died at Ravenna in 1321, at the age of fifty-six.
+
+Who can grudge him his rest? As we read the four tracts of the
+'Convito,' which were to have been the first of fourteen, but must now
+remain alone, as we are brought to a sudden stand at the abrupt
+termination of his unfinished work on the dialects and poetry of
+Italy,[29] as we ponder on the unexhausted treasures that still lay in
+the soul of him who could write as Dante wrote even to the end, we can
+hardly suppress a sigh to think that our loss purchased his rest so
+soon. But his great work was done; he had told his vision, that men
+might go with him to Hell, to Purgatory, and to Heaven, and be saved
+from all things base. Then his weary head was laid down in peace, and
+his exile was at an end. 'That fair fold in which, a lamb, he lay'[30]
+was never opened to him again, but he went home, and the blessings of
+the pure in heart and strong in love go with him.
+
+       *       *       *       *       *
+
+The thoughts with which we turn from the contemplation of Dante's life
+and work find utterance in the lines of Michael Angelo. 'The works of
+Dante were unrecognised, and his high purpose, by the ungrateful folk
+whose blessing rests on all--except the just. Yet would his fate were
+mine! For his drear exile, with his virtue linked, glad would I change
+the fairest state on earth.'
+
+
+FOOTNOTES:
+
+[Footnote 14: See Symonds, p. 186.]
+
+[Footnote 15: See _Inferno_, i. 1-111.]
+
+[Footnote 16: _Inferno_, i. 105.]
+
+[Footnote 17: _Purgatorio_, vi. 76-126.]
+
+[Footnote 18: See especially Epistol� v-vii.; _Paradiso_, xxx.
+133-138.]
+
+[Footnote 19: See Epistola xi.]
+
+[Footnote 20: _Paradiso_, xvii. 70-93.]
+
+[Footnote 21: _Ibid._ xxv. 52-54.]
+
+[Footnote 22: _Inferno_, i. 112-129.]
+
+[Footnote 23: _Inferno_, i. 121-123, ii. 52-142; _Purgatorio_, xxx.
+sqq.; _Paradiso_, passim.]
+
+[Footnote 24: _Paradiso_, xvii. 103-142.]
+
+[Footnote 25: Epistola x.]
+
+[Footnote 26: _Qu�stio de Aqua et Terra_, � 1.]
+
+[Footnote 27: Canzone xvi., 'Le dolci rime,' st. vii. See _Convito_,
+trat. iv. Translation slightly altered from Lyell.]
+
+[Footnote 28: Canzone xix., 'Tre donne.']
+
+[Footnote 29: _De Vulgari Eloquio._]
+
+[Footnote 30: _Paradiso_, xxv. 5.]
+
+
+
+
+III
+
+HELL
+
+
+The first cantica of the 'Divine Comedy'--the Inferno or Hell--is the
+best known of all Dante's works in prose or verse, in Latin or Italian;
+and though students of Dante may sometimes regret this fact, yet no one
+can be at a moment's loss to understand it.
+
+For the attributes of heart and brain requisite for some kind of
+appreciation of the Inferno are by many degrees more common than those
+to which the other works of Dante appeal. It is easy to imagine a
+reader who has not even begun truly to understand either the poet or
+the poem nevertheless rendering a sincere tribute of admiration to the
+colossal force of the Inferno, and feeling the weird spell of
+fascination and horror ever tightening its grasp on him as he descends
+from circle to circle of that starless realm.
+
+There is no mystery in the inveterate tendency to regard Dante as
+pre-eminently the poet of Hell. Nor is it a new phenomenon. Tradition
+tells of the women who shrank aside as Dante passed them by, and said
+one to another, shuddering as they spoke, 'See how his black hair
+crisped in the fire as he passed through Hell!' But no tradition tells
+of awe-struck passers-by who noted that the stains had been wiped from
+that clear brow in Purgatory, that the gleam of that pure and dauntless
+eye had been kindled in Heaven.
+
+The machinery of the Inferno, then, is moderately familiar to almost
+all. Dante, lost in the darksome forest, scared from the sunlit heights
+by the wild beasts that guard the mountain side, meets the shade of
+Virgil, sent to rescue him by Beatrice, and suffered by Omnipotence to
+leave for a time his abode in the limbo of the unbaptised, on this
+mission of redeeming love. Virgil guides Dante through the open gate of
+Hell, down through circle after circle of contracting span and
+increasing misery and sin, down to the central depth where the
+arch-rebel Satan champs in his triple jaws the arch-traitors against
+Church and State, Judas Iscariot, and Brutus and Cassius.[31]
+
+Through all these circles Dante passes under Virgil's guidance. He sees
+and minutely describes the varying tortures apportioned to the varying
+guilt of the damned, and converses with the souls of many illustrious
+dead in torment.
+
+And is this the poem that has enthralled and still enthrals so many a
+heart? Are we to look for the strengthening, purifying, and uplifting
+of our lives, are we to look for the very soul of poetry in an almost
+unbroken series of descriptions, unequalled in their terrible
+vividness, of ghastly tortures, interspersed with tales of shame, of
+guilt, of misery? Even so. And we shall not look in vain.
+
+But let us listen first to Dante's own account of the subject-matter of
+his poem. Five words of his are better than a volume of the
+commentators. 'The subject of the whole work, literally accepted,' he
+says, 'is the state of souls after death.... But if the work is taken
+allegorically the subject is MAN, as rendering himself liable, by good
+or ill desert in the exercise of his free will, to rewarding or
+punishing justice.'[32]
+
+According to Dante, then, the real subject of the Inferno is 'Man, as
+rendered liable, by ill desert in the exercise of his free will, to
+punishing justice.' Surely a subject fraught with unutterable sadness,
+compassed by impenetrable mystery, but one which in the hands of a
+prophet may well be made to yield the bread of life; a subject fitly
+introduced by those few pregnant words, 'The day was going, and the
+dusky air gave respite to the animals that are on earth from all their
+toils; and I alone girt me in solitude to bear the strain both of the
+journey and the piteous sight, which memory that errs not shall
+retrace.'[33]
+
+       *       *       *       *       *
+
+Now if this be the true subject of the poem, it follows that all those
+physical horrors of which it seems almost to consist must be strictly
+subordinate to something else, must be part of the machinery or means
+by which the end of the poet is reached, but in no way the end itself.
+
+If the subject of the poem is a moral one, then the descriptions of
+physical torment and horror must never even for a moment overbalance or
+overwhelm the true 'motive' of the work, must never even for a moment
+so crush or deaden the feelings as to render them incapable of moral
+impressions, must never in a single instance leave a prevailingly
+physical impression upon the mind.
+
+And it is just herein that the transcendent power of the Inferno is
+displayed. Horrors which rise and ever rise in intensity till they
+culminate in some of the ghastliest scenes ever conceived by mortal
+brain are from first to last held under absolute control, are forced to
+support and intensify moral conceptions which in less mighty hands they
+would have numbed and deadened.
+
+Oh, the pity of this sin, the unutterable, indelible pity of it! Its
+wail can never be stilled in our hearts while thought and memory
+remain. The misery of some forms of sin, the foul shame of others, the
+vileness, the hatefulness, the hideous deformity of others yet--this,
+and not horror at the punishment of sin, is what Dante stamps and
+brands upon our hearts as we descend with him towards the central
+depths, stamps and brands upon our hearts till the pity, the loathing,
+the horror can endure no more;--then in the very depth of Hell, at the
+core of the Universe, with one mighty strain that leaves us well-nigh
+spent, we turn upon that central point, and, leaving Hell beneath our
+feet, ascend by the narrow path at the antipodes.
+
+With the horror and the burden of the starless land far off, we lift up
+our eyes again to see the stars, and our souls are ready for the
+purifying sufferings of Purgatory.
+
+       *       *       *       *       *
+
+Sometimes the tortures of the damned are a mere physical translation,
+so to speak, of their crimes. Thus the ruthless disseminators of strife
+and dissension who have torn asunder those who belonged one to another,
+those who had no proper existence apart from one another, are in their
+turn hewn and cleft by the avenging sword; and ever as their bodies
+reunite and their wounds are healed, the fierce blow falls again.
+Amongst them Dante sees the great troubadour Bertram de Born, who
+fostered the rebellion of the sons of our own king Henry II. In that
+he made father and son each other's enemy, his head is severed from his
+trunk, his brain from its own root.[34]
+
+In other cases a transparent metaphor or allegory dictates the form of
+punishment; as when the hypocrites crawl in utter weariness under the
+crushing weight of leaden garments, shaped like monkish cloaks and
+cowls, and all covered with shining gold outside.[35] Or when the
+flatterers and sycophants wallow in filth which fitly symbolises their
+foul life on earth.[36]
+
+It is probable that some special significance and appropriateness might
+be traced in almost all the forms of punishment in Dante's Hell, though
+it is not always obvious. But one thing at least is obvious: the
+uniform congruousness of the impression which the physical and moral
+factors of each description combine to produce. In fact, the Inferno is
+an account of 'man, as deserving ill by the exercise of his free will,'
+in which all the external surroundings are brought into precise accord
+with the central conception. The tortures are only the background; and
+as in the picture of a great artist, whether we can trace any special
+significance and appropriateness in the background or not, we always
+feel that it supports the true subject of the picture and never
+overpowers it, so it is here. Man as misusing his free will. This is
+the real subject of the Inferno. All else is accessory and subordinate.
+
+But if this be so, we should expect to find an endless variety and
+gradation, alike of guilt and punishment, as we pass through the
+circles of Hell. And so we do. At one moment indignation and reproof
+are all swallowed up in pity, and the suffering of the exiled soul only
+serves to quicken an infinite compassion in our hearts, a compassion
+not so much for the punishment of sin as for sin itself with its woeful
+loss and waste of the blessings and the holiness of life. At another
+moment we are brought face to face with a wretch whose tortures only
+serve to throw his vileness into sharper relief; and when we think of
+him and of his deeds, of him and of his victims, we can understand
+those awful words of Virgil's when Dante weeps, 'Art thou too like the
+other fools? The death of pity is true pity here.'[37] Infinite pity
+would indeed embrace the most abandoned, but it is only weak and
+misdirected pity that wakes or slumbers at the dictate of mere
+suffering.
+
+And as there is infinite variety of guilt and woe, so is there infinite
+variety of character in Dante's Hell. Though the poet condemns with
+sternest impartiality all who have died in unrepented sin, yet he
+recognises and honours the moral distinctions amongst them. What a
+difference, for instance, between the wild blaspheming robber Vanni
+Fucci,[38] and the defiant Capaneus,[39] a prototype of Milton's Satan,
+the one incited by the bestial rage of reckless self-abandonment, the
+other by the proud self-reliance of a spirit that eternity cannot
+break--alike in their defiance of the Almighty, but how widely severed
+in the sources whence it springs.
+
+Look again where Jason strides. The wrongs he did Medea and Hypsipyle
+have condemned him to the fierce lash under which his base companions
+shriek and fly; but he, still kingly in his mien, without a tear or cry
+bears his eternal pain.[40]
+
+See Farinata, the great Florentine--in his ever burning tomb he stands
+erect and proud, 'as holding Hell in great disdain;' tortured less by
+the flames than by the thought that the faction he opposed is now
+triumphant in his city; proud, even in Hell, to remember how once he
+stood alone between his country and destruction.[41]
+
+See again where Pietro delle Vigne, in the ghastly forest of suicides,
+longs with a passionate longing that his fidelity at that time when he
+'held both the keys of the great Frederick's heart' should be
+vindicated upon earth from the unjust calumnies that drove him to
+self-slaughter.[42]
+
+And see where statesmen and soldiers of Florence, themselves condemned
+for foul and unrepented sin, still love the city in which they lived,
+still long to hear some good of her. As the flakes of fire fall 'like
+snow upon a windless day' on their defenceless bodies, see with what
+dismay they gaze into one another's eyes when Dante brings ill news to
+them of Florence.[43]
+
+In a word, the souls in Hell are what they were on earth, no better and
+no worse. This is the key-note to the comprehension of the poem. No
+change has taken place; none are made rebels to God's will, and none
+are brought into submission to it, by their punishment; but all are as
+they were. Even amongst the vilest there is only the rejection of a
+thin disguise, no real increase of shamelessness. Many souls desire to
+escape notice and to conceal their crimes, just as they would have done
+on earth; many condemn their evil deeds and are ashamed of them, just
+as they would have been on earth; but there is no change of character,
+no infusion of a new spirit either for good or ill; with all their
+variety and complexity of character, the unrepentant sinners wake in
+Hell as they would wake on earth our mingled pity and horror, our
+mingled loathing and admiration. Man as misusing his free will, in all
+the scope and variety of the infinite theme, is the subject of the
+poem.
+
+And this brings us to another consideration: the eternity of Dante's
+Hell. Those who know no other line of Dante, know the last verse of the
+inscription upon the gate of Hell: 'All hope relinquish, ye that enter
+here.' The whole inscription is as follows: 'Through me the way lies to
+the doleful city; through me the way lies to eternal pain; through me
+the way lies 'mongst the people lost. 'Twas justice moved my Lofty
+Maker; Divine Power made me, Wisdom Supreme and Primal Love. Before me
+were no things created, save things eternal; and I, too, last eternal.
+All hope relinquish, ye that enter here.'[44]
+
+The gates of Hell reared by the Primal Love! If we believe in the
+eternity of sin and evil, the eternity of suffering and punishment
+follows of necessity. To be able to acquiesce in the one, but to shrink
+from the thought of the other, is sheer weakness. The eternity and
+hopelessness of Dante's Hell are the necessary corollaries of the
+impenitence of his sinners. To his mind wisdom and love cannot exist
+without justice, and justice demands that eternal ill-desert shall reap
+eternal woe.
+
+But how could one who so well knew what an eternal Hell of sin and
+suffering meant, believe it to be founded on eternal love? Why did not
+Dante's heart in the very strength of that eternal love rebel against
+the hideous belief in eternal sin and punishment? I cannot answer the
+question I have asked. Dante believed in the Church, believed in the
+theology she taught, and could not have been what he was had he not
+done so. Had he rejected any of the cardinal beliefs of the
+Christianity of his age and rebelled against the Church, he might have
+been the herald of future reformations, but he could never have been
+the index and interpreter to remotest generations of that medi�val
+Catholic religion of which his poem is the very soul.
+
+Meanwhile note this, that if ever man realised the awful mystery and
+contradiction involved in the conception of a good God condemning the
+virtuous heathen to eternal exile, that man was Dante. If ever heart
+of man was weighed down beneath the load of pity for the damned, that
+heart was Dante's. The virtuous heathen he places in the first round of
+Hell; here 'no plaint is to be heard except of sighs, which make the
+eternal air to tremble;' here, with no other torture than the death of
+hope without the death of longing, they live in neither joy nor sorrow,
+eternal exiles from the realms of bliss.[45]
+
+Dante, as we shall see hereafter, longed with a passionate thirsty
+longing to know how the Divine justice could thus condemn the innocent.
+But his thirst was never slaked. It was and remained an utter mystery
+to him; and there are few passages of deeper pathos than those in which
+he remembers that his beloved and honoured guide and master, even
+Virgil, the very type of human wisdom and excellence, was himself
+amongst these outcasts.[46]
+
+Again and again, as we pass with Dante through the circles of Hell, we
+feel that his yearning pity for the lost, racking his very soul and
+flinging him senseless to the ground for misery, shows an awakening
+spirit which could not long exist in human hearts without teaching them
+that God's redeeming pity is greater and more patient than their own.
+So, too, when Francesca and Paolo, touched by Dante's pitying sympathy,
+exclaim, 'Oh, thou gracious being, if we were dear to God, how would we
+pray for thee!'[47] who can help feeling that Dante was not far from
+the thought that all souls are dear to God?
+
+Meanwhile, how strong that faith which could lift up all this weight of
+mystery and woe, and still believe in the Highest Wisdom and the Primal
+Love! Only the man who knew the holiness of human life to the full as
+well as he knew its infamy, only the man who had seen Purgatory and
+Heaven, and who had actually felt the love of God, could know that with
+all its mystery and misery the universe was made not only by the Divine
+Power, but by the Supreme Wisdom and the Primal Love, could weave this
+Trinity of Power, Wisdom, Love, into the Unity of the all-sustaining
+God, who made both Heaven and Hell.
+
+And we still have to face the same insoluble mystery. The darker shade
+is indeed lifted from the picture upon which we gaze; we have no
+eternal Hell, no eternity of sin, to reckon with; but to us too comes
+the question, 'Can the world with all its sin and misery be built
+indeed upon the Primal Love?' And our answer too must be the answer not
+of knowledge but of faith. Only by making ourselves God's fellow
+workers till we _feel_ that the Divine Power and the Primal Love are
+one, can we gain a faith that will sustain the mystery it cannot solve.
+Alas! how often our weaker faith fails in its lighter task, how often
+do we speak of sin and misery as though they were discoveries of
+yesterday that had brought new trials to our faith, unknown before; how
+often do we feel it hard to say even of earth what Dante in the might
+of his unshaken faith could say of Hell itself--that it is made by
+Power, Wisdom, Love!
+
+       *       *       *       *       *
+
+But perhaps we have dwelt too long already on this topic, and in any
+case we must now hasten on. Dante's Hell, as we have seen, represents
+sinful and impenitent humanity with all its fitting surroundings and
+accessories, cut off from everything that can distract the attention,
+confuse the moral impression, or alleviate its appalling strength. And
+as the magic power of his words, with the absolute sincerity and
+clearness of his own conceptions, forces us to realise the details of
+his vision as if we had trodden every step of the way with him, this
+result follows amongst others: that we realise, with a vividness that
+can never again grow dim, an existence without any one of those sweet
+surroundings and embellishments of human life which seem the fit
+support and reflection of purity and love.
+
+We have been in a land where none of the fair sounds or sights of
+nature have access, no flowers, no stars, no light, and if there are
+streams and hills there they are hideously transformed into instruments
+and emblems not of beauty but of horror. We are made to realise all
+this, and to feel that it is absolutely and eternally fitting as the
+abode of sin and of impenitence. And when once this association has
+been stamped upon our minds, the beauty and the sweetness of the world
+in which we live gain a new meaning for us. They become the standing
+protest of all that is round us against every selfish, every sinful
+thought or deed; the standing appeal to us to bring our souls into
+sweet harmony with their surroundings, since God in His mercy brings
+not their surroundings into ghastly harmony with them.
+
+When we have been with the poor wretch, deep down in Hell, who gasps in
+his burning fever for 'the rivulets that from the green slopes of
+Casentino drop down into the Arno, freshening the soft, cool channels,
+where they glide,'[48] and have realised that in that land there are
+not and ought not to be the cooling streams and verdant slopes of
+earth; we can never again enjoy the sweetness and the peace of nature
+without our hearts being consciously or unconsciously purified, without
+every evil thing in our lives feeling the rebuke.
+
+When we have known what it is to be in a starless land, and have felt
+how strange and incongruous the fair sights of Heaven would be, have
+felt that they would have no place or meaning there, have felt that
+cheerless gloom alone befits the souls enveloped there, then when we
+leave the dreary realms, and once more gaze upon the heavens by night
+and day, they are more to us than they have ever been before, they are
+indeed what Dante so often calls them, using the language of the
+falconers, the _lure_ by which God summons back our wayward souls from
+vain and mean pursuits.
+
+Look, again, upon this fearful picture. Dante and Virgil come to a
+black and muddy lake in which the passionate tear and smite one another
+in bestial rage; and all over its surface are bubbles rising up. They
+come from the cries of the morose and sullen ones 'who are fixed in the
+slime at the bottom of the lake. They cry: "Gloomy we were in the sweet
+air that the sun gladdens, bearing in our hearts the smoke of
+sullenness; now we are gloomy here in the black slime"--such is the
+strain that gurgles in their throats, but cannot find full
+utterance.'[49] Who that has seen those bubbles rise upon the lake can
+ever suffer himself again to cherish sullenness within his heart
+without feeling at the very instant the rebuke of the 'sweet air that
+the sun gladdens,' and thinking of that gurgling strain of misery?
+
+       *       *       *       *       *
+
+Another of the lessons taught by the Inferno is, that no plea, however
+moving, can avail the sinner, or take away the sinfulness of sin, that
+no position can place him above punishment, that no authority can
+shield him from it.
+
+The guilty love of Francesca and Paolo, so strong, so deathless in that
+it was love, has sunk them to Hell instead of raising them to Heaven in
+that it was guilty. Stronger to make them one than Hell to sever them,
+it is powerless to redeem the sin to which it has allied itself, and
+its tenderness has but swelled the eternal anguish of those whom it
+still joins together, because it has suffered the sanctuary of life,
+which love is set to guard, to be polluted and betrayed. Sung in those
+strains of deathless tenderness and pity where 'tears seem to drop from
+the very words,' the story of this guilty love reveals the fatalest of
+all mischoice, and tells us that no passion, however wild in its
+intensity, however innocent in its beginnings, however unpremeditated
+in its lawless outburst, however overmastering in its pleas, however
+loyal to itself in time and in eternity, may dare to raise itself above
+the laws of God and man, or claim immunity from its wretched
+consequences for those who are its slaves. How infinite the pity and
+the waste, how irreparable the loss, when the love that might have been
+an ornament to Heaven, adds to the unmeasured guilt and anguish of Hell
+a wail of more piercing sorrow than rings through all its lower depths!
+
+Nor could any height of place claim exemption from the moral law. Dante
+was a Catholic, and his reverence for the Papal Chair was deep. But
+against the faithless Popes he cherished a fiery indignation
+proportioned to his high estimate of the sacred office they abused. In
+one of the most fearful passages of the Inferno he describes, in terms
+that gain a terrible significance from one of the forms of criminal
+execution practised in his day, how he stood by a round hole in one of
+the circles of Hell, in which Pope Nicholas III. was thrust head
+foremost--stood like the confessor hearing the assassin's final words,
+and heard the guilty story of Pope Nicholas.[50]
+
+It is characteristic of Dante that he tells us here, as if quite
+incidentally, that these holes were about the size of the baptising
+stands or fonts in the Church of San Giovanni, 'one of which,' says he,
+'I broke not many years ago to save one who was drowning in it. Let
+this suffice to disabuse all men.' Evidently he had been taxed with
+sacrilege for saving the life of the drowning child at the expense of
+the sacred vessel, and it can hardly be an accident that he recalls
+this circumstance in the Hell of the sacrilegious Popes and Churchmen.
+These men, who had despised their sacred trust and turned it to basest
+trafficking, were the representatives of that hard system of soulless
+officialism that would pollute the holiest functions of the Church,
+while reverencing with superstitious scruple their outward symbols and
+instruments.
+
+And if the Papal office could not rescue the sinner that held it,
+neither could the Papal authority shield the sins of others. It is said
+that Catholics have not the keeping of their own consciences. Dante at
+least thought they had. In the Hell of fraudulent counsellors, wrapped
+in a sheet of eternal flame one comes to him and cries, 'Grudge not to
+stay and speak with me a while. Behold, I grudge it not, although I
+burn.' It is Guido da Montefeltro, whose fame in council and in war had
+gone forth to the ends of the earth. All wiles and covert ways he knew,
+and there had ever been more of the fox than of the lion in him. But
+when he saw himself arriving at that age when every man should lower
+sails and gather in his ropes, then did he repent of all that once had
+pleased him, and girding him with the cord of St. Francis he became a
+monk. Alas! his penitence would have availed him well but for the
+Prince of the new Pharisees, Pope Boniface VIII., who was waging war
+with Christians that should have been his friends, hard by the Lateran.
+'He demanded counsel of me,' continues Guido, 'but I kept silence, for
+his words seemed drunken. Then he said to me, "Let not thy heart
+misdoubt: henceforth do I absolve thee, but do thou teach me so to act
+that I may cast Prenestina to the ground. Heaven I can shut and open,
+as thou knowest." ... Then the weighty arguments impelled me to think
+silence worse than speech; and so I said, "Father, since thou dost
+cleanse me from that guilt wherein I now must fall, long promise and
+performance short will make thee triumph in thy lofty seat." Then when
+I died St. Francis came for me, but one of the black cherubim said to
+him: "Do me no wrong, nor take thou him away. He must come down amongst
+my menials, e'en for the fraudulent advice he gave, since when I have
+kept close upon his hair. He who repents not cannot be absolved, nor
+can one will the same thing he repents, the contradiction not
+permitting it." Ah wretched me! how did I shudder then, for he laid
+hold of me, and with the cry, "Haply thou knew'st not I was a
+logician?" bore me to judgment.'[51]
+
+Who can fail to recognise the utter truth of Dante's teaching here?
+What can stand between a man's own conscience and his duty? Though the
+very symbol and mouthpiece of the collective wisdom and piety of
+Christendom should hold the shield of authority before the culprit, yet
+it cannot ward off the judgment for one single deed done in violation
+of personal moral conviction. When once we have realised the meaning of
+this awful passage, how can we ever urge again as an excuse for
+unfaithfulness to our own consciences, that the assurance of those we
+loved and reverenced overcame our scruples? Here as everywhere Dante
+strips sin of every specious and distracting circumstance, and shows it
+to us where it ought to be--in Hell.
+
+Contrast with the scene we have just looked upon the companion picture
+from the Purgatory; where Buonconte di Montefeltro tells how he fled on
+foot from the battle-field of Campaldino, his throat pierced with a
+mortal wound ensanguining the earth. Where Archiano falls into the Arno
+there darkness came upon him, and he fell crossing his arms upon his
+breast and calling on the name of Mary with his last breath. 'Then,' he
+continues, 'God's angel came and took me, and Hell's angel shrieked, "O
+thou of Heaven, wherefore dost thou rob me? Thou bear'st with thee the
+eternal part of him, all for one wretched tear which saves it from me.
+But with the other part of him I'll deal in other fashion."' Upon which
+the infuriated demon swells the torrent with rain, sweeps the
+warrior's body from the bank, dashes away the hateful cross into which
+its arms are folded, and in impotent rage rolls it along the river bed
+and buries it in slime so that men never see it more; but the soul is
+meanwhile saved.[52]
+
+       *       *       *       *       *
+
+Here we must pause. I have made no attempt to give a systematic account
+of the Inferno, still less to select the finest passages from it. I
+have only tried to interpret some of the leading thoughts which run
+through it, some of the deep lessons which it can hardly fail to teach
+the reader.
+
+Like all great works, the Inferno should be studied both in detail and
+as a whole in order to be rightly understood; and when we understand
+it, even partially, when we have been with Dante down through all the
+circles to that central lake of ice in which all humanity seems frozen
+out of the base traitors who showed no humanity on earth, when we have
+faced the icy breath of the eternal air winnowed by Satan's wings, and
+have been numbed to every thought and feeling except one--one which
+has been burned and frozen into our hearts through all those rounds of
+shame and woe--the thought of the pity, the misery, the hatefulness of
+sin; then, but then only, we shall be ready to understand the
+Purgatory, shall know something of what the last lines of the Inferno
+meant to Dante: 'We mounted up, he first and second I, until through a
+round opening I saw some of those beauteous things that Heaven bears;
+and thence we issued forth again to see the stars.'[53]
+
+
+FOOTNOTES:
+
+[Footnote 31: Compare pp. 21-23.]
+
+[Footnote 32: Epistola xi. � 8.]
+
+[Footnote 33: _Inferno_, ii. 1-6.]
+
+[Footnote 34: _Inferno_, xxviii.]
+
+[Footnote 35: _Ibid._ xxiii. 58 sqq.]
+
+[Footnote 36: _Ibid._ xviii. 103-136.]
+
+[Footnote 37: _Inferno_, xx. 27, 28: 'Qui vive la piet� quand' � ben
+morta.' The double force of piet�, 'pi[e]ty,' is lost in the
+translation.]
+
+[Footnote 38: _Ibid._ xxiv. 112-xxv. 9 &c.]
+
+[Footnote 39: _Ibid._ xiv. 43-66.]
+
+[Footnote 40: _Inferno_, xviii. 82-96.]
+
+[Footnote 41: _Ibid._ x. 22-93.]
+
+[Footnote 42: _Ibid._ xiii. 55-78.]
+
+[Footnote 43: _Inferno_, xvi. 64-85.]
+
+[Footnote 44: _Inferno_, iii. 1-9.]
+
+[Footnote 45: _Inferno_, iv. 23-45, 84.]
+
+[Footnote 46: Compare e.g. _Purgatorio_, iii. 34-45, xxii. 67-73.]
+
+[Footnote 47: _Inferno_, v. 88, 91, 92.]
+
+[Footnote 48: _Inferno_, xxx. 64-67.]
+
+[Footnote 49: _Inferno_, vii. 117-126.]
+
+[Footnote 50: _Inferno_, xix.]
+
+[Footnote 51: _Inferno_, xxvii.]
+
+[Footnote 52: _Purgatorio_, v. 85-129.]
+
+[Footnote 53: _Inferno_, xxxiv. 136-139.]
+
+
+
+
+IV
+
+PURGATORY
+
+
+'Leaving behind her that so cruel sea, the bark of poesy now spreads
+her sails to speed o'er happier waters; and I sing of that mid kingdom
+where the soul of man is freed from stain, till worthy to ascend to
+Heaven.'[54] Such are the opening words of Dante's Purgatory, and they
+drop like balm upon our seared and wounded hearts when we have escaped
+from the dread abode of eternal ill-desert.
+
+'Man, atoning for the misuse of his free will,' may be regarded as the
+subject of this poem. And it brings it in a sense nearer to us than
+either the Hell or the Paradise. Perhaps it ought not to surprise us
+that the Purgatory has not by any means taken such a hold of the
+general imagination as the Hell, and that its machinery and incidents
+are therefore far less widely known; for the power of the Purgatory
+does not overwhelm us like that of the Inferno whether we understand or
+no. There are passages indeed in the poem which take the reader by
+storm and force themselves upon his memory, but as a whole it must be
+felt in its deeper spiritual meaning to be felt at all. Its gentleness
+is ultimately as strong as the relentless might of the Hell, but it
+works more slowly and takes time to sink into our hearts and diffuse
+its influence there. Nor again need we be surprised that the inner
+circle of Dante students often concentrate their fullest attention and
+admiration upon the Paradise, for it is the Paradise in which the poet
+is most absolutely unique and unapproached, and in it his admirers
+rightly find the supreme expression of his spirit.
+
+And yet there is much in the Purgatory that seems to render it
+peculiarly fitted to support our spiritual life and help us in our
+daily conflict, much which we might reasonably have expected would give
+its images and allegories a permanent place in the devout heart of
+Christendom; for, as already hinted, it is nearer to us in our
+struggles and imperfections, in our aspirations and our conscious
+unworthiness, nearer to us in our love of purity and our knowledge that
+our own hearts are stained with sin, in our desire for the fullness of
+God's light, and our knowledge that we are not yet worthy or ready to
+receive it; it is nearer to us in its piercing appeals, driven home to
+the moral experience of every day and hour, nearer to us in its mingled
+longing and resignation, in its mingled consolations and sufferings,
+nearer to us in its deep unrest of unattained but unrelinquished
+ideals, than either the Hell in its ghastly harmony of impenitence and
+suffering, or the Paradise in its ineffable fruition.
+
+Moreover, the allegorical appropriateness of the various punishments is
+far more obvious and simple, and the spiritual significance of the
+whole machinery clearer and more direct, in the Purgatory than in the
+Hell. In a word, the Purgatory is more obviously though not more truly,
+more directly though not more profoundly, moral and spiritual in its
+purport than the Hell.
+
+Dante addresses some of the sufferers on the fifth circle of Purgatory
+as 'chosen ones of God whose pains are soothed by justice and by
+hope.'[55] And in truth the spirits in Purgatory are already utterly
+separated from their sins in heart and purpose, are already chosen ones
+of God. They are deeply sensible of the justice of their punishment,
+and they are fed by the certain hope that at last, when purifying pain
+has done its work, their past sins will no longer separate them from
+God, they will not only be parted in sympathy and emotion from their
+own sinful past, but will be so cut off from it as no longer to feel it
+as their own, no longer to recognise it as a part of themselves, no
+longer to be weighed down by it. Then they will rise away from it into
+God's presence. 'Repenting and forgiving,' says one of them, 'we passed
+from life, at peace with God, who pierces our hearts with longing to
+see Him.'[56]
+
+The souls in Purgatory, then, are already transformed by the thirst for
+the living water, already filled with the longing to see God, already
+at one with Him in will, already gladdened by the hope of entering into
+full communion with Him. But they do not wish to go into His presence
+yet. The sense of shame and the sense of justice forbid it. They feel
+that the unexpiated stains of former sin still cleave to them, making
+them unfit for Heaven, and they love the purifying torments which are
+burning those stains away. In the topmost circle of Purgatory, amongst
+the fierce flames from which Dante would have hurled himself into
+molten glass for coolness, he sees souls whose cheeks flush at the
+memory of their sin with a shame that adds a burning to the burning
+flame; whilst others, clustering at the edge that they may speak with
+him, yet take good heed to keep within the flame, lest for one moment
+they should have respite from the fierce pain which is purging away
+their sins and drawing them nearer to their desire.[57]
+
+Sweet hymns of praise and supplication are the fitting solace of this
+purifying pain; and as Dante passes through the first of the narrow
+ascents that lead from circle to circle of Purgatory, he may well
+contrast this place of torment with the one that he has left, may well
+exclaim, 'Ah me! how diverse are these straits from those of Hell!'[58]
+
+Penitence, humility, and peace--though not the highest or the fullest
+peace--are the key-notes of the Purgatory.
+
+       *       *       *       *       *
+
+When Dante issued from the deadly shades of Hell, his cheeks all
+stained with tears, his eyes and heart heavy with woe, his whole frame
+spent with weariness and agony, the sweet blue heavens stretched above
+him, and his eyes, that for so long had gazed on nought but horror,
+rested in their peaceful depths; Venus, the morning star, brightened
+the east, and the Southern Cross poured its splendour over the heavens;
+daybreak was at hand, and the poets were at the foot of the mount of
+Purgatory.
+
+The sea rippled against the mountain, and reeds, the emblems of
+humility, ever yielding to the wave that swept them, clustered round
+the shore. Dante and Virgil went down to the margin, and there the
+living poet bathed away the stains and tears of Hell.
+
+Ere long the waves were skimmed by a light bark, a radiant angel
+standing in the prow, bearing the souls of the redeemed, who must yet
+be purified, singing the psalm, 'When Israel came out of Egypt.'
+Amongst the shades thus borne to the mount of purification was Dante's
+friend Casella, the singer and musician. How often had his voice lulled
+all Dante's cares to sleep, and 'quieted all his desires,' and now it
+seemed as though he were come to bring his troubled heart to peace, to
+rest him in his utter weariness of body and of soul.
+
+So, at his entreaty, Casella raised his voice, and all the shades
+gathered entranced around him as he sang a noble canzone composed by
+Dante himself in years gone by.[59] The sweet sound never ceased to
+echo in the poet's memory--not even the ineffable harmonies of Paradise
+drowned those first strains of peace that soothed him after his awful
+toil.
+
+But Purgatory is no place of rest, and Casella's song was rudely
+interrupted by the guardian of the place, who cried aloud, 'How now, ye
+sluggard souls! What negligence and what delay is here? Speed to the
+mountain! Rid you of the crust that lets not God be manifest to you!'
+To purge away our sins is not to rest; and no longing for repose must
+tempt us to delay even for a moment.[60]
+
+Dante draws no flattering picture of the ease of self-purification;
+Hell itself hardly gives us such a sense of utter weariness as the
+first ascent of the mount of Purgatory. Virgil is on in front, and
+Dante cries out, altogether spent, 'Oh, my sweet father, turn thou and
+behold how I am left alone unless thou stay;' but Virgil still urges
+him on, and after a time comforts him with the assurance that though
+the mountain is so hard to scale at first, yet the higher a man climbs
+the easier the ascent becomes, till at last it is so sweet and easy to
+him that he rises without effort as a boat drops down the stream: then
+he may know that the end of his long journey has come, that the weight
+of sin is cast off, that his soul obeys its own pure nature, and rises
+unencumbered to its God.[61]
+
+The lower portion of the mountain forms a kind of ante-Purgatory,
+where the souls in weary exile wait for admission to the purifying pain
+for which they long. Here those who have delayed their penitence till
+the end of life atone for their wilful alienation by an equal term of
+forced delay ere they may enter the blessed suffering of Purgatory.
+Here those who have lived in contumacy against the Church expiate their
+offences by a thirty-fold exile in the ante-Purgatory; but as we saw in
+Hell that Papal absolution will not shield the sinful soul, so we find
+in Purgatory that the Papal malediction, the thunders of
+excommunication itself, cannot permanently part the repentant soul from
+the forgiving God.[62]
+
+When this first exile is at an end, and the lower mountain scaled, the
+gate of the true Purgatory is reached. Three steps lead up to it, 'the
+first of marble white, so polished and so smooth that in it man beholds
+him as he is.' This represents that transparent simplicity and
+sincerity of purpose that, throwing off all self-delusion, sees itself
+as it is, and is the first step towards true penitence. 'The second
+step, darker than purpled black, of rough and calcined stone, all rent
+through length and breadth,' represents the contrite heart of true
+affliction for past sin. 'The third and crowning mass methought was
+porphyry, and flamed like the red blood fresh spouting from the vein.'
+This is the glowing love which crowns the work of penitence, and gives
+the earnest of a new and purer life. Above these steps an angel stands
+to whom Peter gave the keys--the silver key of knowledge and the golden
+key of authority--bidding him open to the penitent, and err rather
+towards freedom than towards over-sternness.[63]
+
+Within the gate of Purgatory rise the seven terraces where sin is
+purged. On the three lower ledges man atones for that perverse and
+ill-directed love which seeks another's ill--for love of some sort is
+the one sole motive of all action, good or bad.[64] In the lowest
+circle the pride that rejoices in its own superiority, and therefore in
+the inferiority of others, is purged and expiated. 'As to support a
+ceiling or a roof,' says Dante, 'one sees a figure bracket-wise with
+knees bent up against it bosom, till the imaged strain begets real
+misery in him who sees, so I beheld these shades when close I scanned
+them. True it is that less or greater burdens cramped each one or less
+or more, yet he whose mien had most of patience, wailing seemed to say,
+"I can no more!"'[65]
+
+In the second circle the blind sin of envy is expiated. Here the
+eyelids of the envious are ruthlessly pierced and closed by the stitch
+of an iron wire, and through the horrid suture gush forth tears of
+penitence that bathe the sinner's cheeks. 'Here shall my eyes be
+closed,' says Dante, half in shame at seeing those who saw him not,
+'here shall my eyes be closed, though open now--but not for long. Far
+more I dread the pain of those below; for even now methinks I bend
+beneath the load.'[66]
+
+In the third circle the passionate wend their way through a blinding,
+stinging smoke, darker than Hell; but all are one in heart, and join
+in sweet accord of strain and measure singing the 'Agnus Dei.'
+
+In these three lower circles is expiated the perverse love that, in
+pride, in envy, or in passion, seeks another's ill.
+
+Round the fourth or central ledge hurry in ceaseless flight the
+laggards whose feeble love of God, though not perverse, was yet
+inadequate.
+
+Then on the succeeding circles are punished those whose sin was
+excessive and ill-regulated love of earthly things.
+
+There in the fifth round the avaricious and the prodigal, who bent
+their thoughts alike to the gross things of earth and lost all power of
+good, lie with their faces in the dust and their backs turned to
+heaven, pinioned and helpless.
+
+In the sixth circle the gluttonous in lean and ghastly hunger gaze from
+hollow eyes 'like rings without the gems,' upon the fruit they may not
+taste.[67]
+
+And lastly, in the seventh circle the sin of inchastity is purged, in
+flames as fierce as its own reckless passion.
+
+Through all of these circles to which its life on earth has rendered
+it liable, the soul must pass, in pain but not in misery; at perfect
+peace with God, loving the pain that makes it fit to rise into His
+presence, longing for that more perfect union, but not desiring it as
+yet because still knowing itself unworthy.
+
+At last the moment comes when this shrinking from God's presence, this
+clinging to the pain of Purgatory, has its end. The desire to rise up
+surprises the repentant soul, and that desire is itself the proof that
+the punishment is over, that the soul is ripe for Heaven. Then, as it
+ascends, the whole mountain shakes from base to summit with the mighty
+cry of 'Gloria in excelsis!' raised by every soul in Purgatory as the
+ransomed and emancipated spirit seeks its home.[68]
+
+Through all these circles Dante is led by Virgil, and here as in Hell
+he meets and converses with spirits of the departed. He displays the
+same unrivalled power and the same relentless use of it, the same
+passionate indignation, the same yearning pity, which take the soul
+captive in the earlier poem. In the description of Corso Donati's
+charger dragging his mangled body towards the gorge of Hell in ever
+fiercer flight; in the indignant protest against the factious spirit of
+Italy and the passionate appeal to the Empire; in the description of
+the impotent rage of the fiend who is cheated by 'one wretched tear' of
+the soul of Buonconte; in the scathing denunciations of the cities of
+the Arno;[69] in these and in many another passage the poet of the
+Purgatory shows that he is still the poet of the Hell; but it is rather
+to the richness of the new thoughts and feelings than to the unabated
+vigour and passion of the old ones, that we naturally direct our
+attention in speaking of the Purgatory. And these we have by no means
+exhausted.
+
+When Dante first entered the gate of Purgatory he heard 'voices mingled
+with sweet strains' chanting the Te Deum, and they raised in his heart
+such images as when we hear voices singing to the organ and 'partly
+catch and partly miss the words.'[70] And this sweet music, only to
+find its fullest and distinctest utterance in the Paradise, pervades
+almost the whole of the Purgatory, filling it with a reposeful longing
+that prepares for the fruition it does not give.
+
+There is a tender and touching simplicity in the records of their
+earthly lives which the gentle souls in Purgatory give to our poet.
+Take as an example, the story of Pope Adrian V., whom Dante finds
+amongst the avaricious: 'A month and little more I felt the weight with
+which the Papal mantle presses on his shoulders who would keep it from
+the mire. All other burdens seem like feathers to it. Ah me! but late
+was my conversion; yet when I became Rome's Shepherd then I saw the
+hollow cozenage of life; for my heart found no repose in that high
+dignity, and yonder life on earth gave it no room to aim yet higher;
+wherefore the love of this life rose within me. Till then was I a
+wretched soul severed from God, enslaved to avarice, for which, thou
+seest, I now bear the pain.'[71]
+
+Most touching too are the entreaties of the souls in Purgatory for the
+prayers of those on earth, or their confession that they have already
+been lifted up by them. 'Tell my Giovanna to cry for me where the
+innocent are heard,' says Nino to Dante;[72] and when the poet meets
+his friend Forese, who had been dead but five years, in the highest
+circle but one of Purgatory, whereas he would have expected him still
+to be in exile at the mountain's base, he asks him to explain the
+reason why he is there, and Forese answers, 'It is my Nella's broken
+sobs that have brought me so soon to drink the sweet wormwood of
+torment. Her devout prayers and sighs have drawn me from the place of
+lingering, and freed me from the lower circles. My little widow, whom I
+greatly loved, is all the dearer and more pleasing to God because her
+goodness stands alone amid surrounding vice.'[73]
+
+Surely it is a deep and holy truth, under whatever varying forms
+succeeding ages may embody it, that the faithful love of a pure soul
+does more than any other earthly power to hasten the passage of the
+penitent through Purgatory. When under the load of self-reproach and
+shame that weighs down our souls, we dare not look up to Heaven, dare
+not look into our own hearts, dare not meet God, then the faithful
+love of a pure soul can raise us up and teach us not to despair of
+ourselves, can lift us on the wings of its prayer, can waft us on the
+breath of its sobs, swiftly through the purifying anguish into the
+blissful presence of God.
+
+       *       *       *       *       *
+
+A feature of special beauty in the Purgatory is formed by the
+allegorical or typical sculptures on the wall and floor of some of the
+terraces, by the voices of warning or encouragement that sweep round
+the mountain, and by the visions that from time to time visit the poet
+himself. Let one of these visions suffice. Dante is about to enter the
+circles in which the inordinate love of earthly things, with all vain
+and vicious indulgence, is punished. 'In dream there came to me,' he
+says, 'a woman with a stuttering tongue, and with distorted eyes, all
+twisted on her feet, maimed in her hands, and sallow in her hue. I
+gazed at her, and as the sun comforts the chilled limbs by the night
+oppressed, so did my look give ease unto her speech, and straightway
+righted her in every limb, and with love's colours touched her haggard
+face. And when her speech was liberated thus, she sang so sweetly it
+were dire pain to wrest attention from her. "I," she sang, "am that
+sweet siren who lead astray the sailors in mid sea, so full am I of
+sweetness to the ear. 'Twas I that drew Ulysses from his way with
+longing for my song; and he on whom the custom of my voice has grown,
+full rarely leaves me, so do I content him."' In the end this false
+siren is exposed in all her foulness, and Dante turns from her in
+loathing.[74]
+
+Throughout Purgatory Dante is still led and instructed by Virgil. I
+think there is nothing in the whole Comedy so pathetic as the passages
+in which the fate of Virgil, to be cut off for ever from the light of
+God, is contrasted with the hope of the souls in Purgatory. The
+sweetness and beauty of Virgil's character as conceived by Dante grow
+steadily upon us throughout this poem, until they make the
+contemplation of his fate and the patient sadness with which he speaks
+of it more heartrending than anything that we have heard or seen in
+Hell. After this we hardly need to hear from Dante the direct
+expression he subsequently gives of his passionate thirst to know the
+meaning of so mysterious a decree as that which barred Heaven against
+the unbaptised.
+
+In Purgatory, Virgil and Dante meet the emancipated soul of the Roman
+poet Statius, freed at last after many centuries of purifying pain, and
+ready now to ascend to Heaven. Virgil asks him how he became a
+Christian, and Statius refers him to his own words in one of the
+Eclogues, regarded in those days as containing a prophecy of Christ.
+'Thou,' says Statius, 'didst first guide me to Parnassus to drink in
+its grottoes, and afterwards thou first didst light me unto God. When
+thou didst sing, "The season is renewed, justice returns, and the first
+age of man, and a new progeny descends from Heaven," thou wast as one
+who, marching through the darkness of the night, carries the light
+behind him, aiding not himself, but teaching those who follow him the
+way. Through thee was I a poet, and through thee a Christian.' Not a
+shade of envy, not a thought of resentment or rebellion, passes over
+Virgil's heart as he hears that while saving others he could not save
+himself.[75]
+
+But now, without dwelling further on the episodes of the poem, we must
+hasten to consider the most beautiful and profoundest of its closing
+scenes.
+
+Under Virgil's guidance Dante had traversed all the successive circles
+of the mount of Purgatory. He stood at its summit, in the earthly
+Paradise, the Garden of Eden which Eve had lost. There amid fairest
+sights and sounds he was to meet the glorified Beatrice, and she was to
+be his guide in Heaven as Virgil had been his guide in Hell and
+Purgatory.
+
+In any degree to understand what follows we must try to realise the
+intimate blending of lofty abstract conceptions and passionate personal
+emotions and reminiscences in Dante's thoughts of Beatrice.
+
+This sweet and gentle type of womanhood, round whose earthly life the
+genius and devotion of Dante have twined a wreath of the tenderest
+poetry, the most romantic love, that ever rose from heart of man, had
+been to him in life and death the vehicle and messenger of God's
+highest grace. Round her memory clustered all the noblest purposes and
+purest motives of his life, and in her spirit seemed to be reflected
+the divinest truth, the loftiest wisdom, that the human soul could
+comprehend. And so, making her objectively and in the scheme of the
+universe what she had really been and was to him subjectively, he came
+to regard her as the symbol of Divine philosophy as Virgil was the
+symbol of human virtue and wisdom.
+
+Touched by the glow of an ideal love, Dante had reached a deeper
+knowledge, a fuller grace, than the wisdom of this world could teach or
+gain. The doctors of the Church, the sweet singers, the mighty heroes,
+the profound philosophers, who had instructed and supported him, had
+none of them touched his life so deeply, had none of them led him so
+far into the secret place of truth, had none of them brought him so
+near to God, as that sweet child, that lovely maid, that pure woman,
+who had given him his first and noblest ideal.
+
+Now to Dante and to his age it was far from unnatural to erect concrete
+human beings into abstract types or personifications. Leah and Rachel
+are the active and the contemplative life respectively. Virgil, we have
+seen, is human philosophy. Cato of Utica represents the triumph over
+the carnal nature and the passions. And it is not only the Old
+Testament and classical antiquity that furnish these types. The
+celebrated Countess Matilda, who lived only about two centuries before
+Dante himself, becomes in his poem, according to the generally received
+interpretation, one of the attributes of God personified. And so
+Beatrice became the personification of that heavenly wisdom, that true
+knowledge of God, of which she had been the vehicle to Dante.
+
+But to the poet and to the age in which he lived, it was impossible to
+separate this heavenly wisdom in its simple, spiritual essence, from
+the form which its exposition had received at the hands of the great
+teachers of the Church. To them true spiritual wisdom, personal
+experience and knowledge of God, were inseparable from _theology_. The
+two united in the conception of Divine philosophy. Thus by a strange
+but intelligible gradation Dante blended in his conception of Beatrice
+two elements which seem to us the very extreme of incompatibility. She
+is in the first place the personification of scholastic theology, with
+all its subtle intricacy of pedantic method; she is in the second place
+the maiden to whom Dante sang his songs of love in Florence, and whose
+early death he wept disconsolate. And in the closing scenes of the
+Purgatory these two conceptions are more intimately blended, perhaps,
+than anywhere else in Dante's writings.
+
+After wandering, as it were, in the forest of a bewildered life, the
+poet is led through Hell and Purgatory until he stands face to face at
+last with his own purest and loftiest ideal; and the fierceness of his
+own self-accusation when thus confronted with Beatrice he expresses
+under the form of reproaches which he lays upon _her_ lips, but which
+we must retranslate into the reproachful utterances of his own tortured
+heart, if we are to retain our gentle thoughts of Beatrice.
+
+We need not dwell even for a moment on the gorgeous pageantry with
+which Dante introduces and surrounds Beatrice. Suffice it to say that
+she comes in a mystic car, which represents the Church, surrounded by
+saints and angels.
+
+No sooner does Dante see her, although closely veiled, than the might
+of the old passion sweeps upon him, and like a child that flees in
+terror to its mother, so does he turn to Virgil with the cry: 'Not one
+drop of blood but trembles in my veins! I recognise the tokens of the
+ancient flame.' But Virgil is gone. Dante has no refuge from his own
+offended and reproachful ideal. As he bursts into lamentations at the
+loss of Virgil's companionship, Beatrice sternly calls him back:
+'Dante! weep not that Virgil has gone from thee. Thou hast a deeper
+wound for which to weep.'
+
+As one who speaks, but holds back words more burning than he utters, so
+she stood. A clear stream flowed between her and Dante, and as she
+began to renew her reproaches he cast down his eyes in shame upon the
+water;--but there he saw himself! The angels sang a plaintive psalm,
+and Dante knew that they were pleading for him more clearly than if
+they had used directer words. Then the agony of shame and penitence
+that Beatrice's reproof had frozen in his bosom, as when the icy north
+wind freezes the snow amid the forests of the Apennine, was melted by
+the angels' plea for him as snow by the breezes of the south, and
+burst from him in a convulsion of sobs and tears.
+
+How was it possible that he should have gone so far astray, have been
+so false to the promise and the purpose of his early life, have abused
+his own natural gifts and the superadded grace of heaven? How was it
+possible that he should have let all the richness of his life run wild?
+That after Beatrice had for a time sustained him and led him in the
+true path with her sweet eyes, he should have turned away from her in
+Heaven whom he had so loved on earth? How could he have followed the
+false semblances of good that never hold their word? His visions and
+his dreams of the ideal he was deserting had not sufficed, and so deep
+had he sunk that nothing short of visiting the region of the damned
+could save him from perdition. Why had he deserted his first purposes?
+What obstacle had baffled or appalled him? What new charm had those
+lower things of earth obtained to draw him to them? 'The false
+enticements of the present things,' he sobbed, 'had led his feet aside,
+soon as her countenance was hid.' But should not the decay of that
+fair form have been itself the means of weaning him from things of
+earth, that he might ne'er again be cheated by their beauty or drawn
+aside by them from the pursuit of heavenly wisdom and of heavenly love?
+When the fairest of all earthly things was mouldering in the dust,
+should he not have freed himself from the entanglements of the less
+beauteous things remaining?
+
+To all these reproaches, urged by Beatrice, Dante had no reply. With
+eyes rooted to the ground, filled with unutterable shame, like a child
+repentant and confessing, longing to throw himself at his mother's
+feet, but afraid to meet her glance while her lips still utter the
+reproof, so Dante stood. From time to time a few broken words, which
+needed the eye more than the ear to interpret them, dropped from his
+lips like shafts from a bow that breaks with excess of strain as the
+arrow is delivered.
+
+At last Beatrice commanded him to look up. The wind uproots the oak
+tree with less resistance than Dante felt ere he could turn his
+downcast face to hers; but when he saw her, transcending her former
+self more than her former self transcended others, his agony of
+self-reproach and penitence was more than he could bear, and he fell
+senseless to the ground.[76]
+
+When he awoke he was already plunged in the waters of Lethe, which with
+the companion stream of Euno� would wash from his memory the shame and
+misery of past unfaithfulness, would enable him, no longer crushed by
+self-reproach, to ascend with the divine wisdom and purity of his own
+ideal into the higher realms.
+
+And here the Purgatory ends, the Paradise begins.
+
+
+FOOTNOTES:
+
+[Footnote 54: _Purgatorio_, i. 1-6.]
+
+[Footnote 55: _Purgatorio_, xix. 76, 77.]
+
+[Footnote 56: _Ibid._ v. 55-57.]
+
+[Footnote 57: _Purgatorio_, xxvi. 13-15, 81; xxvii. 49-51.]
+
+[Footnote 58: _Purgatorio_, xii. 112, 113.]
+
+[Footnote 59: Canzone xv. 'Amor, che nella mente.' See also _Convito_,
+trat. iii.]
+
+[Footnote 60: _Purgatorio_, i. ii.]
+
+[Footnote 61: _Ibid._ iv. 37-95.]
+
+[Footnote 62: _Purgatorio_, iii. 112-145, iv. 127-135.]
+
+[Footnote 63: _Purgatorio_, ix. 76-129.]
+
+[Footnote 64: For the general scheme of Purgatory, see _Purgatorio_,
+xvii. 91-139.]
+
+[Footnote 65: _Purgatorio_, x. 130-139.]
+
+[Footnote 66: _Ibid._ xiii. 73, 74, 133-138.]
+
+[Footnote 67: _Purgatorio_, xxiii. 31.]
+
+[Footnote 68: _Purgatorio_, xx. 124-151, xxi. 34-78.]
+
+[Footnote 69: _Purgatorio_, v. 85-129, vi. 76-151, xiv. 16-72, xxiv.
+82-87.]
+
+[Footnote 70: _Ibid._ ix. 139-145.]
+
+[Footnote 71: _Purgatorio_, xix. 103-114.]
+
+[Footnote 72: _Purgatorio_, viii. 71, 72.]
+
+[Footnote 73: _Ibid._ xxiii. 85-93.]
+
+[Footnote 74: _Purgatorio_, xix. 7-33.]
+
+[Footnote 75: _Purgatorio_, xxii. 55-73.]
+
+[Footnote 76: _Purgatorio_, xxx. 22--xxxi. 90.]
+
+
+
+
+V
+
+HEAVEN
+
+
+When Dante wrote the Paradise, he well knew that he was engaged in the
+supreme effort of his life, to which all else had led up. He well knew
+that he was engaged in no pastime, but with intensest concentration of
+matured power was delivering such a message from God to man as few
+indeed had ever been privileged or burdened to receive. He well knew
+that the words in which through long years of toil he had distilled the
+sweetness and the might of his vision were immortal, that to latest
+ages they would bear strength and purity of life, would teach the keen
+eye of the spirit to gaze into the uncreated light, and would flood the
+soul with a joy deeper than all unrest or sorrow, with a glory that no
+gloom could ever dispel. He knew moreover that this his last and
+greatest poem would speak to a few only in any generation, though
+speaking to those few with a voice of transforming power and grace.
+
+'Oh, ye,' he cries almost at the beginning of the Paradise, 'who,
+desirous to hear, have followed in slight bark behind my keel, which
+sings upon its course, now turn you back and make for your own shores,
+trust not the open wave lest, losing me, ye should be left bewildered.
+As yet all untracked is the wave I sail. Minerva breathes, Apollo leads
+me on, and the nine Muses point me to the pole. Ye other few, who
+timely have lift up your heads for bread of angels fed by which man
+liveth but can never surfeit know, well may ye launch upon the ocean
+deep, keeping my furrow as ye cut your way through waters that return
+and equal lie.'[77]
+
+In these last words, comparing the track he leaves to the watery furrow
+that at once subsides, Dante seems to indicate that he was well aware
+how easily the soul might drop out of his verses, how the things he had
+to say were essentially unutterable, so that his words could at best be
+only a suggestion of his meaning dependent for their effect upon the
+subtlest spiritual influences and adjustments, as well as upon the
+receptive sympathy of those to whom they were addressed. And if there
+are so many that fail to catch the spirit and feel the heavenly harmony
+of the music when it is Dante's own hand that touches the strings, how
+hopeless seems the task of transferring even its echo, by translated
+extracts, or descriptions, from which the soul has fled.
+
+There is indeed much that is beautiful, much that is profound, in the
+Paradise which is capable of easy reproduction, but the divine aroma of
+the whole could only be translated or transferred by another Dante.
+Petal after petal of the rose of Paradise may be described or copied,
+but the heavenly perfume that they breathed is gone.
+
+'His glory that moves all things,' so Dante begins the Paradise,
+'pierces the universe; and is here more, here less resplendent. In that
+Heaven which of His light has most, was I. There I saw things which he
+who thence descends has not the knowledge or power to retell. For as it
+draws anigh to its desire, our intellect pierces so deep that memory
+cannot follow in its track. But of that sacred empire so much as I had
+power in my mind to store, shall now be matter of my poesy.'[78]
+
+And again, almost at the close he sings, 'As is he who dreams, and when
+the dream is broke still feels the emotion stamped upon his heart
+though all he saw is fled beyond recall, e'en such am I; for, all the
+vision gone well-nigh without a trace, yet does the sweetness that was
+born of it still drop within my heart.'[79]
+
+If so much as an echo of that echo, if so much as a dream of that
+dream, falls upon our ears and sinks into our hearts, then we are
+amongst those few for whom Dante wrote his last and his divinest poem.
+
+       *       *       *       *       *
+
+Through the successive heavens of Paradise Dante is conducted by
+Beatrice; and here again the intimate blending in the divine guide of
+two distinct almost contradictory conceptions forms one of the great
+obstacles towards giving an intelligible account of the poem. This
+obstacle can only disappear when patient study guided by receptive
+sympathy has led us truly into the poet's thought.
+
+In the Paradise, however, the allegorical and abstract element in the
+conception of Beatrice is generally the ruling one. She is the
+impersonation of Divine Philosophy, under whose guidance the spiritual
+discernment is so quickened and the moral perceptions so purified, that
+the intellect can thread its way through subtlest intricacies of
+casuistry and theology, and where the intellect fails the eye of faith
+still sees.
+
+Even in this allegorical character Beatrice is a veritable personality,
+as are Lucia, the Divine Grace, and the other attributes or agents of
+the Deity, who appear in the Comedy as personal beings with personal
+affections and feelings, though at the same time representing abstract
+ideas. Thus Beatrice, as Divine Philosophy impersonated, is at once an
+abstraction and a personality. 'The eyes of Philosophy,' says Dante
+elsewhere, 'are her demonstrations, the smile of Philosophy her
+persuasions.'[80] And this mystic significance must never be lost sight
+of when we read of Beatrice's eyes kindling with an ever brighter glow
+and her smile beaming through them with a diviner sweetness as she
+ascends through heaven after heaven ever nearer to the presence of God.
+The demonstrations of Divine Philosophy become more piercing, more
+joyous, more triumphant, her persuasions more soul-subduing and
+entrancing, as the spirit draws nearer to its source.
+
+But though we shall never understand the Paradise unless we perceive
+the allegorical significance and appropriateness not only of the
+general conception of Beatrice, but also of many details in Dante's
+descriptions of her, yet we should be equally far from the truth if we
+imagined her a mere allegory. She is a glorified and as it were divine
+_personality_, and watches over and guides her pupil with the
+tenderness and love of a gentle and patient mother. The poet constantly
+likens himself to a wayward, a delirious, or a frightened child, as he
+flies for refuge to his blessed guide's maternal care.[81]
+
+Again, they are in the eighth heaven, and Beatrice knows that a
+glorious manifestation of saints and angels is soon to be vouchsafed
+to Dante. Listen to his description of her as she stands waiting:
+'E'en as a bird amongst the leaves she loves, brooding upon the nest of
+her sweet young throughout the night wherein all things are hid,
+foreruns the time to see their loved aspect and find them food, wherein
+her heavy toil is sweet to her, there on the open spray, waiting with
+yearning longing for the sun, fixedly gazing till the morn shall rise;
+so did she stand erect, her eyes intent on the meridian. And seeing her
+suspended in such longing I became as one who yearns for what he knows
+not, and who rests in hope.'[82]
+
+       *       *       *       *       *
+
+Under Beatrice's guidance, then, Dante ascends through the nine heavens
+into the empyrean heights of Paradise. Here in reality are the souls of
+all the blessed, rejoicing in the immediate presence and light of
+God,[83] and here Dante sees them in the glorified forms which they
+will wear after the resurrection. But in order to bring home to his
+human understanding the varied grades of merit and beatitude in
+Paradise, he meets or appears to meet the souls of the departed in the
+successive heavens through which he passes, sweeping with the spheres
+in wider and ever wider arc, as he rises towards the eternal rest by
+which all other things are moved.
+
+It is in these successive heavens that Dante converses with the souls
+of the blessed. In the lower spheres they appear to him in a kind of
+faint bodily form like the reflections cast by glass unsilvered; but in
+the higher spheres they are like gems of glowing light, like stars that
+blaze into sight or fade away in the depths of the sky; and these
+living topaz and ruby lights, like the morning stars that sing together
+in Job, break into strains of ineffable praise and joy as they glow
+upon their way in rhythmic measure both of voice and movement.
+
+Thus in the fourth Heaven, the Heaven of the Sun, Dante meets the souls
+of the great doctors of the Church. Thomas Aquinas is there, and
+Albertus Magnus and the Venerable Bede and many more. A circle of these
+glorious lights is shining round Dante and Beatrice as Aquinas tells
+the poet who they were on earth. 'Then like the horologue, that summons
+us, what hour the spouse of God rises to sing her matins to her
+spouse, to win his love, wherein each part urges and draws its fellow,
+making a tinkling sound of so sweet note that the well-ordered spirit
+swells with love: so did I see the glorious wheel revolve, and render
+voice to voice in melody and sweetness such as ne'er could noted be
+save where joy stretches to eternity.
+
+'Oh, senseless care of mortals! Ah, how false the thoughts that urge
+thee in thy downward flight! One was pursuing law, and medicine one,
+another hunting after priesthood, and a fourth would rule by force or
+fraud; one toiled in robbery, and one in civil business, and a third
+was moiling in the pleasures of the flesh all surfeit-weary, and a
+fourth surrendered him to sloth. And I the while, released from all
+these things, thus gloriously with Beatrice was received in
+Heaven.'[84]
+
+When Beatrice fixes her eyes--remember their allegorical significance
+as the demonstrations of Divine philosophy--upon the light of God, and
+Dante gazes upon them, then quick as thought and without sense of
+motion, the two arise into a higher heaven, like the arrow that finds
+its mark while yet the bow-string trembles; and Dante knows by the
+kindling beauty that glows in his guardian's eyes that they are nearer
+to the presence of God and are sweeping Heaven in a wider arc.
+
+The spirits in the higher heavens see God with clearer vision, and
+therefore love Him with more burning love, and rejoice with a fuller
+joy in His presence than those in the lower spheres. Yet these too rest
+in perfect peace and oneness with God's will.
+
+In the Heaven of the Moon, for instance, the lowest of all, Dante meets
+Piccarda. She was the sister of Forese, whom we saw in the highest
+circle but one of Purgatory, raised so far by his widowed Nella's
+prayers. When Dante recognises her amongst her companions, in her
+transfigured beauty, he says, '"But tell me, ye whose blessedness is
+here, do ye desire a more lofty place, to see more and to be more loved
+by God?" She with those other shades first gently smiled, then answered
+me so joyous that she seemed to glow with love's first flame, "Brother,
+the power of love so lulls our will, it makes us long for nought but
+what we have, and feel no other thirst. If we should wish to be exalted
+more, our wish would be discordant with His will who here assigned us;
+and that may not be within these spheres, as thou thyself mayst see,
+knowing that here we needs must dwell in love, and thinking what love
+is. Nay, 'tis inherent in this blessedness to hold ourselves within the
+will Divine, whereby our wills are one. That we should be thus rank by
+rank throughout this realm ordained, rejoices all the realm e'en as its
+King, who draws our wills in His. And His decree is our peace. It is
+that sea to which all things are moved which it creates and all that
+nature forges." Then was it clear to me how every where in Heaven is
+Paradise, e'en though the grace distil not in one mode from that Chief
+Good.'[85]
+
+So again in the second heaven, the Heaven of Mercury, the soul of
+Justinian tells the poet how that sphere is assigned to them whose
+lofty aims on earth were in some measure fed by love of fame and glory
+rather than inspired by the true love of God. Hence they are in this
+lower sphere. Yet part of their very joy consists in measuring the
+exact accord between the merits and the blessedness of the beatified.
+'As diverse voices make sweet melody,' he continues, 'so do the diverse
+ranks of our life render sweet harmony amidst these spheres.'[86]
+
+Indeed, one of the marvels of this marvellous poem is the extreme
+variety of character and even of incident which we find in Heaven as
+well as in Hell and Purgatory. In each of the three poems there is one
+key-note to which we are ever brought back, but in each there is
+infinite variety and delicacy of individual delineation too. The saints
+are no more uniform and characterless in their blessedness than are the
+unrepentant sinners in their tortures or the repentant in their
+contented pain.
+
+Nor must we suppose that the Paradise is an unbroken succession of
+descriptions of heavenly bliss. Here too, as in Hell and Purgatory, the
+things of earth are from time to time discussed by Dante and the
+spirits that he meets. Here too the glow of a lofty indignation flushes
+the very spheres of Heaven. Thus Peter cries against Pope Boniface
+VIII: 'He who usurps upon the earth my place, _my place_, MY PLACE,
+which in the presence of the Son of God is vacant now, has made the
+city of my sepulture a sink of blood and filth, at which the rebel
+Satan, who erst fell from Heaven, rejoices down in Hell.' And at this
+the whole Heaven glows with red, and Beatrice's cheek flushes as at a
+tale of shame.[87]
+
+Dante is still the same. The sluggish self-indulgence of the monks, the
+reckless and selfish ambition of the factious nobles and rulers, the
+venal infamy of the Court of Rome, cannot be banished from his mind
+even by the beatific visions of Heaven. Nay, the very contrast gives a
+depth of indignant sadness to the denunciations of the Paradise which
+makes them almost more terrible than those of Hell itself.
+
+Interwoven too with the descriptions of the bliss of Heaven, is the
+discussion of so wide a range of moral and theological topics that the
+Paradise has been described as having 'summed up, as it were, and
+embodied for perpetuity ... the quintessence, the living substance, the
+ultimate conclusions of the scholastic theology;'[88] and it may well
+be true that to master the last cantica of the 'Divine Comedy' is to
+pierce more deeply into the heart of medi�val religion and theology
+than any of the schoolmen and doctors of the Church can take us. At the
+touch of Dante's staff, the flintiest rock of metaphysical dogma yields
+the water of life, and in his mouth the subtlest discussion of
+casuistry becomes a lamp to our feet.
+
+And beyond all this, such is the marvellous concentration of Dante's
+poetry, there is room in the Paradise for long digressions,
+biographical, antiquarian, and personal; whilst all these parts,
+apparently so heterogeneous, are welded into perfect symmetry in this
+one poem.
+
+       *       *       *       *       *
+
+Amongst the most important of the episodes is the account of ancient
+Florence given to Dante by his ancestor Cacciaguida, who also predicts
+the poet's exile and wanderings, and in a strain of lofty enthusiasm
+urges him to pour out all the heart of his vision and brave the hatred
+and the persecution that it will surely bring upon him.
+
+This Cacciaguida was a Crusader who fell in the Holy Land, and Dante
+meets him in the burning planet of Mars, amongst the mighty warriors of
+the Lord whose souls blaze there in a ruddy glow of glory. There is
+Joshua, there Judas Maccab�us, and Charlemagne and Orlando and Godfrey
+and many more.
+
+A red cross glows athwart the planet's orb, and from it beams in mystic
+guise the Christ; but how, the poet cannot say, for words and images
+are wanting to portray it. Yet he who takes his cross and follows
+Christ, will one day forgive the tongue that failed to tell what he
+shall see when to him also Christ shall flash through that glowing dawn
+of light.
+
+Here the souls, like rubies that glow redder from the red-glowing cross
+as stars shine forth out of the Milky Way, pass and repass from horn to
+horn, from base to summit, and burst into a brighter radiance as they
+join and cross, while strains of lofty and victorious praise, unknown
+to mortal ears, gather upon the cross as though it were a harp of many
+strings, touched by the hand of God, and take captive the entranced,
+adoring soul.
+
+There Cacciaguida hailed his descendant Dante, and long they conversed
+of the past, the present, and the future. Alas for our poor pride of
+birth! What wonder if men glory in it here? For even there in Heaven,
+where no base appetite distorts the will and judgment, even there did
+Dante glow with pride to call this man his ancestor.
+
+At last their converse ended; Cacciaguida's soul again was sweeping the
+unseen strings of that heavenly harp, and Dante turned again to look
+for guidance from his guardian. Beatrice's eyes were fixed above; and
+quick as the blush passes from a fair cheek, so quick the ruddy glow of
+Mars was gone, and the white light of Jupiter shone clear and calm in
+the sixth heaven--the Heaven of the Just.
+
+What a storm of passions and emotions swept through Dante's soul when
+he learnt where he was! 'O chivalry of Heaven!' he exclaimed in agony,
+'pray for those who are led all astray on earth by foul example.' When
+would the Righteous One again be wroth, and purge His temple of the
+traffickers--His temple walled by miracles and martyrdoms? How long
+should the Pope be suffered to degrade his holy office by making the
+penalties of Church discipline the tools of selfish politics--how long
+should his devotion to St. John the Baptist, whose head was stamped
+upon the coins of Florence, make him neglect the fisherman and Paul?
+
+Such were the first thoughts that rose in Dante's mind in the Heaven of
+the Just; but they soon gave way to others. Here surely, here if
+anywhere, God's justice must be manifest. Reflected in all Heaven, here
+must it shine without a veil. The spirits of the just could surely
+solve his torturing doubt. How long had his soul hungered and found no
+food on earth, and now how eagerly did he await the answer to his
+doubt! They knew his doubt, he need not tell it them; oh, let them
+solve it!
+
+Yes, they knew what he would say: 'A man is born upon the bank of
+Indus, and there there is none to speak of Christ, or read or write of
+him. All this man's desires and acts are good, and without sin, as far
+as human eye can see, in deed or word. He dies unbaptised, without the
+faith. Where is that justice which condemns him? Where is his fault in
+not believing?' Yes, they knew his doubt, but could not solve it. Their
+answer is essentially the same as Paul's: 'Nay, but, O man, who art
+thou that repliest against God?'
+
+The Word of God, say the spirits of the just, could not be so expressed
+in all the universe but what it still remained in infinite excess. Nay,
+Lucifer, the highest of created beings, could not at once see all the
+light of God, and fell through his impatience. How then could a poor
+mortal hope to scan the ways of God? His ken was lost in His deep
+justice as the eye is lost in the ocean. We can see the shallow bottom
+of the shore, but we cannot see the bottom of the deep, which none the
+less is there. So God's unfathomable justice is too deep, too just, for
+us to comprehend. The Primal Will, all goodness in itself, moves not
+aside from justice and from good. Never indeed did man ascend to heaven
+who believed not in Christ, yet are there many who cry, Lord, Lord,
+and in the day of judgment shall be far more remote from Christ than
+many a one that knew him not.[89]
+
+With this answer Dante must be content. He must return from Heaven with
+this thirst unslaked, this long hunger still unsatisfied. Ay, and with
+this answer must we too rest content. And yet not with this answer, for
+we do not ask this question. That awful load of doubt under which Dante
+bent is lifted from our souls, and for us there is no eternal Hell,
+there are no virtuous but rejected Heathen. Yet to us too the ocean of
+God's justice is too deep to pierce. And when we ask why every
+blessing, every chance of good, is taken from one child, while another
+is bathed from infancy in the light of love, and is taught sooner than
+it can walk to choose the good and to reject the evil, what answer can
+we have but Dante's? Rest in faith. You know God's justice, for you
+feel it with you in your heart when you are fighting for the cause of
+justice; you know God's justice, for you feel it in your heart like an
+avenging angel when you sin; you know God's justice--but you do not
+know it all.
+
+       *       *       *       *       *
+
+There in the Heaven of the Just was David; now he knew how precious
+were his songs, since his reward was such. There too was Trajan, who by
+experience of the bliss of Heaven and pain of Hell knew how dear the
+cost of not obeying Christ. There were Constantine, and William of
+Sicily, and Ripheus, that just man of Troy. 'What things are these?'
+was the cry that dropped by its own weight from Dante's lips. The
+heathens Trajan and Ripheus here! No, not heathens. Ripheus had so
+given himself to justice when on earth, that God in His grace revealed
+to him the coming Christ, and he believed. Faith, Hope, and Charity
+were his baptism more than a thousand years ere baptism was known. And
+for Trajan, Gregory had wrestled in prayer for him, had taken the
+Kingdom of Heaven by storm with his warm love and living hope; and
+since no man repents in Hell, God at the prayer of Gregory had recalled
+the imperial soul back for a moment to its mouldering clay. There it
+believed in Christ, and once more dying, entered on his joy.[90]
+
+Thus did Dante wrestle with his faith, and in the passion of his love
+of virtue and thirst for justice seek to escape the problem which he
+could not solve.
+
+       *       *       *       *       *
+
+But we must hasten to the close. Dante and Beatrice have passed through
+all the heavens. The poet's sight is gradually strengthened and
+prepared for the supreme vision. He has already seen a kind of symbol
+of the Uncreated, surrounded by the angelic ministers. It was in the
+ninth heaven, the Heaven of the Primum Mobile, that he saw a single
+point of intensest light surrounded by iris rings, upon which point,
+said Beatrice, all Heaven and all nature hung.[91]
+
+But now they have passed beyond all nine revolving heavens into the
+region of 'pure light, light intellectual full of love, love of the
+truth all full of joy, joy that transcends all sweetness.'[92] And here
+the poet sees that for which all else had been mere preparation.
+
+But I will not strive to reproduce his imagery, with the mighty river
+of light inexhaustible, with the mystic flowers of heavenly perfume,
+with the sparks like rubies set in gold ever passing between the
+flowers and the river. Of this river Dante drank, and then the true
+forms of what had hitherto been shadowed forth in emblems only, rose
+before his eyes. Rank upon rank the petals of the mystic rose of
+Paradise stretched far away around and above him. There were the
+blessed souls of the holy ones, bathed in the light of God that
+streamed upon them from above, while the angels ever passed between it
+and them ministering peace and love.
+
+There high up, far, far beyond the reach of mortal eye, had it been on
+earth, sat Beatrice, who had left the poet's side. But in Heaven, with
+no destroying medium to intervene, distance is no let to perfect sight.
+He spoke to her. He poured out his gratitude to her, for it was she who
+had made him a free man from a slave, she who had made him sane, she
+who had left her footprints in Hell for him, when she went to summon
+Virgil to his aid. Oh, that his life hereafter might be worthy of the
+grace and power that had so worked for him! Then from her distant
+place in Heaven, Beatrice looked at him and smiled, then turned her
+eyes upon the Uncreated Light.[93]
+
+St. Bernard was at Dante's side, and prayed that the seer's vision
+might be strengthened to look on God. Then Dante turned his eyes to the
+light above. The unutterable glory of that light dazzled not his
+intent, love-guided gaze. Nay, rather did it draw it to itself and
+every moment strengthen it with keener sight and feed it with intenser
+love.
+
+Deeper and deeper into that Divine Light the seer saw. Had he turned
+his eyes aside, then indeed he knew the piercing glory would have
+blinded them; but that could never be, for he who gazes on that light
+feels all desire centred there--in it are all things else. So for a
+time with kindling gaze the poet looked into the light of God,
+unchanging, yet to the strengthening sight revealing ever more.
+Mysteries that no human tongue can tell, no human mind conceive, were
+flashed upon him in the supreme moment, and then all was over--'The
+power of the lofty vision failed.'
+
+       *       *       *       *       *
+
+Dante does not tell us where he found himself when the vision broke. He
+only tells us this: that as a wheel moves equally in all its parts, so
+his desire and will were, without strain or jar, revolved henceforth by
+that same Love that moves the sun and all the other stars.[94]
+
+This was the end of all that Dante had thought and felt and lived
+through--a will that rolled in perfect oneness with the will of God.
+This was the end to which he would bring his readers, this was the
+purpose of his sacred poem, this was the meaning of his life.[95]
+
+
+FOOTNOTES:
+
+[Footnote 77: _Paradiso_, ii. 1-15.]
+
+[Footnote 78: _Paradiso_, i. 1-12.]
+
+[Footnote 79: _Ibid._ xxxiii. 58-63.]
+
+[Footnote 80: _Convito_, III. xv.]
+
+[Footnote 81: _Purgatorio_, xxx. 79-81, xxxi. 64-67; _Paradiso_, i.
+100-102, xxii. 1 sqq.]
+
+[Footnote 82: _Paradiso_, xxiii. 1-15.]
+
+[Footnote 83: _Ibid._ iv. 28-48.]
+
+[Footnote 84: _Paradiso_, x. 139--xi. 12.]
+
+[Footnote 85: _Paradiso_, iii. 64-90.]
+
+[Footnote 86: _Paradiso_, vi. 112-126.]
+
+[Footnote 87: _Paradiso_, xxvii, 22-34.]
+
+[Footnote 88: Milman.]
+
+[Footnote 89: _Paradiso_, xiv. 85--xix. 148.]
+
+[Footnote 90: _Paradiso_, xx.]
+
+[Footnote 91: _Ibid._ xxviii. 41, 42.]
+
+[Footnote 92: _Ibid._ xxx. 40-42.]
+
+[Footnote 93: _Paradiso_, xxxi. 52-93.]
+
+[Footnote 94: _Paradiso_, xxxiii. 143-145.]
+
+[Footnote 95: Compare Symonds, p. 183.]
+
+
+
+
+APPENDIX
+
+AN ATTEMPT TO STATE THE CENTRAL
+THOUGHT OF THE COMEDY
+
+
+
+
+APPENDIX.
+
+
+Dante's poem--the true reflection of his mind--is a compact and rounded
+_whole_ in which all the parts are mutually interdependent. Its
+digressions are never excrescences, its episodes are never detached
+from its main purpose, its form is never arbitrary and accidental, but
+is always the systematic and deliberate expression of its substance.
+Moreover it is profoundly medi�val and Catholic in conception and
+spirit. The scholastic theology and science of the Middle Ages and the
+spiritual institutions of the Catholic Church were no trammels to
+Dante's thought and aspiration. Under them and amidst them he moved
+with a perfect sense of freedom, in them he found the embodiment of his
+loftiest conceptions. Against their abuses his impetuous spirit poured
+out its lava-stream of burning indignation, but his very passion
+against those who laid impure hands upon the sacred things of God is
+the measure of his reverence for their sanctity.
+
+If the Catholic poet of the fourteenth century speaks with a voice that
+can reach the ears and stir the hearts of the Protestant and heretic
+of the nineteenth, it is not so much because he rose above the special
+forms and conditions of the faith of his own age as because he went
+below them and touched the eternal rock upon which they rested. Not by
+neglecting or making light of the dogmas and institutions of his day,
+but by piercing to their very heart and revealing their deepest
+foundations, did he become a poet for all time.
+
+The distinction, then, which we are about to draw between the permanent
+realities of Dante's religion and the passing forms, the temporary
+conditions of belief, under which it was manifested, is a distinction
+which did not exist for him. His faith was a garment woven without
+seam, or, to use his own metaphor, a coin so true in weight and metal,
+so bright and round, that there was no 'perhaps' to him in its
+impression.[96]
+
+This unwavering certainty alike in principle and in detail, this
+unfaltering loyalty to the beliefs of his day alike in form and
+substance, is one of the secrets of Dante's strength.
+
+But, again, such compactness and cohesion of belief could not have been
+attained except by the strict subordination of every article of
+concrete faith to the great central conceptions of religion, rising out
+of the very nature and constitution of the devout human soul. And
+therefore, paradox as it may seem, the very intensity with which Dante
+embraced beliefs that we have definitely and utterly rejected, is the
+pledge that we shall find in his teaching the essence of our own
+religion; and we may turn to the Comedy with the certainty that we
+shall not only discover here and there passages which will wake an echo
+in our bosoms, but shall also find at the very heart of it some guiding
+thought that will be to us as it was to him absolutely true.
+
+Now Dante himself, as we have seen, tells us what is the subject of his
+Comedy. Literally it is 'The state of souls after death,' and
+allegorically 'Man, as rendering himself liable to rewarding or
+punishing justice, by good or ill desert in the exercise of his free
+will.' The ideal requirements of Divine Justice, then, form the central
+subject of this poem, the one theme to which, amidst infinite diversity
+of application, the poet remains ever true; and these requirements he
+works out in detail and enforces with all the might, the penetration,
+the sweetness of his song, under the conditions of medi�val belief as
+to the future life.
+
+But these conditions of belief are utterly foreign to our own
+conceptions. I say nothing of the rejection of the virtuous heathen,
+because Dante himself could really find no room for it in his own
+system of conceptions. It lay in his mind as a belief accepted from
+tradition, but never really assimilated by faith. Apart from this,
+however, we find ourselves severed from Dante by his fundamental dogma
+that the hour of death ends all possibility of repentance or
+amendment. With him there is no repentance in Hell, no progress in
+Heaven; and it is therefore only in Purgatory that we find anything at
+all fundamentally analogous to the modern conception of a progressive
+approximation to ideal perfection and oneness with God throughout the
+cycles of a future life. And even here the transition of Purgatory is
+but temporal, nor is there any fundamental or progressive change of
+heart in its circles, for unless the heart be changed before death it
+cannot change at all.
+
+In its literal acceptation, then, dealing with 'the state of souls
+after death,' the 'Divine Comedy' has little to teach us, except
+indirectly.
+
+But allegorically it deals with 'man,' first as impenitently sinful;
+second, as penitent; last, as purified and holy. It shows us the
+requirements of Divine Justice with regard to these three states; and
+whether we regard them as permanent or transitory, as severed by sharp
+lines one from the other or as melting imperceptibly into each other,
+as existing on earth or beyond the grave, in any case Dante teaches us
+what sentence justice must pronounce on impenitence, on penitence, and
+on sanctity. Nay, independently of any belief in future retribution at
+all, independently of any belief in what our actions will receive,
+Dante burns or flashes into our souls the indelible conviction of what
+they deserve.
+
+Now to Dante's mind, as to most others, the conceptions of _justice_
+and _desert_ implied the conception of _free will_. And accordingly we
+find the reality of the choice exercised by man, and attended by such
+eternal issues, maintained with intense conviction throughout the poem.
+The free will is the supreme gift of God, and that by which the
+creature most closely partakes of the nature of the Creator. The free
+gift of God's love must be seized by an act of man's free will, in
+opposition to the temptations and difficulties that interpose
+themselves. There is justice as well as love in Heaven; justice as well
+as mercy in Purgatory. The award of God rests upon the free choice of
+man, and registers his merit or demerit. It is true, and Dante fully
+recognises it, that one man has a harder task than another. The
+original constitution and the special circumstances of one man make the
+struggle far harder for him than for another; but God never suffers the
+hostile influence of the stars to be so strong that the human will may
+not resist it. Diversity of character and constitution is the necessary
+condition of social life, and we can see why God did not make us all
+alike; but when we seek to pierce yet deeper into the mystery of His
+government, and ask why this man is selected for this task, why another
+is burdened with this toil, why one finds the path of virtue plain for
+his feet to tread, while one finds it beset with obstacles before which
+his heart stands still--when we ask these questions we trench close
+upon one of those doubts which Dante brought back unsolved from
+Heaven. Not the seraph whose sight pierces deepest into the light of
+God could have told him this, so utterly is it veiled from all created
+sight.[97]
+
+But amidst all these perplexities one supreme fact stands out to
+Dante's mind: that, placed as we are on earth amidst the mysterious
+possibilities of good and evil, we are endowed with a genuine power of
+self-directed choice between them. The fullness of God's grace is
+freely offered to us all, the life eternal of obedience, of
+self-surrender, of love, tending ever to the fuller and yet fuller
+harmony of united will and purpose, of mutually blessed and blessing
+offices of affection, of growing joy in all the supporting and
+surrounding creation, of growing repose in the might and love of God.
+
+But if we shut our eyes against the light of God's countenance and turn
+our backs upon His love, if we rebel against the limitations of mutual
+self-sacrifice to one another and common obedience to God, then an
+alternative is also offered us in the fierce and weltering chaos of
+wild passions and disordered desires, recognising no law and evoking no
+harmony, striking at the root of all common purpose and cut off from
+all helpful love.
+
+Our inmost hearts recognise the reality of this choice, and the justice
+and necessity of the award that gives us what we have chosen. That the
+hard, bitter, self-seeking, impure, mutinous, and treacherous heart
+should drive away love and peace and joy is the natural, the necessary
+result of the inmost nature and constitution of things, and our hearts
+accept it. That self-discipline, gentleness, self-surrender, devotion,
+generosity, self-denying love, should gather round them light and
+sweetness, should infuse a fullness of joy into every personal and
+domestic relation, should give a glory to every material surrounding,
+and should gain an ever closer access to God, is no artificial
+arrangement which might with propriety be reversed, it is a part of the
+eternal and necessary constitution of the universe, and we feel that it
+ought so to be.
+
+There is no joy or blessedness without harmony, there is no harmony
+without the concurrence of independent forces, there is no such
+concurrence without self-discipline and self-surrender.
+
+But these natural consequences of our moral action are here on earth
+constantly interfered with and qualified, constantly baulked of their
+full and legitimate effect. Here we do not get our deserts. The actions
+of others affect us almost as much as our own, and artificially
+interpose themselves to screen us from the results of what we are and
+do ourselves. Hence we constantly fail to perceive the true nature of
+our choice. Its consequences fall on others; we partially at least
+evade the Divine Justice, and forget or know not what we are doing, and
+what are the demands of justice with regard to us.
+
+Now Dante, in his three poems, with an incisive keenness of vision and
+a relentless firmness of touch, that stand alone, strips our life and
+our principles of action of all these distracting and confusing
+surroundings, isolates them from all qualifying and artificial
+palliatives, and shows us what our choice is and where it leads to.
+
+In Hell we see the natural and righteous results of sin, recognise the
+direct consequences, the fitting surroundings of a sinful life, and
+understand what the sinful choice in its inmost nature is. As surely as
+our consciences accuse us of the sins that are here punished, so surely
+do we feel with a start of self-accusing horror, 'This is what I am
+trying to make the world. This is where we should be lodged if I
+received what I have given. This is what justice demands that I should
+have. This is what I deserve. It is what I have chosen.'
+
+The tortures of Hell are not artificial inflictions, they are simply
+the reflection and application of the sinner's own ways and principles.
+He has made his choice, and he is given that which he has chosen. He
+has found at last a world in which his principles of action are not
+checked and qualified at every turn by those of others, in which he is
+not screened from any of the consequences of his deeds, in which his
+own life and action has consolidated, so to speak, about him, and has
+made his surroundings correspond with his heart.
+
+In the Hell, Dante shows us the nature and the deserts of impenitent
+sin; and though we may well shrink from the ghastly conception of an
+eternal state of impenitence and hatred, yet surely there is nothing
+from which we ought to shrink in the conception of impenitent sin as
+long as it lasts, whether in us or in others, concentrating its results
+upon itself, making its own place and therefore receiving its deserts.
+
+When we turn from Hell to Purgatory, we turn from unrepentant and
+therefore constantly cherished, renewed, and reiterated sin, to
+repentant sin, already banished from the heart. What does justice
+demand with regard to such sin? Will it have it washed out? Will it, in
+virtue of the sinner's penitence, interpose between him and the
+wretched results and consequences of his deeds? Who that has ever
+sinned and repented will accept for a moment such a thought? The
+repentant sinner does not _wish_ to escape the consequences and results
+of his sin. His evil deeds or passions must bring and ought to bring a
+long trail of wretched suffering for himself. This suffering is not
+corrective, it is expiatory. His heart is already corrected, it is
+already turned in shame and penitence to God; but if he had no
+punishment, if his evil deed brought no suffering upon himself, he
+would feel that the Divine Justice had been outraged. He shrinks from
+the thought with a hurt sense of moral unfitness. He wishes to suffer,
+he would not escape into the peace of Heaven if he might.
+
+Never did Dante pierce more deeply into the truth of things, never did
+he bring home the _justice_ of punishment more closely to the heart,
+than when he told how the souls in Purgatory do not wish to rise to
+Heaven till they have worked out the consequences of their sins. The
+sin long since repented and renounced still haunts us with its shame
+and its remorse, still holds us from the fullness of the joy of God's
+love, still smites us with a keener pain the closer we press into the
+forgiving Father's presence; and we would have it so. The deepest
+longing of our heart, which is now set right, is for full, untroubled
+communion with God, yet it is just when nearest to Him that we feel the
+wretched penalty of our sin most keenly and that we least desire to
+escape it.
+
+But if the sinful disposition be gone, then the source of our suffering
+is dried up with it, and the sense of oneness with God, of harmony and
+trust, gradually overpowers the self-reproach, until from the state of
+penitence and suffering the soul rises to holiness and peace.
+
+It is in giving us glimpses of this final state that Dante wields his
+most transforming power over our lives. He shows us what God offers us,
+what it is that we have hitherto refused, what it is that we may still
+aspire to, that here or hereafter we may hope to reach. Sin-stained and
+sorrow-laden as we are, it is only on wings as strong as his that we
+can be raised even for a moment into that Divine blessedness in which
+sin has been so purged by suffering, so dried up by the sinner's love
+of God, so blotted out by God's love of him, that it has vanished as a
+dream, and the soul can say, 'Here we repent not.'[98] How mighty the
+spirit that can raise us even for a moment from the desolate weariness
+of Hell, and the long suffering of Purgatory, to the joy and peace of
+Heaven!
+
+And here too there is justice. Here too the deserts of the soul are the
+gauge of its condition. For, as we have seen, in the very blessedness
+of Heaven there are grades, and the soul which has once been stained
+with sin or tainted with selfish and worldly passion, can never be as
+though it had been always pure. Yet the torturing sense of unworthiness
+is gone, the unrest of a past that thwarts the present is no more; the
+souls have cast off the burden of their sin, and are at perfect peace
+with God and with themselves.
+
+Sin, repentance, holiness, confronted with the Eternal Justice--what
+they are and what they deserve--such is the subject of Dante
+Alighieri's Comedy.
+
+Have five and a half centuries of progress outgrown the poem, or are
+Dante's still the mightiest and most living words in which man has ever
+painted in detail the true deserts of sin, of penitence, of sanctity?
+The growing mind of man has burst the shell of Dante's medi�val creed.
+Is his portrayal of the true conditions of blessedness as antiquated as
+his philosophy, his religion as strange to modern thought as his
+theology? Or has he still a power, wielded by no other poet, of taking
+us into the very presence of God and tuning our hearts to the harmonies
+of Heaven? Those who have been with him on his mystic journey, and have
+heard and seen, can answer these questions with a declaration as clear
+and ringing as the poet's own confession of faith in the courts of
+Heaven. If those who have but caught some feeble echoes of his song can
+partly guess what the true answer is, then those echoes have not been
+waked in vain.
+
+
+LONDON: PRINTED BY SPOTTISWOODE AND CO., NEW-STREET SQUARE AND
+PARLIAMENT STREET
+
+
+FOOTNOTES:
+
+[Footnote 96: _Paradiso_, xxiv. 86, 87.]
+
+[Footnote 97: Compare _Purgatorio_, xvi. 67-84; _Paradiso_, iv. 73-114,
+v. 13 sqq., viii. 115-129, xxi. 76-102, xxxii. 49-75.]
+
+[Footnote 98: _Paradiso_, ix. 103.]
+
+
+
+
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+
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+     Volume XXI. of The International Scientific Series.
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+
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+
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+
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+
+     =Eastern Experiences.= Illustrated with Maps and Diagrams.
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+
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+     =Hasty Intrenchments.= Translated by Lieut. Charles A.
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+
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+
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+
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+
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+
+     =Magnetic Observations at Trevandrum and Augustia Malley.=
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+
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+
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+
+     =Doctrine of Annihilation= in the Light of the Gospel of
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+
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+
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+
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+
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+
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+
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+
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+BURCKHARDT (Jacob).
+
+     =The Civilization of the Period of the Renaissance in
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+
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+
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+
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+
+     =The Gold Mines of Midian and the Ruined Midianite Cities.=
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+
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+
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+CALDERON.
+
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+CARLISLE (A. D.), B.A.
+
+     =Round the World in 1870.= A Volume of Travels, with Maps.
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+
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+
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+
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+
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+
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+     Second Series. Crown 8vo. Cloth, price 6_s._
+
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+
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+CLERY (C.), Capt.
+
+     =Minor Tactics.= With 26 Maps and Plans. Third and Revised
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+
+
+CLODD (Edward), F.R.A.S.
+
+     =The Childhood of the World:= a Simple Account of Man in
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+
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+
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+
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+COLLINS (Mortimer).
+
+     =Inn of Strange Meetings,= and other Poems. Crown 8vo.
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+
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+COLLINS (Rev. R.), M.A.
+
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+
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+COOKE (M. C.), M.A., LL.D.
+
+     =Fungi=; their Nature, Influences, Uses, &c. Edited by the
+     Rev. M. J. Berkeley, M.A., F.L.S. With Illustrations. Second
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+
+     Volume XIV. of The International Scientific Series.
+
+
+COOKE (Prof. J. P.)
+
+     =The New Chemistry.= With 31 Illustrations. Fourth Edition.
+     Crown 8vo. Cloth, price 5_s._
+
+     Volume IX. of The International Scientific Series.
+
+     =Scientific Culture.= Crown 8vo. Cloth, price 1_s._
+
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+COOPER (T. T.), F.R.G.S.
+
+     =The Mishmee Hills:= an Account of a Journey made in an
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+
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+
+     =Half-a-Dozen Daughters.= By J. Masterman.
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+
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+     Bride. By J. Hain Friswell.
+
+     =God's Providence House.= By Mrs. G. L. Banks.
+
+     =For Lack of Gold.= By Charles Gibbon.
+
+     =Abel Drake's Wife.= By John Saunders.
+
+     =Hirell.= By John Saunders.
+
+
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+
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+
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+
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+
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+     New Edition. Fcap. 8vo. Cloth, price 3_s._
+
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+COX (Rev. Samuel).
+
+     =Salvator Mundi=; or, Is Christ the Saviour of all Men?
+     Fifth Edition. Crown 8vo. Cloth, price 5_s._
+
+
+CRAUFURD (A. H.).
+
+     =Seeking for Light=: Sermons. Crown 8vo. Cloth, price 5_s._
+
+
+CRESSWELL (Mrs. G.).
+
+     =The King's Banner.= Drama in Four Acts. Five Illustrations.
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+
+
+CROMPTON (Henry).
+
+     =Industrial Conciliation.= Fcap. 8vo. Cloth, price 2_s._
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+
+
+CURWEN (Henry).
+
+     =Sorrow and Song=: Studies of Literary Struggle. Henry
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+     Allan Poe--Andr� Ch�nier. 2 vols. Crown 8vo. Cloth, price
+     15_s._
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+DANCE (Rev. C. D.).
+
+     =Recollections of Four Years in Venezuela.= With Three
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+
+
+D'ANVERS (N. R.).
+
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+     Translated by. Demy 8vo. Cloth, price 10_s._ 6_d._
+
+     =Little Minnie's Troubles.= An Every-day Chronicle. With
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+
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+
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+
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+DAVIDSON (Rev. Samuel), D.D., LL.D.
+
+     =The New Testament=, translated from the Latest Greek Text
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+
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+DAVIES (G. Christopher).
+
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+
+     =Theology and Morality.= Essays on Questions of Belief and
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+
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+DAWSON (George), M.A.
+
+     =Prayers, with a Discourse on Prayer.= Edited by his Wife.
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+
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+
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+
+
+DE L'HOSTE (Col. E. P.).
+
+     =The Desert Pastor, Jean Jarousseau.= Translated from the
+     French of Eug�ne Pelletan. With a Frontispiece. New Edition.
+     Fcap. 8vo. Cloth, price 3_s._ 6_d._
+
+
+DENNIS (J.).
+
+     =English Sonnets.= Collected and Arranged. Elegantly bound.
+     Fcap. 8vo. Cloth, price 3_s._ 6_d._
+
+
+DE REDCLIFFE (Viscount Stratford), P.C., K.G., G.C.B.
+
+     =Why am I a Christian?= Fifth Edition. Crown 8vo. Cloth,
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+DESPREZ (Philip S.).
+
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+
+
+DE TOCQUEVILLE (A.).
+
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+     vols. Post 8vo. Cloth, price 21_s._
+
+
+DE VERE (Aubrey).
+
+     =Alexander the Great.= A Dramatic Poem. Small crown 8vo.
+     Cloth, price 5_s._
+
+     =The Infant Bridal, and Other Poems.= A New and Enlarged
+     Edition. Fcap. 8vo. Cloth, price 7_s._ 6_d._
+
+     =The Legends of St. Patrick, and other Poems.= Small crown
+     8vo. Cloth, price 5_s._
+
+     =St. Thomas of Canterbury.= A Dramatic Poem. Large fcap.
+     8vo. Cloth, price 5_s._
+
+     =Antar and Zara=: an Eastern Romance. INISFAIL, and other
+     Poems, Meditative and Lyrical. Fcap. 8vo. Price 6_s._
+
+     =The Fall of Rora=, the Search after Proserpine, and other
+     Poems, Meditative and Lyrical. Fcap. 8vo. Price 6_s._
+
+
+DOBSON (Austin).
+
+     =Vignettes in Rhyme and Vers de Soci�t�.= Third Edition.
+     Fcap. 8vo. Cloth, price 5_s._
+
+     =Proverbs in Porcelain.= By the Author of "Vignettes in
+     Rhyme." Second Edition. Crown 8vo. 6_s._
+
+
+DOWDEN (Edward), LL.D.
+
+     =Shakspere=: a Critical Study of his Mind and Art. Third
+     Edition. Large post 8vo. Cloth, price 12_s._
+
+     =Studies in Literature, 1789-1877.= Large post 8vo. Cloth,
+     price 12_s._
+
+     =Poems.= Second Edition. Fcap. 8vo. Cloth, price 5_s._
+
+
+DOWNTON (Rev. H.), M.A.
+
+     =Hymns and Verses.= Original and Translated. Small crown
+     8vo. Cloth, price 3_s._ 6_d._
+
+
+DRAPER (J. W.), M.D., LL.D.
+
+     =History of the Conflict between Religion and Science.=
+     Eleventh Edition. Crown 8 vo. Cloth, price 5_s._
+
+     Volume XIII. of The International Scientific Series.
+
+
+DREW (Rev. Q. S.), M.A.
+
+     =Scripture Lands in connection with their History.= Second
+     Edition. 8vo. Cloth, price 10_s._ 6_d._
+
+     =Nazareth: Its Life and Lessons.= Third Edition. Crown 8vo.
+     Cloth, price 5_s._
+
+     =The Divine Kingdom on Earth as it is in Heaven.= 8vo.
+     Cloth, price 10_s._ 6_d._
+
+     =The Son of Man=: His Life and Ministry. Crown 8vo. Cloth,
+     price 7_s._ 6_d._
+
+
+DREWRY (G. O.), M.D.
+
+     =The Common-Sense Management of the Stomach.= Fifth Edition.
+     Fcap. 8vo. Cloth, price 2_s._ 6_d._
+
+
+DREWRY (G. O.), M.D., and BARTLETT (H. C.), Ph.D., F.C.S.
+
+     =Cup and Platter=: or, Notes on Food and its Effects. Small
+     8vo. Cloth, price 2_s._ 6_d._
+
+
+DRUMMOND (Miss).
+
+     =Tripps Buildings.= A Study from Life, with Frontispiece.
+     Small crown 8vo. Cloth, price 3_s._ 6_d._
+
+
+DURAND (Lady).
+
+     =Imitations from the German of Spitta and Terstegen.= Fcap.
+     8vo. Cloth, price 4_s._
+
+
+DU VERNOIS (Col. von Verdy).
+
+     =Studies in leading Troops.= An authorized and accurate
+     Translation by Lieutenant H. J. T. Hildyard, 71st Foot.
+     Parts I. and II. Demy 8vo. Cloth, price 7_s._
+
+
+EDEN (Frederick).
+
+     =The Nile without a Dragoman.= Second Edition. Crown 8vo.
+     Cloth, price 7_s._ 6_d._
+
+
+EDMONDS (Herbert).
+
+     =Well Spent Lives=: a Series of Modern Biographies. Crown
+     8vo. Price 5_s._
+
+
+EDWARDS (Rev. Basil).
+
+     =Minor Chords; or, Songs for the Suffering=: a Volume of
+     Verse. Fcap. 8vo. Cloth, price 3s. 6d.; paper, price 2_s._
+     6_d._
+
+
+ELLIOT (Lady Charlotte).
+
+     =Medusa and other Poems.= Crown 8vo. Cloth, price 6_s._
+
+
+ELLIOTT (Ebenezer), The Corn Law Rhymer.
+
+     =Poems.= Edited by his Son, the Rev. Edwin Elliott, of St.
+     John's, Antigua. 2 vols. Crown 8vo. Cloth, price 18_s._
+
+
+ELSDALE (Henry).
+
+     =Studies in Tennyson's Idylls.= Crown 8vo. Cloth, price
+     5_s._
+
+
+=Epic of Hades (The).=
+
+     By the author of "Songs of Two Worlds." Seventh and finally
+     revised Edition. Fcap. 8vo. Cloth, price 7_s._ 6_d._
+
+     * * * Also an Illustrated Edition with seventeen full-page
+     designs in photo-mezzotint by GEORGE R. CHAPMAN. 4to. Cloth,
+     extra gilt leaves, price 25_s._
+
+
+=Eros Agonistes.=
+
+     Poems. By E. B. D. Fcap. 8vo. Cloth, price 3_s._ 6_d._
+
+
+=Essays on the Endowment of Research.=
+
+     By Various Writers. Square crown 8vo. Cloth, price 10_s._
+     6_d._
+
+
+EVANS (Mark).
+
+     =The Gospel of Home Life.= Crown 8vo. Cloth, price 4_s._
+     6_d._
+
+     =The Story of our Father's Love=, told to Children. Fourth
+     and Cheaper Edition. With Four Illustrations. Fcap. 8vo.
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+
+     =A Book of Common Prayer and Worship for Household Use=,
+     compiled exclusively from the Holy Scriptures. Fcap. 8vo.
+     Cloth, price 2_s._ 6_d._
+
+
+EX-CIVILIAN.
+
+     =Life in the Mofussil=; or, Civilian Life in Lower Bengal. 2
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+
+
+EYRE (Maj.-Gen. Sir V.), C.B., K.C.S.I., &c.
+
+     =Lays of a Knight-Errant in many Lands.= Square crown 8yo.
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+
+
+FARQUHARSON (M.).
+
+     =I. Elsie Dinsmore.= Crown 8vo. Cloth, price 3_s._ 6_d._
+
+     =II. Elsie's Girlhood.= Crown 8vo. Cloth, price 3_s._ 6_d._
+
+     =III. Elsie's Holidays at Roselands.= Crown 8vo. Cloth,
+     price 3_s._ 6_d._
+
+
+FERRIS (Henry Weybridge).
+
+     =Poems.= Fcap. 8vo. Cloth, price 5_s._
+
+
+FINN (the late James), M.R.A.S.
+
+     =Stirring Times=; or, Records from Jerusalem Consular
+     Chronicles of 1853 to 1856. Edited and Compiled by his
+     Widow. With a Preface by the Viscountess STRANGFORD. 2 vols.
+     Demy 8vo. Price 30_s._
+
+
+FLEMING (James), D.D.
+
+     =Early Christian Witnesses=; or, Testimonies of the First
+     Centuries to the Truth of Christianity. Small crown 8vo.
+     Cloth, price 3_s._ 6_d._
+
+
+=Folkestone Ritual Case (The).= The Argument, Proceedings,
+     Judgment, and Report, revised by the several Counsel
+     engaged. Demy 8vo. Cloth, price 25_s._
+
+
+FOOTMAN (Rev. H.), M.A.
+
+     =From Home and Back=; or, Some Aspects of Sin as seen in the
+     Light of the Parable of the Prodigal. Crown 8vo. Cloth,
+     price 5_s._
+
+
+FOWLE (Rev. Edmund).
+
+     =Latin Primer Rules made Easy.= Crown 8vo. Cloth, price
+     3_s._
+
+
+FOWLE (Rev. T. W.), M.A.
+
+     =The Reconciliation of Religion and Science.= Being Essays
+     on Immortality, Inspiration, Miracles, and the Being of
+     Christ. Demy 8vo. Cloth, price 10_s._ 6_d._
+
+     =The Divine Legation of Christ.= Crown 8vo. Cloth, price
+     7_s._
+
+
+FOX-BOURNE (H. R.).
+
+     =The Life of John Locke=, 1632-1704. 2 vols. Demy 8vo.
+     Cloth, price 28_s._
+
+
+FRASER (Donald).
+
+     =Exchange Tables of Sterling and Indian Rupee Currency=,
+     upon a new and extended system, embracing Values from One
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+     progressing, in Sixteenths of a Penny, from 1_s._ 9_d._ to
+     2_s._ 3_d._ per Rupee. Royal 8vo. Cloth, price 10_s._ 6_d._
+
+
+FRISWELL (J. Hain).
+
+     =The Better Self.= Essays for Home Life. Crown 8vo. Cloth,
+     price 6_s._
+
+     =One of Two; or, A Left-Handed Bride.= With a Frontispiece.
+     Crown 8vo. Cloth, price 3_s._ 6_d._
+
+
+FYTCHE (Lieut.-Gen. Albert), C.S.I., late Chief Commissioner of British
+Burma.
+
+     =Burma Past and Present=, with Personal Reminiscences of the
+     Country. With Steel Portraits, Chromo-lithographs, Engravings
+     on Wood, and Map. 2 vols. Demy 8vo. Cloth, price 30_s._
+
+
+GAMBIER (Capt. J. W.), R.N.
+
+     =Servia.= Crown 8vo. Cloth, price 5_s._
+
+
+GARDNER (H.).
+
+     =Sunflowers.= A Book of Verses. Fcap. 8vo. Cloth, price 5_s._
+
+
+GARDNER (J.), M.D.
+
+     =Longevity: The Means of Prolonging Life after Middle Age.=
+     Fourth Edition, Revised and Enlarged. Small crown 8vo.
+     Cloth, price 4_s._
+
+
+GARRETT (E.).
+
+     =By Still Waters.= A Story for Quiet Hours. With Seven
+     Illustrations. Crown 8vo. Cloth, price 6_s._
+
+
+GEBLER (Karl Von).
+
+     =Galileo Galilei and the Roman Curia=, from Authentic
+     Sources. Translated with the sanction of the Author, by Mrs.
+     GEORGE STURGE. Demy 8vo. Cloth.
+
+
+G. H. T.
+
+     =Verses=, mostly written in India. Crown 8vo. Cloth, price
+     6_s._
+
+
+GILBERT (Mrs.).
+
+     =Autobiography and other Memorials.= Edited by Josiah
+     Gilbert. Third Edition. With Portrait and several Wood
+     Engravings. Crown 8vo. Cloth, price 7_s._ 6_d._
+
+
+GILL (Rev. W. W.), B.A.
+
+     =Myths and Songs from the South Pacific.= With a Preface by
+     F. Max M�ller, M.A., Professor of Comparative Philology at
+     Oxford. Post 8vo. Cloth, price 9_s._
+
+
+GODKIN (James).
+
+     =The Religious History of Ireland: Primitive, Papal, and
+     Protestant.= Including the Evangelical Missions, Catholic
+     Agitations, and Church Progress of the last half Century.
+     8vo. Cloth, price 12_s._
+
+
+GODWIN (William).
+
+     =William Godwin: His Friends and Contemporaries.= With
+     Portraits and Facsimiles of the handwriting of Godwin and
+     his Wife. By C. Kegan Paul. 2 vols. Demy 8vo. Cloth, price
+     28_s._
+
+     =The Genius of Christianity Unveiled.= Being Essays never
+     before published. Edited, with a Preface, by C. Kegan Paul.
+     Crown 8vo. Cloth, price 7_s._ 6_d._
+
+
+GOETZE (Capt. A. von).
+
+     =Operations of the German Engineers during the War of
+     1870-1871.= Published by Authority, and in accordance with
+     Official Documents. Translated from the German by Colonel G.
+     Graham, V.C., C.B., R.E. With 6 large Maps. Demy 8vo. Cloth,
+     price 21_s._
+
+
+GOLDIE (Lieut. M. H. G.)
+
+     =Hebe: a Tale.= Fcap. 8vo. Cloth, price 5_s._
+
+
+GOODENOUGH (Commodore J. G.), R.N., C.B., C.M.G.
+
+     =Memoir of, with Extracts from his Letters and Journals.=
+     Edited by his Widow. With Steel Engraved Portrait. Square
+     8vo. Cloth, 5_s._
+
+     * * * Also a Library Edition with Maps, Woodcuts, and Steel
+     Engraved Portrait. Square post 8vo. Cloth, price 14_s._
+
+
+GOODMAN (W.).
+
+     =Cuba, the Pearl of the Antilles.= Crown 8vo. Cloth, price
+     7_s._ 6_d._
+
+
+GOULD (Rev. S. Baring), M.A.
+
+     =The Vicar of Morwenstow: a Memoir of the Rev. R. S.
+     Hawker.= With Portrait. Third Edition, revised. Square post
+     8vo. Cloth, 10_s._ 6_d._
+
+
+GRANVILLE (A. B.), M.D., F.R.S., &c.
+
+     =Autobiography of A. B. Granville, F.R.S.=, &c. Edited, with
+     a brief Account of the concluding Years of his Life, by his
+     youngest Daughter, Paulina B. Granville. 2 vols. With a
+     Portrait. Second Edition. Demy 8vo. Cloth, price 32_s._
+
+
+GREY (John), of Dilston.
+
+     =John Grey (of Dilston): Memoirs.= By Josephine E. Butler.
+     New and Revised Edition. Crown 8vo. Cloth, price 3_s._ 6_d._
+
+
+GRIFFITH (Rev. T.), A.M.
+
+     =Studies of the Divine Master.= Demy 8vo. Cloth, price
+     12_s._
+
+
+GRIFFITHS (Capt. Arthur).
+
+     =Memorials of Millbank, and Chapters in Prison History.=
+     With Illustrations by R. Goff and the Author. 2 vols. Post
+     8vo. Cloth, price 21_s._
+
+
+GRIMLEY (Rev. H. N.), M.A.
+
+     =Tremadoc Sermons=, chiefly on the SPIRITUAL BODY, the UNSEEN
+     WORLD, and the DIVINE HUMANITY. Second Edition. Crown 8vo.
+     Cloth, price 6_s._
+
+
+GR�NER (M. L.).
+
+     =Studies of Blast Furnace Phenomena.= Translated by L. D. B.
+     Gordon, F.R.S.E., F.G.S. Demy 8vo. Cloth, price 7_s._ 6_d._
+
+
+GURNEY (Rev. Archer).
+
+     =Words of Faith and Cheer.= A Mission of Instruction and
+     Suggestion. Crown 8vo. Cloth, price 6_s._
+
+
+=Gwen: A Drama in Monologue.= By the Author of the "Epic of
+     Hades." Fcap. 8vo. Cloth, price 5_s._
+
+
+HAECKEL (Prof. Ernst).
+
+     =The History of Creation.= Translation revised by Professor
+     E. Ray Lankester, M.A., F.R.S. With Coloured Plates and
+     Genealogical Trees of the various groups of both plants and
+     animals. 2 vols. Second Edition. Post 8vo. Cloth, price
+     32_s._
+
+     =The History of the Evolution of Man.= With numerous
+     Illustrations. 2 vols. Large post 8vo. Cloth, price 32_s._
+
+
+HAKE (A. Egmont).
+
+     =Paris Originals=, with twenty etchings, by L�on Richeton.
+     Large post 8vo. Cloth, price 14_s._
+
+
+=Halleck's International Law;= or, Rules Regulating the
+     Intercourse of States in Peace and War. A New Edition,
+     revised, with Notes and Cases. By Sir Sherston Baker, Bart.
+     2 vols. Demy 8vo. Cloth, price 38_s._
+
+
+HARCOURT (Capt A. F. P.).
+
+     =The Shakespeare Argosy.= Containing much of the wealth of
+     Shakespeare's Wisdom and Wit, alphabetically arranged and
+     classified. Crown 8vo. Cloth, price 6_s._
+
+
+HARDY (Thomas).
+
+     =A Pair of Blue Eyes.= New Edition. Crown 8vo. Cloth, price
+     6_s._
+
+
+HARRISON (Lieut.-Col. R.).
+
+     =The Officer's Memorandum Book for Peace and War.= Second
+     Edition. Oblong 32mo. roan, elastic band and pencil, price
+     3_s._ 6_d._; russia, 5_s._
+
+
+HAWEIS (Rev. H. R.), M.A.
+
+     =Arrows in the Air.= Crown 8vo. Second Edition. Cloth, price
+     6_s._
+
+     =Current Coin.= Materialism--The
+     Devil--Crime--Drunkenness--Pauperism--Emotion--Recreation--The
+     Sabbath. Third Edition. Crown 8vo. Cloth, price 6_s._
+
+     =Speech in Season.= Fourth Edition. Crown 8vo. Cloth, price
+     9_s._
+
+     =Thoughts for the Times.= Eleventh Edition. Crown 8vo.
+     Cloth, price 7_s._ 6_d._
+
+     =Unsectarian Family Prayers=, for Morning and Evening for a
+     Week, with short selected passages from the Bible. Second
+     Edition. Square crown 8vo. Cloth, price 3_s._ 6_d._
+
+
+HAWKER (Robert Stephen).
+
+     =The Poetical Works of.= Now first collected and arranged,
+     with a prefatory notice by J. G. Godwin. With Portrait.
+     Crown 8vo. Cloth, price 12_s._
+
+
+HAYMAN (H.), D.D., late Head Master of Rugby School.
+
+     =Rugby School Sermons.= With an Introductory Essay on the
+     Indwelling of the Holy Spirit. Crown 8vo. Cloth, price 7_s._
+     6_d._
+
+
+HELLWALD (Baron F. von).
+
+     =The Russians in Central Asia.= A Critical Examination, down
+     to the present time, of the Geography and History of Central
+     Asia. Translated by Lieut.-Col. Theodore Wirgman, LL.B.
+     Large post 8vo. With Map. Cloth, price 12_s._
+
+
+HELVIG (Major H.).
+
+     =The Operations of the Bavarian Army Corps.= Translated by
+     Captain G. S. Schwabe. With Five large Maps. In 2 vols. Demy
+     8vo. Cloth, price 24_s._
+
+     =Tactical Examples=: Vol. I. The Battalion, price 15_s._
+     Vol. II. The Regiment and Brigade, price 10_s._ 6_d._
+     Translated from the German by Col. Sir Lumley Graham. With
+     numerous Diagrams. Demy 8vo. Cloth.
+
+
+HERFORD (Brooke).
+
+     =The Story of Religion in England.= A Book for Young Folk.
+     Crown 8vo. Cloth, price 5_s._
+
+
+HEWLETT (Henry G.)
+
+     =A Sheaf of Verse.= Fcap. 8vo. Cloth, price 3_s._ 6_d._
+
+
+HINTON (James).
+
+     =Life and Letters of.= Edited by Ellice Hopkins, with an
+     Introduction by Sir W. W. Gull, Bart., and Portrait engraved
+     on Steel by C. H. Jeens. Second Edition. Crown 8vo. Cloth,
+     8_s._ 6_d._
+
+     =Chapters on the Art of Thinking, and other Essays.= With an
+     Introduction by Shadworth Hodgson. Edited by C. H. Hinton.
+     Crown 8vo. Cloth, price 8_s._ 6_d._
+
+     =The Place of the Physician.= To which is added Essays on
+     the LAW OF HUMAN LIFE, and ON THE RELATION BETWEEN ORGANIC
+     AND INORGANIC WORLDS. Second Edition. Crown 8vo. Cloth,
+     price 3_s._ 6_d._
+
+     =Physiology for Practical Use.= By various Writers. With 50
+     Illustrations. 2 vols. Second Edition. Crown 8vo. Cloth,
+     price 12_s._ 6_d._
+
+     =An Atlas of Diseases of the Membrana Tympani.= With
+     Descriptive Text. Post 8vo. Price �6 6_s._
+
+     =The Questions of Aural Surgery.= With Illustrations. 2
+     vols. Post 8vo. Cloth, price 12_s._ 6_d._
+
+     =The Mystery of Pain.= Fcap. 8vo. Cloth limp, 1_s._
+
+
+H. J. C.
+
+     =The Art of Furnishing.= A Popular Treatise on the
+     Principles of Furnishing, based on the Laws of Common Sense,
+     Requirement, and Picturesque Effect. Small crown 8vo. Cloth,
+     price 3_s._ 6_d._
+
+
+HOCKLEY (W. B.).
+
+     =Tales of the Zenana=; or, A Nuwab's Leisure Hours. By the
+     Author of "Pandurang Hari." With a Preface by Lord Stanley
+     of Alderley. 2 vols. Crown 8vo. Cloth, price 21_s._
+
+     =Pandurang Hari=; or, Memoirs of a Hindoo. A Tale of
+     Mahratta Life sixty years ago. With a Preface by Sir H.
+     Bartle E. Frere, G.C.S.I., &c. New and Cheaper Edition.
+     Crown 8vo. Cloth, price 6_s._
+
+
+HOFFBAUER (Capt.).
+
+     =The German Artillery in the Battles near Metz.= Based on
+     the official reports of the German Artillery. Translated by
+     Capt. E. O. Hollist. With Map and Plans. Demy 8vo. Cloth,
+     price 21_s._
+
+
+HOLMES (E. G. A.).
+
+     =Poems.= First and Second Series. Fcap. 8vo. Cloth, price
+     5_s._ each.
+
+
+HOLROYD (Major W. R. M.).
+
+     =Tas-hil ul Kalam=; or, Hindustani made Easy. Crown 8vo.
+     Cloth, price 5_s._
+
+
+HOOPER (Mary).
+
+     =Little Dinners: How to Serve them with Elegance and
+     Economy.= Thirteenth Edition. Crown 8vo. Cloth, price 5_s._
+
+     =Cookery for Invalids, Persons of Delicate Digestion, and
+     Children.= Crown 8vo. Cloth, price 3_s._ 6_d._
+
+     =Every-Day Meals.= Being Economical and Wholesome Recipes
+     for Breakfast, Luncheon, and Supper. Second Edition. Crown
+     8vo. Cloth, price 5_s._
+
+
+HOOPER (Mrs. G.).
+
+     =The House of Raby.= With a Frontispiece. Crown 8vo. Cloth,
+     price 3_s._ 6_d._
+
+
+HOPKINS (Ellice).
+
+     =Life and Letters of James Hinton=, with an Introduction by
+     Sir W. W. Gull, Bart., and Portrait engraved on Steel by C.
+     H. Jeens. Second Edition. Crown 8vo. Cloth, price 8_s._ 6_d._
+
+
+HOPKINS (M.).
+
+     =The Port of Refuge=; or, Counsel and Aid to Shipmasters in
+     Difficulty, Doubt, or Distress. Crown 8vo. Second and
+     Revised Edition. Cloth, price 6_s._
+
+
+HORNE (William), M.A.
+
+     =Reason and Revelation=: an Examination into the Nature and
+     Contents of Scripture Revelation, as compared with other
+     Forms of Truth. Demy 8vo. Cloth, price 12_s._
+
+
+HORNER (The Misses).
+
+     =Walks in Florence.= A New and thoroughly Revised Edition. 2
+     vols. Crown 8vo. Cloth limp. With Illustrations.
+
+     Vol. I.--Churches, Streets, and Palaces. 10_s._ 6_d._ Vol.
+     II.--Public Galleries and Museums. 5_s._
+
+
+HOWARD (Mary M.).
+
+     =Beatrice Aylmer, and other Tales.= Crown 8vo. Cloth, price
+     6_s._
+
+
+HOWARD (Rev. G. B.).
+
+     =An Old Legend of St. Paul's.= Fcap. 8vo. Cloth, price 4_s._
+     6_d._
+
+
+HOWELL (James).
+
+     =A Tale of the Sea, Sonnets, and other Poems.= Fcap. 8vo.
+     Cloth, price 5_s._
+
+
+HUGHES (Allison).
+
+     =Penelope and other Poems.= Fcap. 8vo. Cloth, price 4_s._
+     6_d._
+
+
+HULL (Edmund C. P.).
+
+     =The European in India.= With a MEDICAL GUIDE FOR
+     ANGLO-INDIANS. By R. R. S. Mair, M.D., F.R.C.S.E. Third
+     Edition. Revised and Corrected. Post 8vo. Cloth, price 6_s._
+
+
+HUTCHISON (Lieut. Col. F. J.), and Capt. G. H. MACGREGOR.
+
+     =Military Sketching and Reconnaissance.= With Fifteen
+     Plates. Small 8vo. Cloth, price 6_s_. Being the first Volume
+     of Military Hand-books for Regimental Officers. Edited by
+     Lieut.-Col. C. B. BRACKENBURY, R.A., A.A.G.
+
+
+IGNOTUS.
+
+     =Culmshire Folk.= A Novel. New and Cheaper Edition. Crown
+     8vo. Cloth, price 6_s._
+
+
+INCHBOLD (J. W.).
+
+     =Annus Amoris.= Sonnets. Fcap. 8vo. Cloth, price 4_s._ 6_d._
+
+
+INGELOW (Jean).
+
+     =The Little Wonder-horn.= A Second Series of "Stories Told
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+     Illustrations. Seventh Edition. Crown 8vo. Cloth, price
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+          _Forthcoming Volumes._
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+
+     Volume XVII. of The International Scientific Series.
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+
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+     Second Edition. Crown 8vo. Cloth, price 6_s._ 6_d._
+
+     Vol. XXIII. of The International Scientific Series.
+
+
+LOMMEL (Dr. E.).
+
+     =The Nature of Light=: With a General Account of Physical
+     Optics. Second Edition. With 188 Illustrations and a Table
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+     Cloth, price 5_s._
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+     Volume XVIII. of The International Scientific Series.
+
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+LORIMER (Peter), D.D.
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+LOVER (Samuel), R.H.A.
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+     =The Life of Samuel Lover=, R.H.A.; Artistic, Literary, and
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+
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+     Locomotion. With 117 Illustrations. Second Edition. Crown
+     8vo. Cloth, price 5_s._
+
+     Volume XI. of The International Scientific Series.
+
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+MAUDSLEY (Dr. H.).
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+     =Responsibility in Mental Disease.= Third Edition. Crown
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+
+     Volume VIII. of The International Scientific Series.
+
+
+MAUGHAN (W. C.).
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+     =The Alps of Arabia=; or, Travels through Egypt, Sinai,
+     Arabia, and the Holy Land. With Map. Second Edition. Demy
+     8vo. Cloth, price 5_s._
+
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+MAURICE (C. E.).
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+     A Memoir. By E. A. V. Two Photographic Portraits. Second
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+MEDLEY (Lieut.-Col. J. G.), R.E.
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+     =The Ordeal of Richard Feverel.= A History of Father and
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+
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+
+     =The Economy of Consumption=; an Omitted Chapter in
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+     =Letters from Russia.= Translated by Robina Napier. Crown
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+MOORE (Rev. D.), M.A.
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+     =Christ and His Church.= By the Author of "The Age and the
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+MORELL (J. R.).
+
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+
+
+MORLEY (Susan).
+
+     =Margaret Chetwynd.= A Novel. 3 vols. Crown 8vo. Cloth.
+
+
+MORSE (E. S.), Ph.D.
+
+     =First Book of Zoology.= With numerous Illustrations. Crown
+     8vo. Cloth, price 5_s._
+
+
+MORSHEAD (E. D. A.)
+
+     =The Agamemnon of �schylus.= Translated into English verse.
+     With an Introductory Essay. Crown 8vo. Cloth, price 5_s._
+
+
+MUSGRAVE (Anthony).
+
+     =Studies in Political Economy.= Crown 8vo. Cloth, price
+     6_s._
+
+
+NAAK� (J. T.).
+
+     =Slavonic Fairy Tales.= From Russian, Servian, Polish, and
+     Bohemian Sources. With Four Illustrations. Crown 8vo. Cloth,
+     price 5_s._
+
+
+NEWMAN (J. H.), D.D.
+
+     =Characteristics from the Writings of.= Being Selections
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+     approval. Third Edition. With Portrait. Crown 8vo. Cloth,
+     price 6_s._
+
+     * * * A Portrait of the Rev. Dr. J. H. Newman, mounted for
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+
+
+NEW WRITER (A).
+
+     =Songs of Two Worlds.= Fourth Edition. Complete in one
+     volume with Portrait. Fcap. 8vo. Cloth, price 7_s._ 6_d._
+
+     =The Epic of Hades.= Seventh and finally revised Edition.
+     Fcap. 8vo. Cloth, price 7_s._ 6_d._
+
+
+NICHOLAS (Thomas), Ph.D., F.G.S.
+
+     =The Pedigree of the English People=: an Argument,
+     Historical and Scientific, on the Formation and Growth of
+     the Nation, tracing Race-admixture in Britain from the
+     earliest times, with especial reference to the incorporation
+     of the Celtic Aborigines. Fifth Edition. Demy 8vo. Cloth,
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+
+
+NICHOLSON (Edward B.), Librarian of the London Institution.
+
+     =The Christ Child,= and other Poems. Crown 8vo. Cloth, price
+     4_s._ 6_d._
+
+
+NOAKE (Major R. Compton).
+
+     =The Bivouac=; or, Martial Lyrist, with an Appendix--Advice
+     to the Soldier. Fcap. 8vo. Price 5_s._ 6_d._
+
+
+NOBLE (J. A.).
+
+     =The Pelican Papers.= Reminiscences and Remains of a Dweller
+     in the Wilderness. Crown 8vo. Cloth, price 6_s._
+
+
+NORMAN PEOPLE (The).
+
+     =The Norman People=, and their Existing Descendants in the
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+
+
+NORRIS (Rev. Alfred).
+
+     =The Inner and Outer Life Poems.= Fcap. 8vo. Cloth, price
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+
+
+Notes on Cavalry Tactics, Organization, &c. By a Cavalry Officer.
+     With Diagrams. Demy 8vo. Cloth, price 12_s._
+
+
+NOTREGE (John), A.M.
+
+     =The Spiritual Function of a Presbyter in the Church of
+     England.= Crown 8vo. Cloth, red edges, price 3_s._ 6_d._
+
+
+     =Nuces: Exercises on the Syntax of the Public School Latin
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+
+     * * * The Three Parts can also be had bound together in
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+
+O'BRIEN (Charlotte G.).
+
+     =Light and Shade.= 2 vols. Crown 8vo. Cloth, gilt tops,
+     price 12_s._
+
+
+O'MEARA (Kathleen).
+
+     =Frederic Ozanam=, Professor of the Sorbonne; His Life and
+     Works. Second Edition. Crown 8vo. Cloth, price 7_s._ 6_d._
+
+
+Oriental Sporting Magazine (The).
+
+     A Reprint of the first 5 Volumes, in 2 Volumes. Demy 8vo.
+     Cloth, price 28_s._
+
+
+PALGRAVE (W. Gifford).
+
+     =Hermann Agha=; An Eastern Narrative. Third and Cheaper
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+
+
+PANDURANG HARI;
+
+     =Or, Memoirs of a Hindoo.= With an Introductory Preface by
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+     6_s._
+
+
+PARKER (Joseph), D.D.
+
+     =The Paraclete=: An Essay on the Personality and Ministry of
+     the Holy Ghost, with some reference to current discussions.
+     Second Edition. Demy 8vo. Cloth, price 12_s._
+
+
+PARR (Harriet).
+
+     =Echoes of a Famous Year.= Crown 8vo. Cloth, price 8_s._
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+
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+PARSLOE (Joseph).
+
+     =Our Railways=: Sketches, Historical and Descriptive. With
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+
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+PATTISON (Mrs. Mark).
+
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+
+
+PAUL (C. Kegan).
+
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+
+     =Goethe's Faust.= A New Translation in Rime. Crown 8vo.
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+
+     =William Godwin=: His Friends and Contemporaries. With
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+     his Wife. 2 vols. Square post 8vo. Cloth, price 28_s._
+
+     =The Genius of Christianity Unveiled.= Being Essays by
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+     6_d._
+
+
+PAUL (Margaret Agnes).
+
+     =Gentle and Simple=: A Story. 2 vols. Crown 8vo. Cloth, gilt
+     tops, price 12_s._
+
+     * * * Also a Cheaper Edition in one vol. with Frontispiece.
+     Crown 8vo. Cloth, price 6_s._
+
+
+PAYNE (John).
+
+     =Songs of Life and Death.= Crown 8vo. Cloth, price 5_s._
+
+
+PAYNE (Prof. J. F.).
+
+     =Lectures on Education.= Price 6_d._ each.
+
+     II. Fr�bel and the Kindergarten System. Second Edition.
+
+     =A Visit to German Schools=: Elementary Schools in Germany.
+     Notes of a Professional Tour to inspect some of the
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+
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+
+     =Rays from the Southern Cross=: Poems. Crown 8vo. With
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+     elegant, price 10_s._ 6_d._
+
+
+PELLETAN (E.).
+
+     =The Desert Pastor, Jean Jarousseau.= Translated from the
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+     New Edition. Fcap. 8vo. Cloth, price 3_s._ 6_d._
+
+
+PENNELL (H. Cholmondeley).
+
+     =Pegasus Resaddled.= By the Author of "Puck on Pegasus," &c.
+     &c. With Ten Full-page Illustrations by George Du Maurier.
+     Second Edition. Fcap. 4to. Cloth elegant, price 12_s._ 6_d._
+
+
+PENRICE (Maj. J.), B.A.
+
+     =A Dictionary and Glossary= of the Ko-ran. With copious
+     Grammatical References and Explanations of the Text. 4to.
+     Cloth, price 21_s._
+
+
+PERCIVAL (Rev. P.).
+
+     =Tamil Proverbs, with their English Translation.= Containing
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+
+
+PESCHEL (Dr. Oscar).
+
+     =The Races of Man and their Geographical Distribution.=
+     Large crown 8vo. Cloth, price 9_s._
+
+
+PETTIGREW (J. Bell), M. D., F.R.S.
+
+     =Animal Locomotion;= or, Walking, Swimming, and Flying. With
+     130 Illustrations. Second Edition. Crown 8vo. Cloth, price
+     5_s._
+
+     Volume VII. of The International Scientific Series.
+
+
+PFEIFFER (Emily).
+
+     =Quarterman's Grace, and other Poems.= Crown 8vo. Cloth,
+     price 5=s.=
+
+     =Glan Alarch: His Silence and Song.= A Poem. Second Edition.
+     Crown 8vo. price 6_s._
+
+     =Gerard's Monument, and other Poems.= Second Edition. Crown
+     8vo. Cloth, price 6_s._
+
+     =Poems.= Second Edition. Crown 8vo. Cloth, price 6_s._
+
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+PIGGOT (J.), F.S.A., F.R.G.S.
+
+     =Persia--Ancient and Modern.= Post 8vo. Cloth, price 10_s._
+     6_d._
+
+
+PINCHES (Thomas), M.A.
+
+     =Samuel Wilberforce: Faith--Service--Recompense.= Three
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+     4_s._ 6_d._
+
+
+PLAYFAIR (Lieut.-Col.), Her Britannic Majesty's Consul-General in
+Algiers.
+
+     =Travels in the Footsteps of Bruce in Algeria and Tunis.=
+     Illustrated by facsimiles of Bruce's original Drawings,
+     Photographs, Maps, &c. Royal 4to. Cloth, bevelled boards,
+     gilt leaves, price �3 3_s._
+
+
+POOR (Henry V.).
+
+     =Money and its Laws=, embracing a History of Monetary
+     Theories and a History of the Currencies of the United
+     States. Demy 8vo. Cloth, price 21_s._
+
+
+POUSHKIN (A. S.).
+
+     =Russian Romance.= Translated from the Tales of Belkin, &c.
+     By Mrs. J. Buchan Telfer (n�e Mouravieff). Crown 8vo. Cloth,
+     price 7_s._ 6_d._
+
+
+POWER (H.).
+
+     =Our Invalids: How shall we Employ and Amuse Them?= Fcap.
+     8vo. Cloth, price 2_s._ 6_d._
+
+
+POWLETT (Lieut. N.), R.A.
+
+     =Eastern Legends and Stories in English Verse.= Crown 8vo.
+     Cloth, price 5_s._
+
+
+PRESBYTER.
+
+     =Unfoldings of Christian Hope.= An Essay showing that the
+     Doctrine contained in the Damnatory Clauses of the Creed
+     commonly called Athanasian is unscriptural. Small crown 8vo.
+     Cloth, price 4_s._ 6_d._
+
+
+PRICE (Prof. Bonamy).
+
+     =Currency and Banking.= Crown 8vo. Cloth, price 6_s._
+
+     =Chapters on Practical Political Economy.= Being the
+     Substance of Lectures delivered before the University of
+     Oxford. Large post 8vo. Cloth, price 12_s._
+
+
+PROCTOR (Richard A.), B.A.
+
+     =Our Place among Infinities.= A Series of Essays contrasting
+     our little abode in space and time with the Infinities
+     around us. To which are added Essays on "Astrology," and
+     "The Jewish Sabbath." Third Edition. Crown 8vo. Cloth, price
+     6_s._
+
+     =The Expanse of Heaven.= A Series of Essays on the Wonders
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+
+
+=Proteus and Amadeus.= A Correspondence. Edited by Aubrey De Vere.
+     Crown 8vo. Cloth, price 5_s._
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+
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+
+
+=Punjaub (The) and North Western Frontier of India.= By an old
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+
+
+RAM (James).
+
+     =The Philosophy of War.= Small crown 8vo. Cloth, price 3_s_.
+     6_d_.
+
+
+RAVENSHAW (John Henry), B.C.S.
+
+     =Gaur: Its Ruins and Inscriptions.= Edited with considerable
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+     photographic illustrations and twenty-five facsimiles of
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+
+READ (Carveth).
+
+     =On the Theory of Logic=: An Essay. Crown 8vo. Cloth, price
+     6_s._
+
+
+REANEY (Mrs. G. S.).
+
+     =Blessing and Blessed=; a Sketch of Girl Life. With a
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+
+     =Waking and Working; or, from Girlhood to Womanhood.= With a
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+     Royal 16mo. Cloth, price 1_s._ 6_d._
+
+
+RHOADES (James).
+
+     =Timoleon.= A Dramatic Poem. Fcap. 8vo. Cloth, price 5_s._
+
+
+RIBOT (Prof. Th.).
+
+     =English Psychology.= Second Edition. A Revised and
+     Corrected Translation from the latest French Edition. Large
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+
+     =Heredity=: A Psychological Study on its Phenomena, its
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+
+
+RINK (Chevalier Dr. Henry).
+
+     =Greenland: Its People and its Products.= By the Chevalier
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+     With sixteen Illustrations, drawn by the Eskimo, and a Map.
+     Edited by Dr. ROBERT BROWN. Crown 8vo. Price 10_s._ 6_d._
+
+
+ROBERTSON (The Late Rev. F. W.), M.A., of Brighton.
+
+     =Notes on Genesis.= Third Edition. Crown 8vo., price 5_s._
+
+     =Sermons.= Four Series. Small crown 8vo. Cloth, price 3_s._
+     6_d._ each.
+
+     =Expository Lectures on St. Paul's Epistles to the
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+
+     =Lectures and Addresses=, with other literary remains. A New
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+
+     =An Analysis of Mr. Tennyson's "In Memoriam."= (Dedicated by
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+     2_s._
+
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+
+     =Life and Letters.= Edited by the Rev. Stopford Brooke,
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+
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+
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+
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+
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+
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+
+
+ROBINSON (A. Mary F.).
+
+     =A Handful of Honeysuckle.= Fcap. 8vo. Cloth, price 3_s._
+     6_d._
+
+
+RODWELL (G. F.), F.R.A.S., F.C.S.
+
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+
+
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+
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+
+
+RUSSELL (Major Frank S.).
+
+     =Russian Wars with Turkey=, Past and Present. With Two Maps.
+     Second Edition. Crown 8vo., price 6_s._
+
+
+RUTHERFORD (John).
+
+     =The Secret History of the Fenian Conspiracy=; its Origin,
+     Objects, and Ramifications. 2 vols. Post 8vo. Cloth, price
+     18_s._
+
+
+SADLER (S. W.), R.N.
+
+     =The African Cruiser.= A Midshipman's Adventures on the West
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+     Cloth, price 3_s._ 6_d._
+
+
+SAMAROW (G.).
+
+     =For Sceptre and Crown.= A Romance of the Present Time.
+     Translated by Fanny Wormald. 2 vols. Crown 8vo. Cloth, price
+     15_s._
+
+
+SAUNDERS (Katherine).
+
+     =Gideon's Rock,= and other Stories. Crown 8vo. Cloth, price
+     6_s._
+
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+
+     =Margaret and Elizabeth.= A Story of the Sea. Crown 8vo.
+     Cloth, price 6_s._
+
+
+SAUNDERS (John).
+
+     =Israel Mort, Overman:= a Story of the Mine. Crown 8vo.
+     Price 6_s._
+
+     =Hirell.= With Frontispiece. Crown 8vo. Cloth, price 3_s._
+     6_d._
+
+     =Abel Drake's Wife.= With Frontispiece. Crown 8vo. Cloth,
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+
+
+SCHELL (Maj. von).
+
+     =The Operations of the First Army under Gen. von Goeben.=
+     Translated by Col. C. H. von Wright. Four Maps. Demy 8vo.
+     Cloth, price 9_s._
+
+     =The Operations of the First Army under Gen. von Steinmetz.=
+     Translated by Captain E. O. Hollist. Demy 8vo. Cloth, price
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+
+
+SCHELLENDORF (Maj.-Gen. B. von).
+
+     =The Duties of the General Staff.= Translated from the
+     German by Lieutenant Hare. Vol. I. Demy 8vo. Cloth, 10_s._
+     6_d._
+
+
+SCHERFF (Maj. W. von).
+
+     =Studies in the New Infantry Tactics.= Parts I. and II.
+     Translated from the German by Colonel Lumley Graham. Demy
+     8vo. Cloth, price 7_s._ 6_d._
+
+
+SCHMIDT (Prof. Oscar).
+
+     =The Doctrine of Descent and Darwinism.= With 26
+     Illustrations. Third Edition. Crown 8vo. Cloth, price 5_s._
+
+     Volume XII. of The International Scientific Series.
+
+
+SCH�TZENBERGER (Prof. F.).
+
+     =Fermentation.= With Numerous Illustrations. Second Edition.
+     Crown 8vo. Cloth, price 5_s._
+
+     Volume XX. of The International Scientific Series.
+
+
+SCOTT (Patrick).
+
+     =The Dream and the Deed=, and other Poems. Fcap. 8vo. Cloth,
+     price 5_s._
+
+
+SCOTT (W. T.).
+
+     =Antiquities of an Essex Parish=; or, Pages from the History
+     of Great Dunmow. Crown 8vo. Cloth, price 5_s._ Sewed, 4_s._
+
+
+SCOTT (Robert H.).
+
+     =Weather Charts and Storm Warnings.= Illustrated. Crown 8vo.
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+
+
+=Seeking his Fortune=, and other Stories. With Four Illustrations.
+     Crown 8vo. Cloth, price 3_s._ 6_d._
+
+
+SENIOR (N. W.).
+
+     =Alexis De Tocqueville.= Correspondence and Conversations
+     with Nassau W. Senior, from 1833 to 1859. Edited by M. C. M.
+     Simpson. 2 vols. Large post 8vo. Cloth, price 21_s._
+
+     =Journals Kept in France and Italy.= From 1848 to 1852. With
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+
+
+=Seven Autumn Leaves from Fairyland.= Illustrated with Nine
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+
+
+SHADWELL (Maj.-Gen.), C.B.
+
+     =Mountain Warfare.= Illustrated by the Campaign of 1799 in
+     Switzerland. Being a Translation of the Swiss Narrative
+     compiled from the Works of the Archduke Charles, Jomini, and
+     others. Also of Notes by General H. Dufour on the Campaign
+     of the Valtelline in 1635. With Appendix, Maps, and
+     Introductory Remarks. Demy 8vo. Cloth, price 16_s._
+
+
+SHAKSPEARE (Charles).
+
+     =Saint Paul at Athens=: Spiritual Christianity in Relation
+     to some Aspects of Modern Thought. Nine Sermons preached at
+     St. Stephen's Church, Westbourne Park. With Preface by the
+     Rev. Canon FARRAR. Crown 8vo. Cloth, price 5_s._
+
+
+SHAW (Flora L.).
+
+     =Castle Blair=: a Story of Youthful Lives. 2 vols. Crown
+     8vo. Cloth, gilt tops, price 12_s._ Also, an edition in one
+     vol. Crown 8vo. 6_s._
+
+
+SHELLEY (Lady).
+
+     =Shelley Memorials from Authentic Sources.= With (now first
+     printed) an Essay on Christianity by Percy Bysshe Shelley.
+     With Portrait. Third Edition. Crown 8vo. Cloth, price 5_s._
+
+
+SHERMAN (Gen. W. T.).
+
+     =Memoirs of General W. T. Sherman=, Commander of the Federal
+     Forces in the American Civil War. By Himself. 2 vols. With
+     Map. Demy 8vo. Cloth, price 24_s._ _Copyright English
+     Edition._
+
+
+SHILLITO (Rev. Joseph).
+
+     =Womanhood=: its Duties, Temptations, and Privileges. A Book
+     for Young Women. Second Edition. Crown 8vo. Price 3_s._
+     6_d._
+
+
+SHIPLEY (Rev. Orby), M.A.
+
+     =Principles of the Faith in Relation to Sin.= Topics for
+     Thought in Times of Retreat. Eleven Addresses. With an
+     Introduction on the neglect of Dogmatic Theology in the
+     Church of England, and a Postscript on his leaving the
+     Church of England. Demy 8vo. Cloth, price 12_s._
+
+     =Church Tracts, or Studies in Modern Problems.= By various
+     Writers. 2 vols. Crown 8vo. Cloth, price 5_s._ each.
+
+
+SHUTE (Richard), M.A.
+
+     =A Discourse on Truth.= Large Post 8vo. Cloth, price 9_s._
+
+
+SMEDLEY (M. B.).
+
+     =Boarding-out and Pauper Schools for Girls.= Crown 8vo.
+     Cloth, price 3_s._ 6_d._
+
+
+SMITH (Edward), M.D., LL.B., F.R.S.
+
+     =Health and Disease=, as Influenced by the Daily, Seasonal,
+     and other Cyclical Changes in the Human System. A New
+     Edition. Post 8vo. Cloth, price 7_s._ 6_d._
+
+     =Foods.= Profusely Illustrated. Fifth Edition. Crown 8vo.
+     Cloth, price 5_s._
+
+     Volume III. of The International Scientific Series.
+
+     =Practical Dietary for Families, Schools, and the Labouring
+     Classes.= A New Edition. Post 8vo. Cloth, price 3_s._ 6_d._
+
+     =Tubercular Consumption in its Early and Remediable Stages.=
+     Second Edition. Crown 8vo. Cloth, price 6_s._
+
+
+SMITH (Hubert).
+
+     =Tent Life with English Gipsies in Norway.= With Five
+     full-page Engravings and Thirty-one smaller Illustrations by
+     Whymper and others, and Map of the Country showing Routes.
+     Third Edition. Revised and Corrected. Post 8vo. Cloth, price
+     21_s._
+
+
+=Songs of Two Worlds.= By the Author of "The Epic of Hades."
+     Fourth Edition. Complete in one Volume, with Portrait. Fcap.
+     8vo. Cloth, price 7_s._ 6_d._
+
+
+=Songs for Music.= By Four Friends. Square crown 8vo. Cloth,
+     price 5_s._
+
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+
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+
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+
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+
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+
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+     Illustrated by several Plates. Demy 8vo. Cloth, price 16_s._
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+
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+
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+YOUMANS (Edward L.), M.D.
+
+     =A Class Book of Chemistry,= on the Basis of the New System.
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+
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+ZIMMERN (H.).
+
+     =Stories in Precious Stones.= With Six Illustrations. Third
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+
+
+THE NINETEENTH CENTURY.
+
+_A Monthly Review, edited by_ JAMES KNOWLES, _price 2s. 6d._
+
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+
+
+
+
+       *       *       *       *       *
+
+Transcriber's Notes
+
+
+Bold text is shown within =equal signs=.
+
+Text in italics is shown within _underscores_.
+
+Three asterisks represent an asterism.
+
+Five asterisks represent a thought break.
+
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+both a's in Kalam. (Tas-hil ul Kalam; or, Hindustani made Easy.)
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+(Coena Domini: An Essay on the Lord's Supper,)
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+      The Project Gutenberg eBook of Dante: Six Sermons, by Philip H. Wicksteed.
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+<pre>
+
+The Project Gutenberg EBook of Dante, by Philip H. Wicksteed
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Dante
+       Six Sermons
+
+Author: Philip H. Wicksteed
+
+Release Date: June 22, 2011 [EBook #36479]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DANTE ***
+
+
+
+
+Produced by Curtis Weyant, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+
+</pre>
+
+
+
+
+
+
+<h1>DANTE</h1>
+<hr style="width: 65%;" />
+
+
+
+<h1>DANTE<br />
+
+<small><i>SIX SERMONS</i></small></h1>
+
+<p class="title">BY<br /><br />
+
+PHILIP H. WICKSTEED<br />
+
+M.A.</p>
+
+<div class="figcenter" style="width: 154px;">
+<img src="images/image001.png" width="154" height="200" alt="/Arbor Scienti� Arbor Vit�" title="" />
+</div>
+
+<p class="title">LONDON<br />
+C. KEGAN PAUL &amp; CO., 1 PATERNOSTER SQUARE<br />
+1879<br /><br />
+</p>
+
+<p class="center">(<i>The rights of translation and of reproduction are reserved</i>)</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_v" id="Page_v">[Pg v]</a></span></p>
+<h2><a name="PREFACE" id="PREFACE"></a><i>PREFACE.</i></h2>
+
+
+<p>The five Sermons which form the body of
+this little book on Dante were delivered in
+the ordinary course of my ministry at Little
+Portland Street Chapel, in the autumn of 1878,
+and subsequently at the Free Christian Church,
+Croydon, in a slightly altered form.</p>
+
+<p>They are now printed, at the request of many
+of my hearers, almost exactly as delivered at
+Croydon.</p>
+
+<p>The substance of a sixth Sermon has been
+thrown into an Appendix.</p>
+
+<p>In allowing the publication of this little
+volume, my only thought is to let it take its
+chance with other fugitive productions of the
+Pulpit that appeal to the Press as a means of
+widening the possible area rather than extending
+the period over which the preacher's voice may<span class="pagenum"><a name="Page_vi" id="Page_vi">[Pg vi]</a></span>
+extend; and my only justification is the hope
+that it may here and there reach hands to which
+no more adequate treatment of the subject was
+likely to find its way.</p>
+
+<p>The translations I have given are sometimes
+paraphrastic, and virtually contain glosses or interpretations
+which make it necessary to warn
+the reader against regarding them as in every
+case Dante's <i>ipsissima verba</i>. For the most part
+the renderings are substantially my own; but
+I have freely availed myself of numerous translations,
+without special acknowledgment, whenever
+they supplied me with suitable phrases.</p>
+
+<p>I have only to add the acknowledgment of
+my obligations to Fraticelli's edition of Dante's
+works (whose numbering of the minor poems
+and the letters I have adopted for reference),
+to the same writer's 'Life of Dante,' and to
+Mr. Symonds' 'Introduction to the Study of
+Dante.'</p>
+
+<p class="ralign">
+P. H. W.<br />
+</p>
+<p><span style="margin-left: 2em;"><i>June 1879.</i></span><br />
+</p>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p>
+<h2><a name="CONTENTS" id="CONTENTS"></a><i>CONTENTS.</i></h2>
+
+
+
+<div class="center">
+<table border="0" cellpadding="4" cellspacing="0" summary="toc">
+<tr><td align="right">&nbsp;</td><td align="left">&nbsp;</td><td align="right"><small>PAGE</small></td></tr>
+<tr><td align="right">I.</td><td align="left"><span class="smcap">Dante: as a Citizen of Florence</span></td><td align="right"><a href="#Page_1">1</a></td></tr>
+<tr><td align="right">II.</td><td align="left"><span class="smcap">Dante: in Exile</span></td><td align="right"><a href="#Page_29">29</a></td></tr>
+<tr><td align="right">III.</td><td align="left"><span class="smcap">Hell</span></td><td align="right"><a href="#Page_59">59</a></td></tr>
+<tr><td align="right">IV.</td><td align="left"><span class="smcap">Purgatory</span></td><td align="right"><a href="#Page_89">89</a></td></tr>
+<tr><td align="right">V.</td><td align="left"><span class="smcap">Heaven</span></td><td align="right"><a href="#Page_119">119</a></td></tr>
+<tr><td align="right">&nbsp;</td><td align="left"><span class="smcap">Appendix</span></td><td align="right"><a href="#Page_145">145</a></td></tr>
+</table></div>
+
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_1" id="Page_1">[Pg 1]</a></span></p>
+
+<h2>
+I<br />
+<br />
+DANTE'S LIFE AND PRINCIPLES<br />
+<br />
+<i>I. AS A CITIZEN OF FLORENCE</i><br />
+</h2>
+
+<p><span class="pagenum"><a name="Page_3" id="Page_3">[Pg 3]</a></span></p>
+<p>There are probably few competent judges who
+would hesitate to give Dante a place of honour
+in the triad of the world's greatest poets; and
+amongst these three Dante occupies a position
+wholly his own, peerless and unapproached in
+history.</p>
+
+<p>For Homer and Shakespeare reflect the ages
+in which they lived, in all their fullness and
+variety of life and motive, largely sinking their
+own individuality in the intensity and breadth
+of their sympathies. They are great teachers
+doubtless, and fail not to lash what they regard
+as the growing vices or follies of the day, and
+to impress upon their hearers the solemn lessons
+of those inevitable facts of life which they
+epitomise and vivify. But their teaching is
+chiefly incidental or indirect, it is largely unconscious,
+and is often almost as difficult to<span class="pagenum"><a name="Page_4" id="Page_4">[Pg 4]</a></span>
+unravel from their works as it is from the life
+and nature they so faithfully reflect.</p>
+
+<p>With Dante it is far otherwise. Aglow with
+a prophet's passionate conviction, an apostle's
+undying zeal, he is guided by a philosopher's
+breadth and clearness of principle, a poet's unfailing
+sense of beauty and command of emotions,
+to a social reformer's definite and practical
+aims and a mystic's peace of religious communion.
+And though his works abound in dramatic
+touches of startling power and variety, and delineations
+of character unsurpassed in delicacy,
+yet with all the depth and scope of his sympathies
+he never for a moment loses himself or
+forgets his purpose.</p>
+
+<p>As a philosopher and statesman, he had
+analysed with keen precision the social institutions,
+the political forces, and the historical
+antecedents by which he found his time and
+country dominated; as a moralist, a theologian,
+and a man, he had grasped with a firmness that
+nothing could relax the essential conditions of
+human blessedness here and hereafter, and with
+an intensity and fixity of definite self-conscious
+purpose almost without parallel he threw the<span class="pagenum"><a name="Page_5" id="Page_5">[Pg 5]</a></span>
+passionate energy of his nature into the task of
+preaching the eternal truth to his countrymen,
+and through them to the world, and thwarting
+and crushing the powers and institutions which
+he regarded as hostile to the well-being of mankind.
+He strove to teach his brothers that their
+true bliss lay in the exercise of virtue here, and
+the blessed vision of God hereafter. And as a
+step towards this, and an essential part of its
+realisation, he strove to make Italy one in
+heart and tongue, to raise her out of the sea
+of petty jealousies and intrigues in which she
+was plunged; in a word, to erect her into
+a free, united country, with a noble mother
+tongue. These two purposes were one; and,
+supported and supplemented by a never-dying
+zeal for truth, a never-failing sense of beauty,
+they inspired the life and works of Dante
+Alighieri.</p>
+
+<p>It is often held and taught, that a strong and
+definite didactic purpose must inevitably be
+fatal to the highest forms of art, must clip the
+wings of poetic imagination, distort the symmetry
+of poetic sympathy, and substitute hard and
+angular contrasts for the melting grace of those<span class="pagenum"><a name="Page_6" id="Page_6">[Pg 6]</a></span>
+curved lines of beauty which pass one into the
+other. Had Dante never lived, I know not
+where we should turn for the decisive refutation
+of this thought; but in Dante it is the very combination
+said to be impossible that inspires and
+enthrals us. A perfect artist, guided in the
+exercise of his art by an unflagging intensity of
+moral purpose; a prophet, submitting his inspirations
+to the keenest philosophical analysis,
+pouring them into the most finished artistic
+moulds, yet bringing them into ever fresher and
+fuller contact with their living source; a moralist
+and philosopher whose thoughts are fed
+by a prophet's directness of vision and a poet's
+tender grace of love, a poet's might and subtlety
+of imagination&mdash;Philosopher, Prophet, Poet,
+supreme as each, unique as a combination of
+them all&mdash;such was Dante Alighieri! And his
+voice will never be drowned or forgotten as
+long as man is dragged downward by passion
+and struggles upward towards God, as long as
+he that sows to the flesh shall of the flesh reap
+corruption, and he that sows to the spirit reaps
+of the spirit life everlasting, as long as the heart
+of man can glow responsive to a holy indignation<span class="pagenum"><a name="Page_7" id="Page_7">[Pg 7]</a></span>
+with wrong, or can feel the sweetness of
+the harmonies of peace.</p>
+
+<p>It is little that I can hope to do, and yet I
+would fain do something, towards opening to
+one here and there some glimpse into that
+mighty temple, instinct with the very presence
+of the Eternal, raised by the master hand, nay
+rather wrought out of the mighty heart of Dante;
+but before we can even attempt to gather up a
+few fragments of the 'Divine Comedy,' as landmarks
+to guide us, in our turn, through Hell
+and Purgatory up to Heaven, it is needful
+for us to have some conception who Dante
+Alighieri was, and what were his fortunes in this
+mortal life.</p>
+
+<p>And here I must once for all utter a warning,
+and thereby discharge myself of a special duty.
+The Old Testament itself has not been more
+ruthlessly allegorised than have Dante's works
+and even his very life. The lack of trustworthy
+materials, in any great abundance, for an account
+of the poet's outward lot, the difficulty of
+fixing with certainty when he is himself relating
+actual events and when his apparent narratives
+are merely allegorical, the obscurity, incompleteness,<span class="pagenum"><a name="Page_8" id="Page_8">[Pg 8]</a></span>
+and even apparent inconsistency of
+some of the data he supplies, the uncertainty as
+to the exact time at which his different works
+were composed and the precise relation in which
+they stand to each other, and the doubts which
+have been thrown upon the authenticity of some
+of the minor documents upon which the poet's
+biographers generally rely, have all combined
+to involve almost every step of his life in deep
+obscurity. Here, then, is a field upon which
+laborious research, ingenious conjecture, and
+wild speculation can find unending employment,
+and consequently every branch of the study has
+quite a literature of its own.</p>
+
+<p>Now into this mass of controversial and
+speculative writings on Dante, I do not make
+the smallest pretensions to have penetrated a
+single step. I am far from wishing to disparage
+such studies, or to put forward in my own defence
+that stale and foolish plea, the refuge of
+pretentious ignorance in every region of inquiry,
+that a mind coming fresh to the study has the
+advantage over those that are already well
+versed in it; but surely the students who are
+making the elucidation of Dante their life work<span class="pagenum"><a name="Page_9" id="Page_9">[Pg 9]</a></span>
+would not ask or wish, that until their endless
+task is completed all those whose souls have
+been touched by the direct utterance of the
+great poet should hold their peace until qualified
+to speak by half a life of study.</p>
+
+<p>With no further apology, then, for seeming
+to venture too rashly on the task, we may go
+on to a brief sketch of Dante's life and principles.
+The main lines which I shall follow are in most
+cases traced distinctly enough by Dante's own
+hand, and to the best of my belief they represent
+a fair average of the present or recent conclusions
+of scholars; but, on the other hand,
+there have always been some who would unhesitatingly
+treat as allegory much of what I shall
+present to you as fact, who for instance would
+treat all Dante's love for Beatrice, and indeed
+Beatrice's very existence, as purely allegorical;
+and, again, where the allegory is admitted on
+all hands, there is a ceaseless shifting and endless
+variety in the special interpretations adopted
+and rejected by the experts.</p>
+
+<hr style="width: 45%;" />
+
+<p>Dante, or properly Durante, Alighieri was
+born in Florence of an ancient and noble family,<span class="pagenum"><a name="Page_10" id="Page_10">[Pg 10]</a></span>
+in the year 1265. We may note that his life
+falls in a period which we used to be taught to
+regard as an age of intellectual stagnation and
+social barbarism, in which Christianity had degenerated
+into a jumbled chaos of puerile and
+immoral superstitions! We may note also that
+in the early years of his life the poet was a contemporary
+of some of the noblest representatives
+of the feudo-Catholic civilisation, that is to say of
+medi�val philosophy, theology, and chivalry,
+while his manhood was joined in loving friendship
+with the first supremely great medi�val artist,
+and before he died one of the great precursors
+and heralds of the revival of learning was growing
+up to manhood and another had already left
+his cradle. To speak of Roger Bacon, Thomas
+Aquinas, and St. Louis, as living when Dante
+was born, of Giotto as his companion and
+friend, of Petrarch and Boccaccio as already
+living when he died, is to indicate more clearly
+than could be done by any more elaborate statement,
+the position he occupies at the very
+turning point of the Middle Ages when the
+forces of modern life had begun to rise, but the
+supremacy of medi�val faith and discipline<span class="pagenum"><a name="Page_11" id="Page_11">[Pg 11]</a></span>
+was as yet unbroken. Accordingly Dante, in
+whom the truest spirit of his age is, as it were,
+'made flesh,' may be variously regarded as the
+great morning star of modern enlightenment,
+freedom, and culture, or as the very type of
+medi�val discipline, faith, and chivalry. To
+me, I confess, this latter aspect of Dante's life
+is altogether predominant. To me he is the
+very incarnation of Catholicism, not in its shame,
+but in its glory. Yet the future is always contained
+in the present when rightly understood,
+and just because Dante was the perfect representative
+of his own age, he became the herald
+and the prophecy of the ages to come, not,
+as we often vainly imagine them, rebelling
+against and escaping from the overshadowing
+solemnity of the ages past, but growing
+out of them as their natural and necessary
+result.</p>
+
+<p>In the year 1265, then, Dante was born in
+Florence, then one of the most powerful and
+flourishing, but also, alas! one of the most factious
+and turbulent of the cities of Europe. He
+was but nine years old when he first met that
+Beatrice Portinari who became thenceforth the<span class="pagenum"><a name="Page_12" id="Page_12">[Pg 12]</a></span>
+loadstar of his life. As to this lady we have
+little to say. The details which Dante's early
+biographers give us add but little to our knowledge
+of her, and so far as they are not drawn
+from the poet's own words, are merely such
+graceful commonplaces of laudatory description
+as any imagination of ordinary capacity would
+spontaneously supply for itself. When we have
+said that Beatrice was a beautiful, sweet, and
+virtuous girl, we have said all that we know,
+and all that we need care to know, of the daughter
+of Folco Portinari, who lived, was married,
+and died in Florence at the end of the thirteenth
+century. All that she is to us more than other
+Florentine maidens, she is to us through that
+poet who, as he wept her untimely death, hoped
+with no vain hope 'to write of her, what ne'er
+was writ of woman.'<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></p>
+
+<hr style="width: 45%;" />
+
+<p>It puts no great strain on our powers of
+credence, to accept Dante's own statement of
+the rush of almost stupefying emotions which
+overwhelmed his childish heart when at the age
+of nine he went with his father to Portinari's<span class="pagenum"><a name="Page_13" id="Page_13">[Pg 13]</a></span>
+house, and was sent to play with other children,
+amongst them the little Beatrice, a child of eight
+years old. The 'New Life' waked within him
+from that moment, and its strength and purity
+made him strong and pure.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a></p>
+
+<hr style="width: 45%;" />
+
+<p>Nine more years have passed. Dante is
+now eighteen. He has made rapid progress in
+all the intellectual and personal accomplishments
+which are held to adorn the position of a Florentine
+gentleman. His teachers have in some
+cases already discerned the greatness of his
+powers, and he has become aware, probably by
+essays which never saw the light, that he has not
+only a poet's passions and aspirations, but a
+poet's power of moulding language into oneness
+with his thought. He and Beatrice know
+each other by sight, as neighbours or fellow-citizens,
+but Dante has never heard her voice
+address a word to him. Yet she is still the
+centre of all his thoughts. She has never ceased
+to be to him the perfect ideal of growing womanhood,
+and to his devout and fervid imagination,
+just because she is the very flower of womanly<span class="pagenum"><a name="Page_14" id="Page_14">[Pg 14]</a></span>
+courtesy, grace, and virtue, she is an angel upon
+earth. Not in the hackneyed phrase of complimentary
+commonplace, not in the exaggerated
+cant of would-be poetical metaphor, but in the
+deep verity of his inmost life, Dante Alighieri
+believes that Beatrice Portinari, the maiden
+whose purity keeps him pure, whose grace and
+beauty are as guardian angels watching over his
+life, has more of heaven than of earth about her
+and claims kindred with God's more perfect
+family.</p>
+
+<p>Beatrice is now seventeen, she is walking
+with two companions in a public place, she meets
+Dante and allows herself to utter a few words of
+graceful greeting. It is the first time she has
+spoken to him, and Dante's soul is thrilled and
+fired to its very depths. Not many hours afterwards,
+the poet began the first of his sonnets that
+we still possess, perhaps the first he ever wrote.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p>
+
+<hr style="width: 45%;" />
+
+<p>Let us pass over eight or nine years more.
+Dante, now about twenty-six, is the very flower
+of chivalry and poetry. The foremost men of
+his own and other cities&mdash;artists, musicians,<span class="pagenum"><a name="Page_15" id="Page_15">[Pg 15]</a></span>
+poets, scholars, and statesmen&mdash;are his friends.
+Somewhat hard of access and reserved, but the
+most fascinating of companions and the faithfulest
+of friends to those who have found a real place
+in his heart, Dante takes a rank of acknowledged
+eminence amongst the poets of his day. His
+verses, chiefly in praise of Beatrice, are written
+in a strain of tender sentiment, that gives little
+sign of what is ultimately to come out of him,
+but there is a nervous and concentrated power
+of diction, a purity and elevation of conception
+in them, which may not have been obvious to
+his companions as separating him from them,
+but which to eyes instructed by the result is full
+of deepest meaning.</p>
+
+<p>And what of Beatrice? She is dead. It was
+never given to Dante to call her his. We know
+not so much as whether he even aspired to more
+than that gracious salutation in which, to use
+his own expression, he seemed to touch 'the
+very limits of beatitude.'<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a></p>
+
+<p>Be this as it may, it is certain that Beatrice
+married a powerful citizen of Florence several
+years before her death. But she was still the<span class="pagenum"><a name="Page_16" id="Page_16">[Pg 16]</a></span>
+guardian angel of the poet's life, she was still
+the very type of womanhood to him; and there
+was not a word or thought of his towards her
+but was full of utter courtesy and purity. And
+now, in the flower of her loveliness she is cut
+down by death, and to Dante life has become a
+wilderness.<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>
+
+<hr style="width: 45%;" />
+
+<p>Yet eight or nine years more. Dante is
+now in what his philosophical system regards
+as the very prime of life.<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> He is thirty-five.
+The date is 1300. Since we left him weeping
+for the death of Beatrice, the unity of his life
+has been shattered and he has lost his way, but
+only for a time. Now his powers and purposes
+are richer, stronger, more concentrated than ever.</p>
+
+<p>In his first passion of grief for Beatrice's
+death he had been profoundly touched by the
+pity of a gentle-eyed damsel whom a far from
+groundless conjecture identifies with Gemma
+Donati, the lady whom he married not long
+afterwards. With this Gemma he lived till his
+banishment, and they had a numerous family.
+The internal evidence of Dante's works, and the<span class="pagenum"><a name="Page_17" id="Page_17">[Pg 17]</a></span>
+few circumstances really known to us, give little
+support to the tradition that their marriage was
+an unhappy one.</p>
+
+<p>Dante's friends had hoped that domestic
+peace might console him for his irreparable loss,
+but he himself had rather sought for consolation
+in the study of philosophy and theology;
+and it befell him, he tells us, as one who in
+seeking silver strikes on gold&mdash;not, haply, without
+guidance from on high;&mdash;for he began to
+see many things as in a dream, and deemed
+that Dame Philosophy must needs be supreme!<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a></p>
+
+<p>But neither domestic nor literary cares and
+duties absorbed his energies. In late years he
+had begun to take an active part in the politics
+of his city, and was now fast rising to his true
+position as the foremost man of Florence and of
+Italy.</p>
+
+<p>Thus, we see new interests and new powers
+rising in his life, but for a time the unity of that
+life was gone. While Beatrice lived Dante's
+whole being was centred in her, and she was to
+him the visible token of God's presence upon
+earth, the living proof of the reality and the<span class="pagenum"><a name="Page_18" id="Page_18">[Pg 18]</a></span>
+beauty of things Divine, born to fill the world
+with faith and gentleness. But when she was
+gone, when other passions and pursuits disputed
+with her memory the foremost place in Dante's
+heart, it was as though he had lost the secret
+and the meaning of life, as though he had lost
+the guidance of Heaven, and was whirled helplessly
+in the vortex of moral, social, and political
+disorder which swept over his country. For
+Italian politics at this period form a veritable
+chaos of shifting combinations and entanglements,
+of plots and counterplots, of intrigue and
+treachery and vacillation, though lightened ever
+and again by gleams of noblest patriotism and
+devotion.</p>
+
+<p>Yet Dante's soul was far too strong to be
+permanently overwhelmed. Gradually his philosophical
+reflections began to take definite shape.
+He felt the wants of his own life and of his
+country's life. He pierced down to the fundamental
+conditions of political and social welfare;
+and when human philosophy had begun to
+restore unity and concentration to his powers,
+then the sweet image of the pure maiden who
+had first waked his soul to love returned glorified<span class="pagenum"><a name="Page_19" id="Page_19">[Pg 19]</a></span>
+and transfigured to guide him into the very
+presence of God. She was the symbol of
+Divine philosophy. She, and she only, could
+restore his shattered life to unity and strength,
+and the love she never gave him as a woman,
+she could give him as the protecting guardian
+of his life, as the vehicle of God's highest
+revelation.<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a></p>
+
+<hr style="width: 45%;" />
+
+<p>With his life thus strengthened and enriched,
+with a firm heart and a steady purpose, Dante
+Alighieri stood in the year 1300 at the helm of
+the State of Florence. And here accordingly
+it becomes necessary for us to dwell for a
+moment on some of the chief political forces
+with which he had to deal.</p>
+
+<p>The two great factions of the Guelfs and
+Ghibellines were tearing the very heart of Italy;
+and without going into any detail, we must try
+to point out the central ideas of each party.
+The Ghibellines, then, appear to have represented
+an aristocratic principle of order, constantly in
+danger of becoming oppressive, while the Guelfs<span class="pagenum"><a name="Page_20" id="Page_20">[Pg 20]</a></span>
+represented a democratic principle of progress,
+ever verging upon chaotic and unbridled licence.
+The Ghibellines longed for a national unity,
+resting on centralisation; the Guelfs aimed at a
+local independence which tended to national
+disintegration. The Ghibellines, regarding the
+German Empire as the heir and representative
+of the Empire of Rome, and as the symbol of
+Italian unity, espoused the Emperor's cause
+against the Pope, declared the temporal power
+independent of the spiritual, and limited the
+sphere of the priests entirely to the latter. The
+Guelfs found in the political action of the Pope
+a counterpoise to the influence of the Emperor;
+the petty and intriguing spirit of the politics of
+the Vatican made its ruler the natural ally of
+the disintegrating Guelfs rather than the centralising
+Ghibellines, and accordingly the Guelfs
+ardently espoused the cause of the Pope's temporal
+power, and often sought in the royal
+house of France a further support against
+Germany.</p>
+
+<p>These broad lines, however, were constantly
+blurred and crossed by personal intrigue or
+ambition, by family jealousies, feuds, and rivalries,<span class="pagenum"><a name="Page_21" id="Page_21">[Pg 21]</a></span>
+by unnatural alliances or by corruption and
+treachery.</p>
+
+<p>Now Dante was by family tradition a Guelf.
+Florence too was nominally the head quarters
+of Guelfism, and Dante had fought bravely in
+her battles against the Ghibellines. But the
+more he reflected upon the sources of the evils
+by which Italy was torn, the more profoundly he
+came to distrust the unprincipled meddling of the
+greedy princes of the house of France in Italian
+politics, and the more jealously did he watch the
+temporal power of the Pope. Perhaps the
+political opinions he afterwards held were not as
+yet fully consolidated, but his votes and proposals&mdash;which
+we read with a strange interest in
+the city archives of Florence nearly six hundred
+years after the ink has dried&mdash;show that in 1300
+he was at any rate on the highway to the conclusions
+he ultimately reached. And we may
+therefore take this occasion of stating what they
+were.</p>
+
+<p>It appeared to Dante that Italy was sunk
+in moral, social, and political chaos, for want
+of a firm hand to repress the turbulent factions
+that rent her bosom; and that no hand except<span class="pagenum"><a name="Page_22" id="Page_22">[Pg 22]</a></span>
+an Emperor's could be firm enough. The
+Empire of Rome was to him the most imposing
+and glorious spectacle offered by human history.
+God had guided Rome by miracles and signs to
+the dominion of the world that the world might
+be at peace.</p>
+
+<p>And parallel with this temporal Empire
+founded by Julius C�sar, was the spiritual Empire
+of the Church, founded by Jesus Christ.
+Both alike were established by God for the
+guidance of mankind: to rebel against either was
+to rebel against God. Brutus and Cassius, who
+slew Julius C�sar, the embodiment of the Empire,
+are placed by Dante in the same depth of Hell
+as Judas Iscariot, who betrayed Jesus Christ, the
+incarnation of the Church.<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> These three had
+done what in them lay to reduce the world to
+civil and religious chaos, for they had compassed
+the death of the ideal representatives of civil and
+religious order. But both powers alike laid a
+mighty trust upon the human agents who administered
+them; and as the Empire and the
+Church were the sublimest and the holiest of
+ideal institutions, so a tyrannical Emperor and a<span class="pagenum"><a name="Page_23" id="Page_23">[Pg 23]</a></span>
+corrupt or recreant Pope were amongst the
+foulest of sinners, to be rebuked and resisted
+with every power of body and soul.</p>
+
+<p>Dante could no more conceive of the spiritual
+life without the authoritative guidance of the all-present,
+all-pervading Church, than he could conceive
+of a well-ordered polity without the all-penetrating
+force of law. But it appeared to
+him as monstrous for the Pope to seek political
+influence and to use his spiritual powers for
+political ends as he would have judged it for the
+Emperor to exercise spiritual tyranny over the
+faith of Christians.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a></p>
+
+<p>There can have been little in the political
+life of Florence at this time to attract one who
+held such views. But Dante of all men hated
+and despised weak shrinking from responsibility.
+If there is one feature in his stern character
+more awful than any other, it is his unutterable,
+withering contempt for those who lived without
+praise or blame, those wretches who never were
+alive. He saw them afterwards in the outer
+circle of Hell, mingled with that caitiff herd of<span class="pagenum"><a name="Page_24" id="Page_24">[Pg 24]</a></span>
+angels who were not for God and yet were not
+for the rebels, but were only for themselves.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">Heaven drove them forth, Heaven's beauty not to stain,<br /></span>
+<span class="i0">Nor would the deep Hell deign to have them there<br /></span>
+<span class="i0">For any glory that the damned might gain!<br /></span>
+</div></div>
+
+<p>No fame of them survives upon the earth, Pity
+and Justice hold them in disdain, their cries of
+passion and of woe are ever whirled through the
+starless air, and their forgotten lot appears to
+them so base that they envy the very torments
+of the damned. 'Let us not speak of them,'
+says Virgil to Dante, 'but gaze and pass them
+by.'<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a></p>
+
+<p>So Dante shrank not from his task when
+called to public office, but laid his strong hand
+upon the helm of Florence. During a part of
+this year 1300, he filled the supreme magistracy,
+and at that very time the old disputes of Guelf
+and Ghibelline broke out in the city afresh
+under a thin disguise. We have seen that
+Dante's sympathies were now almost completely
+Ghibelline, but as the first Prior of
+Florence his duty was firmly to suppress all<span class="pagenum"><a name="Page_25" id="Page_25">[Pg 25]</a></span>
+factious attempts to disturb the city's peace and
+introduce intestine discord. It was not by
+party broils that Italy would be restored to
+peace and harmony. He behaved with a more
+than Roman fortitude, for it is easier for a
+father to chastise a rebellious son than for a
+true friend to override the claims of friendship.
+Dante's dearest friend, Guido Cavalcanti, bound
+to him by every tie of sympathy and fellowship
+which could unite two men in common purposes
+and common hopes, was one of the leaders of
+the party with which Dante himself sympathised;
+and yet, for the good of his country and
+in obedience to his magisterial duty, he tore this
+friend from his side though not from his heart,
+and pronounced on him the sentence of banishment,
+the weight of which he must even then
+have known so well. It speaks to the eternal
+honour of Guido, as well as Dante, that this
+deed appears not to have thrown so much as a
+shadow upon the friendship of the two men.<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a></p>
+
+<p>Had Dante's successors in office dealt with
+firmness and integrity equal to his own, all<span class="pagenum"><a name="Page_26" id="Page_26">[Pg 26]</a></span>
+might have been well; but a vacillating and
+equivocal policy soon opened the door to suspicions
+and recriminations, Florence ceased to
+steer her own course and permitted foreign interference
+with her affairs, while the Pope, with
+intentions that may have been good but with a
+policy which proved utterly disastrous, furthered
+the intervention of the French Prince Charles of
+Valois. It was a critical moment. An embassy
+to the Papal Court was essential, and a firm
+hand must meanwhile hold the reins at Florence.
+'If I go, who shall stay? If I stay, who shall go?'
+Dante is reported to have said; and though the
+saying is probably apocryphal, yet it points out
+happily enough the true position of affairs.
+Dante was now no longer the chief magistrate
+of his city, but he was in fact, though not in
+name, the one man of Florence, the one man
+of Italy.</p>
+
+<p>Finally he resolved to go to Rome. But
+the blindness or corruption of the Papal Court
+was invincible; and while Dante was still
+toiling at his hopeless task, Charles of Valois
+entered Florence with his troops, soon to realise
+the worst suspicions of those who had opposed<span class="pagenum"><a name="Page_27" id="Page_27">[Pg 27]</a></span>
+his intervention. Nominally a restorer of tranquillity,
+he stirred up all the worst and most
+lawless passions of the Florentines; and while
+Dante was serving his country at Rome, the
+unjust and cruel sentence of banishment was
+launched against him, his property was confiscated
+and seized, a few months afterwards he
+was sentenced to be burned to death should he
+ever fall into the power of the Florentines, and,
+not content with all this, his enemies heaped
+upon his name the foulest calumnies of embezzlement
+and malversation&mdash;calumnies which
+I suppose no creature from that hour to this has
+ever for one moment believed, but which could
+not fail to make the envenomed wound strike
+deeper into Dante's heart.</p>
+
+<p>So now he must leave 'all things most dear&mdash;this
+the first arrow shot from exile's bow,' in
+poverty and dependence his proud spirit must
+learn 'how salt a taste cleaves to a patron's
+bread, how hard a path to tread a patron's
+stair;' and, above all, his unsullied purity and
+patriotism must find itself forced into constant
+association or even alliance with selfish and
+personal ambition, or with tyranny, meanness,<span class="pagenum"><a name="Page_28" id="Page_28">[Pg 28]</a></span>
+and duplicity.<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a> How that great soul bore itself
+amid all these miseries, what it learnt from them,
+where it sought and found a refuge from them,
+we shall see when we take up again the broken
+thread which we must drop to-day.</p>
+
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> <i>Vita Nuova</i>, xliii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> <i>Vita Nuova</i>, i, ii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> <i>Vita Nuova</i>, iii.; <i>Inferno</i>, xv. 55 sqq. &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> <i>Vita Nuova</i>, iii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> <i>Vita Nuova</i>, iv-xxx.</p></div>
+
+<div class="footnote"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <i>Convito</i>, iv. 23.</p></div>
+
+<div class="footnote"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> <i>Convito</i>, ii. 13.</p></div>
+
+<div class="footnote"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> <i>Vita Nuova</i>, xxxi-xliii.; <i>Convito</i>, ii.; <i>Purgatorio</i>, xxx, xxxi.</p></div>
+
+<div class="footnote"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> <i>Inferno</i>, xxxiv. 55-67.</p></div>
+
+<div class="footnote"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> See the <i>De Monarchia</i>. Compare <i>Purgatorio</i>, xvi. 103-112;
+<i>Paradiso</i>, xviii. 124-136.</p></div>
+
+<div class="footnote"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> <i>Inferno</i>, iii. 22-51.</p></div>
+
+<div class="footnote"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> Compare <i>Inferno</i>, x. 52-72, 109-111.</p></div>
+
+<div class="footnote"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> <i>Paradiso</i>, xvii. 55-63.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_29" id="Page_29">[Pg 29]</a></span></p>
+<h2>
+II<br />
+<br />
+DANTE'S LIFE AND PRINCIPLES<br />
+<br />
+<i>II. IN EXILE</i><br />
+</h2>
+
+<p><span class="pagenum"><a name="Page_31" id="Page_31">[Pg 31]</a></span></p>
+<p>A rapid sketch of the most decisive events
+and the leading motives of the life of Dante
+Alighieri has brought us to the eventful period
+of his Priorate in 1300 and his banishment in
+1302. His unsuccessful efforts to carry out
+a firm and statesmanlike policy in Florence,
+with the wreck of his own fortunes consequent
+upon their failure, may be regarded as the
+occasion if not the cause of his conceiving his
+greatest work, the 'Divine Comedy.'</p>
+
+<p>Nineteen years elapsed between Dante's
+exile and his death, and both tradition and internal
+evidence indicate that the main strength
+of his life was poured during the whole of this
+period into the channels already laid down in
+its opening years. 'Forging on the anvil of
+incessant toil' the several parts of his great
+work, and 'welding them into imperishable<span class="pagenum"><a name="Page_32" id="Page_32">[Pg 32]</a></span>
+symmetry,'<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a> the might of his intellect and the
+passion of his heart grappled for nineteen years
+with the task of giving worthy utterance to his
+vast idea. Line by line, canto by canto, the
+victory was won. Dante had shown that his
+mother tongue could rise to loftier themes than
+Greek or Roman had ever touched, and had
+wrought out the fitting garb of a poem that
+stands alone in the literature of the world in
+the scope and sublimity of its conception.</p>
+
+<p>Barely to realise what it was that Dante
+attempted, wakes feelings in our hearts akin to
+awe. When we think of that work and of the
+man who, knowing what it was, deliberately set
+himself to do it, an appalling sense of the presence
+of overwhelming grandeur falls upon us,
+as when a great wall of rocky precipice rises
+sheer at our side, a thousand and yet a thousand
+feet towards heaven. Our heads swim as we
+gaze up to the sky-line of such a precipice, the
+ground seems to drop from beneath our feet, all
+our past and present becomes a dream, and our
+very hold of life seems to slip away from us.
+But the next moment a great exultation comes<span class="pagenum"><a name="Page_33" id="Page_33">[Pg 33]</a></span>
+rushing upon our hearts, with quickened pulses
+and drawing deeper breath we rise to the sublimity
+of the scene around us, and our whole
+being is expanded and exalted by it. After
+holding converse with such grandeur our lives
+can never be so small again. And so it is when
+the meaning of Dante's Comedy breaks upon us.
+When we follow the poet step by step as he
+beats or pours his thought into language, when
+we note the firmness of his pace, the mastery
+with which he handles and commands his
+infinite theme, the unflinching directness, the
+godlike self-reliance, with which he lays bare
+the hearts of his fellow-men and makes himself
+the mouthpiece of the Eternal, when we gaze
+upon his finished work and the despair of Hell,
+the yearning of Purgatory, the peace of Heaven,
+sweep over our hearts, we are ready to whisper
+in awe-struck exultation:</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">What immortal hand or eye<br /></span>
+<span class="i0">Dared form thy fearful symmetry?<br /></span>
+</div></div>
+
+<p>The allegory with which the 'Divine Comedy'
+opens, shadows forth the meaning and the purpose
+of the whole poem. In interpreting it we<span class="pagenum"><a name="Page_34" id="Page_34">[Pg 34]</a></span>
+may at first give prominence to its political
+signification, not because its main intention
+is certainly or probably political, but because
+we shall thus be enabled to pass in due order
+from the outer to the inner circle of the poet's
+beliefs and purposes.</p>
+
+<p>In the year 1300, then, Dante Alighieri
+found that he had wandered, he knew not how,
+from the true path of life, and was plunged into
+the deadly forest of political, social, and moral
+disorder which darkened with terrific shade
+the fair soil of Italy. Deep horror settled upon
+the recesses of his heart during the awful night,
+but at last he saw the fair light of the morning
+sun brightening the shoulders of a hill that
+stretched above: this was the peaceful land of
+moral and political order, which seemed to offer
+an escape from the bitterness of that ghastly
+forest. Gathering heart at this sweet sight,
+Dante set himself manfully to work, with the
+nether foot ever planted firmly on the soil, to
+scale that glorious height. But full soon his
+toilsome path would be disputed with him.
+The dire powers of Guelfism would not allow
+the restoration of peace and order to Italy.<span class="pagenum"><a name="Page_35" id="Page_35">[Pg 35]</a></span>
+His first foe was the incurable factiousness and
+lightness of his own fair Florence. Like a
+lithe and speckled panther it glided before him
+to oppose his upward progress, and forced him
+once and again to turn back upon his steps
+towards that dread forest he had left. But though
+forced back, Dante could not lose hope. Might
+he not tame this wild but beauteous beast?
+Yes; he might have coped with the fickle,
+lustful, factious, envious but lovely Florence,
+had not haughty France rushed on him like a
+lion, at whose voice the air must tremble, had
+not lean and hungry Rome, laden with insatiable
+greed, skulked wolf-like in his path. It
+was the wolf above all that forced him back
+into the sunless depths of that forest of dismay,
+and dashed to the ground his hopes of gaining
+the fair height. When could he, when could
+his Italy, rise from this chaos and be at peace?
+Not till some great political Messiah should
+draw his sword. With no base love of pelf or
+thirst for land, but fed with wisdom, love, and
+virtue, he should exalt the humbled Italy and
+drive away her foes. Like a noble hound, he
+should chase the insatiable wolf of Roman<span class="pagenum"><a name="Page_36" id="Page_36">[Pg 36]</a></span>
+greed from city to city back to the Hell from
+which it came.<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p>
+
+<p>Dante's hope in this political Messiah rose
+and fell, but never died in his heart. Now
+with the gospel of Messianic peace, now with
+the denunciation of Messianic judgment on his
+lips, he poured out his lofty enthusiasm in those
+apostolic and prophetic letters, some few of
+which survive amidst the wrecks of time as
+records of his changing moods and his unchanging
+purposes.</p>
+
+<p>Now one and now another of the Ghibelline
+leaders may have seemed to Dante from time
+to time to be the hero, the Messiah, for whom
+he waited. But again and yet again his hopes
+were crushed and blighted, and the panther, the
+lion, and the wolf still cut off the approach to
+that fair land.</p>
+
+<p>More than once the poet's hopes must have
+hung upon the fortunes of the mighty warrior
+Uguccione, whose prodigies of valour rivalled the
+fabled deeds of the knights of story. To this man
+Dante was bound by ties of closest friendship;
+to him he dedicated the Inferno, the first cantica<span class="pagenum"><a name="Page_37" id="Page_37">[Pg 37]</a></span>
+of his Comedy, and he may possibly have been
+that hero ''twixt the two Feltros born'<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a> to whom
+Dante first looked to slay the wolf of Rome.</p>
+
+<p>Far higher probably, and certainly far
+better grounded, were the poet's hopes when
+Henry VII. of Germany descended into Italy
+to bring order into her troubled states. To
+Dante, as we have seen, the Emperor was
+Emperor of Rome and not of Germany. He
+was C�sar's successor, the natural representative
+of Italian unity, the Divinely appointed
+guardian of civil order. With what passionate
+yearning Dante looked across the Alps for a
+deliverer, how large a part of the woes of Italy
+he laid at the feet of Imperial neglect, may be
+gathered from many passages in his several
+works; but nowhere do these thoughts find
+stronger utterance than in the sixth canto of
+the Purgatory. The poet sees the shades of
+Virgil and the troubadour Sordello join in a
+loving embrace at the bare mention of the name
+of Mantua, where both of them were born.
+'O Italy!' he cries, 'thou slave! thou hostelry
+of woe! Ship without helmsman, in the<span class="pagenum"><a name="Page_38" id="Page_38">[Pg 38]</a></span>
+tempest rude! No queen of provinces, but
+house of shame! See how that gentle soul,
+e'en at the sweet sound of his country's name,
+was prompt to greet his fellow-citizen. Then
+see thy living sons, how one with other ever is at
+war, and whom the self-same wall and moat
+begird, gnaw at each other's lives. Search,
+wretched one, along thy sea-bound coasts, then
+inward turn to thine own breast, and see if
+any part of thee rejoice in peace. Of what
+avail Justinian's curb of law, with none to
+stride the saddle of command, except to
+shame thee more? Alas! ye priests, who
+should be at your prayers, leaving to C�sar the
+high seat of rule, did ye read well the word of
+God to you, see ye not how the steed grows
+wild and fell by long exemption from the
+chastening spur, since that ye placed your hands
+upon the rein? O German Albert! who abandonest,
+wild and untamed, the steed thou
+should'st bestride, may the just sentence from
+the stars above fall on thy race in dire and
+open guise, that he who follows thee may see
+and fear. For, drawn by lust of conquest
+otherwhere, thou and thy sire, the garden of the<span class="pagenum"><a name="Page_39" id="Page_39">[Pg 39]</a></span>
+empire have ye left a prey to desolation.
+Come, thou insensate one, and see the Montagues
+and Capulets, Monaldi, Philippeschi, for
+all whom the past has sadness or the future fear.
+Come, come, thou cruel one, and see oppression
+trampling on thy faithful ones, and heal their
+ills.... Come thou, and see thy Rome,
+who weeps for thee, a lonely widow crying day
+and night, "My C�sar, wherefore hast thou left
+me thus?" Come, see how love here governs
+every heart! Or if our sorrows move thee not
+at all, blush for thine own fair fame.&mdash;Nay,
+let me say it: O Thou God Most High, Thou
+Who wast crucified for us on earth, are Thy just
+eyes turned otherwhither now? Or in the
+depth of counsel dost Thou work for some good
+end, clean cut off from our ken? For all
+Italia's lands are full of tyrants, and every hind&mdash;so
+he be factious&mdash;grows Marcellus-high.'<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a></p>
+
+<p>Such was the cry for deliverance which went
+up from Dante's heart to the Emperor. Picture
+his hopes when Henry VII. came with the blessing
+of the Pope, who had had more than his fill
+of French influence at last, to bring peace and<span class="pagenum"><a name="Page_40" id="Page_40">[Pg 40]</a></span>
+order into Italy; picture the exultation with
+which he learnt alike from Henry's deeds and
+words that he was just, impartial, generous, and
+came not as a tyrant, not as a party leader,
+but as a firm and upright ruler to restore prosperity
+and peace; picture his indignation when
+the incurable factiousness and jealousies of the
+Italian cities, and of Florence most of all,
+thwarted the Emperor at every step; picture the
+bitterness of his grief when, after struggling nigh
+three years in vain, Henry fell sick, and died at
+Buonconvento. In Paradise the poet saw the
+place assigned to 'Henry's lofty soul&mdash;his who
+should come to make the crooked straight, ere
+Italy was ready for his hand;' but the dream of
+his throne on earth was broken for ever.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a></p>
+
+<p>Henry died in 1313. This blow was followed
+by the fall of Uguccione when he seemed
+almost on the point of realising some of Dante's
+dearest hopes. The poet and the warrior alike
+found refuge at Verona now, with Can Grande
+della Scala, to whom Dante dedicated the third
+cantica of his Comedy, the Paradise.<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a> Did the<span class="pagenum"><a name="Page_41" id="Page_41">[Pg 41]</a></span>
+exile's hopes revive again at the Court of Verona?
+Did the gallant and generous young soldier
+whose gracious and delicate hospitality called
+out such warm affection from his heart,<a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> seem
+worthy to accomplish that great mission in which
+Uguccione and Henry had failed? It is more
+than probable that such thoughts found room in
+Dante's sorrow-laden heart. And yet we cannot
+but suppose that while his certainty remained
+unshaken that in God's good time the deliverer
+would come, yet the hopes which centred in any
+single man must have had less and less assurance
+in them as disappointment after disappointment
+came.</p>
+
+<p>Be this as it may, near the close of his life
+Dante was still able to make Beatrice testify of
+him in the courts of Heaven: 'Church militant
+has not a son stronger in hope than he. God
+knows it.'<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a> Simple as these words are, yet by
+him who has scanned Dante's features and pondered
+on his life, they may well be numbered
+amongst those moving and strengthening human
+utterances that ring like a trumpet through the
+ages and call the soul to arms.<span class="pagenum"><a name="Page_42" id="Page_42">[Pg 42]</a></span></p>
+
+<p>But were Dante's hopes all concentrated on
+the advent of that political Messiah who was
+not to come in truth till our own day? Had
+it been so, the 'Divine Comedy' would never
+have been born.</p>
+
+<p>When Dante realised his own helplessness
+in the struggle against the panther of Florence,
+the lion of France, and the wolf of Rome, when
+he saw that to reorganise his country and remodel
+the social and political conditions of life
+would need the strong hand and the keen sword
+of some great hero raised by God, he also saw
+that for himself another way was opened, an
+escape from that wild forest into which his feet
+had strayed, an escape which it must be the
+task of his life to point out to others, without
+which the very work of the hero for whom he
+looked would be in vain.</p>
+
+<p>The deadly forest represented moral as well
+as political confusion; the sunlit mountain, moral
+as well as political order; and the beasts that cut
+off the ascent, moral as well as political foes to
+human progress.</p>
+
+<p>From this moral chaos there was deliverance
+for every faithful soul, despite the lion and the<span class="pagenum"><a name="Page_43" id="Page_43">[Pg 43]</a></span>
+wolf; and though the noble hound came not to
+chase the foul beasts back to Hell, yet was
+Dante led from the forest gloom even to the
+light of Heaven.</p>
+
+<p>And how was he delivered? By Divine
+grace he saw Hell and Purgatory and Heaven&mdash;so
+was he delivered. He saw the souls of
+men stripped of every disguise, he saw their
+secret deeds of good or ill laid bare. He
+saw Popes and Emperors, ancient heroes and
+modern sages, the rich, the valiant, the noble,
+the fair of face, the sweet of voice; and no longer
+dazzled, no longer overawed, he saw them as
+they were, he saw their deeds, he saw the fruits
+of them. So was he delivered from the entanglements
+and perplexities, from the delusions
+and seductions of the world, so were his feet set
+upon the rock, so did he learn to sift the true
+from the false, to rise above all things base, and
+set his soul at peace, even when sorrow was
+gnawing his heart to death. He, while yet
+clothed in flesh and blood, went amongst the
+souls of the departed, 'heard the despairing
+shrieks of spirits long immersed in woe, who
+wept each one the second death; saw suffering<span class="pagenum"><a name="Page_44" id="Page_44">[Pg 44]</a></span>
+souls contented in the flames, for each one
+looked to reach the realms of bliss, though long
+should be the time,' and lastly he saw the souls
+in Heaven, and gazed upon the very light of
+God.<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a></p>
+
+<p>All this he saw and heard under the guidance
+of human and Divine philosophy, symbolised,
+or rather concentrated and personified, in Virgil
+and Beatrice.</p>
+
+<p>Of Virgil, and the unique position assigned
+to him in the Middle Ages, it is impossible here
+to speak at length. Almost from the first publication
+of the �neid, and down to the time
+when the revival of learning reopened the treasures
+of Greek literature to Western Europe,
+Virgil reigned in the Latin countries supreme
+and unchallenged over the domain of poetry
+and scholarship. Within two generations of his
+own lifetime, altars were raised to him, by enthusiastic
+disciples, as to a deity. When Christianity
+spread, his supposed prediction of Christ
+in one of the Eclogues endowed him with the
+character of a prophet; and a magic efficacy
+had already been attributed to verses taken<span class="pagenum"><a name="Page_45" id="Page_45">[Pg 45]</a></span>
+from his works. Throughout the Middle Ages,
+his fame still grew as the supreme arbiter in
+every field of literature, and as the repositary
+of more than human knowledge, while fantastic
+legends clustered round his name as the great
+magician and necromancer. To Dante there
+must also have been a special fascination in the
+Imperial scope and sympathies of the �neid;
+for Virgil is pre-eminently the poet of the Roman
+Empire. But we must not pause to follow out
+this subject here. Suffice it that Dante felt for
+Virgil a reverence so deep, an admiration so
+boundless, and an affection so glowing, that he
+became to him the very type of human wisdom
+and excellence, the first agent of his rescue
+from the maze of passion and error in which his
+life had been entangled.</p>
+
+<p>But Beatrice, the loved and lost, was the
+symbol and the channel of a higher wisdom, a
+diviner grace. She it was round whose sweet
+memory gathered the noblest purposes and truest
+wisdom of the poet's life. If ever he suffered
+the intensity of his devotion to truth and virtue
+for a moment to relax; if ever, as he passed
+amongst luxurious courts, some siren voice<span class="pagenum"><a name="Page_46" id="Page_46">[Pg 46]</a></span>
+soothed his cares with a moment of unworthy
+forgetfulness and ignoble ease; if ever he
+suffered meaner cares or projects to draw him
+aside so much as in thought from his great
+mission, then it was Beatrice's glorified image
+that recalled him in tears of bitter shame and
+penitence to the path of pain, of effort, and of
+glory. It was her love that had rescued him
+from the fatal path; Virgil was but her agent
+and emissary, and his mission was complete
+when he had led him to her. Human wisdom
+and virtue could guide him through Hell and
+Purgatory, could show him the misery of sin,
+and the need of purifying pain and fire, but it
+was only in Beatrice's presence that he could
+<i>feel</i> the utter hatefulness and shame of an
+unworthy life, could <i>feel</i> the blessedness of
+Heaven.<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a></p>
+
+<p>Under the guidance of Virgil and Beatrice,
+then, Dante had seen Hell and Purgatory and
+Heaven. This had snatched his soul from
+death, had taught him, even in the midst of the
+moral and political chaos of his age, how to live<span class="pagenum"><a name="Page_47" id="Page_47">[Pg 47]</a></span>
+and after what to strive. Could he show others
+what he himself had seen? Could he save
+them, as he was saved, from the meanness,
+from the blindness, from the delusions of the
+life they led? He could. Though it should be
+the toil of long and painful years, yet in the
+passionate conviction of his own experience he
+felt the power in him of making real to others
+what was so intensely real to him. But what did
+this involve? The truth if wholesome was yet
+hard. He had dear and honoured friends whose
+lives had been stained by unrepented sin, and
+whose souls he had seen in Hell. Was he to
+cry aloud to all the world that these loved ones
+were amongst the damned, instead of tenderly
+hiding their infirmities? Again, he was poor
+and an exile, he had lost 'all things most dear,'
+and was dependent for his very bread on the grace
+and favour of the great; yet if he told the world
+what he had seen, a storm of resentful hatred
+would crash upon him from every region of
+Italy. How would proud dames and lords
+brook to be told of their dead associates in sin
+and shame cursing their names from the very
+depths of Hell, and looking for their speedy<span class="pagenum"><a name="Page_48" id="Page_48">[Pg 48]</a></span>
+advent there? How would pope and cardinal
+and monarch brook to be told by the powerless
+exile what he had heard from souls in Heaven,
+in Purgatory, and in Hell? E'en let them brook
+it as they might. His cry should be like the
+tempest that sweeps down upon the loftiest
+forest trees, but leaves the brushwood undisturbed.
+The mightiest in the land should hear
+his voice, and henceforth none should think that
+loftiness of place or birth could shield the criminal.
+He would tell in utter truth what he had
+seen. He knew that power was in him to
+brand the infamous with infamy that none
+could wash away, to rescue the fair memory of
+those the world had wrongfully condemned, to
+say what none but he dare say, in verse which
+none but he could forge, and bring all those
+who hearkened through Hell and Purgatory
+into Heaven.<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p>
+
+<p>To deliver this message was the work of his
+life, the end to which all his studies were directed,
+from the time of his exile to that of his death.
+Hence his studious labours came to have a
+representative and vicarious character in his<span class="pagenum"><a name="Page_49" id="Page_49">[Pg 49]</a></span>
+mind. He was proudly conscious that he lived
+and worked for mankind, and that his toil deserved
+the grateful recognition of his city and
+his country.</p>
+
+<p>This trait of his character comes out with
+striking force in the noble letter which he wrote
+in answer to the proffered permission to return
+to his beloved Florence, but upon disgraceful
+conditions which he could not accept. The
+offer came when his fortunes were at their lowest
+ebb. Henry VII. was dead, Uguccione had lost
+his power. All hope of the exile's returning in
+triumph seemed at an end. Then came the
+offer of a pardon and recall, for which he had
+longed with all the passionate intensity of his
+nature. And yet it was but a mockery. It was
+a custom in Florence upon the Day of St. John
+the Baptist, the patron saint of the city, to release
+certain malefactors from the public gaols
+on their performing set acts of contrition; and
+a decree was passed that all the political exiles
+might return to their home on St. John's Day in
+1317 if they would pay a sum of money, walk in
+procession, with tapers in their hands and with
+other tokens of guilt and penitence, to the<span class="pagenum"><a name="Page_50" id="Page_50">[Pg 50]</a></span>
+church, and there offer themselves as ransomed
+malefactors to the saint.</p>
+
+<p>Many of the exiles accepted the terms, but
+Dante's proud and indignant refusal shows us a
+spirit unbroken by disappointment and disaster,
+scorning to purchase ease by degradation. 'Is
+this,' he cries to the friend who communicated
+to him the conditions upon which he might
+return, 'is this the glorious recall by which
+Dante Alighieri is summoned back to his country
+after well-nigh fifteen years of exile? Is
+this what innocence well known to all, is this
+what the heavy toil of unbroken study, has
+deserved? Far be it from him who walks as
+her familiar with Philosophy to stoop to the base
+grovelling of a soul of clay and suffer himself
+thus to be treated like a vile malefactor. Far
+be it from the preacher of justice, when suffering
+outrage, to pay the acknowledgment of fair
+desert to the outrageous.</p>
+
+<p>'Not by this path can I return. But let a
+way be found that hurts not Dante's honour
+and fair fame, and I will tread it with no tardy
+feet. If no such road leads back to Florence,
+then will I never enter Florence more. What!<span class="pagenum"><a name="Page_51" id="Page_51">[Pg 51]</a></span>
+can I not gaze, wherever I may be, upon the
+spectacle of sun and stars? Can I not ponder on
+the sweetest truths in any region under heaven,
+but I must first make myself base and vile
+before the people of the State of Florence?'<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p>
+
+<p>Such was the answer of Dante Alighieri to
+that cruel insult which makes our cheeks glow
+even now with indignation. Such was the
+temper of the man who had seen Hell and
+Purgatory and Heaven, and who shrank not
+from the utterance of all that he had seen.</p>
+
+<hr style="width: 45%;" />
+
+<p>Dante must now have been engaged in writing
+the Paradise. Amongst the sufferings and
+burdens which were fast drawing him to the
+grave, amongst the agonies of indignation, of
+regret, of hope, of disappointment which still
+wracked his soul, the deep peace of God had
+come upon him; beneath a storm of passion at
+which our hearts quail was a calm of trustful
+self-surrender which no earthly power could
+disturb; for the harmonies of Paradise swelled
+in the poet's heart and sought for utterance in
+these last years.<span class="pagenum"><a name="Page_52" id="Page_52">[Pg 52]</a></span></p>
+
+<p>But though his spirit was thus rapt to Heaven,
+he never lost his hold upon the earth;
+never disdained to toil as best he might for the
+immediate instruction or well-being of his kind.
+More than once his eloquence and skill enabled
+him to render signal service to his protectors
+in conducting delicate negotiations, and at the
+same time to further that cause of Italian unity
+which was ever near his heart. Nor did the
+progress of his great work, the Comedy, withhold
+him from a varied subsidiary activity as a
+poet, a moralist, and a student of language
+and science.</p>
+
+<p>One characteristic example of this by-work
+must suffice. In the last year but one of his life
+when he must have been meditating the last,
+perhaps the sublimest, cantos of the Paradise,
+when he might well have been excused if he had
+ceased to concern himself with any of the lower
+grades of truth, he heard a certain question of
+physics discussed and re-discussed, and never
+decided because of the specious but sophistical
+arguments which were allowed to veil it in
+doubt. The question was whether some portions
+of the sea are or are not at a higher<span class="pagenum"><a name="Page_53" id="Page_53">[Pg 53]</a></span>
+level than some portions of the land; and Dante,
+'nursed from his boyhood in the love of truth,'
+as he says, 'could not endure to leave the question
+unresolved, and determined to demonstrate
+the facts and to refute the arguments alleged
+against them.'<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> Accordingly he defended his
+thesis on a Sunday in one of the churches of
+Verona under the presidency of Can Grande.</p>
+
+<p>This essay is a model of close reasoning and
+sound scientific method, and the average nineteenth
+century reader, with the average contempt
+for fourteenth century science, would find much
+to reflect upon should he read and understand
+it. The vague and inconclusive style of reasoning
+against which Dante contends is still rampant
+everywhere, though its forms have changed;
+while the firm grasp of scientific method and
+the incisive reasoning of Dante himself are still
+the exception in spite of all our modern training
+in research.</p>
+
+<p>Thus Dante was engaged to the last upon
+the whole field of human thought. Such was
+the scope and power of his mind that he could
+embrace at the same moment the very opposite<span class="pagenum"><a name="Page_54" id="Page_54">[Pg 54]</a></span>
+poles of speculation; and such was his passion
+for truth that, when gazing upon the very
+presence of God, he could not bear to leave men
+in error when he could set them right, though it
+were but as to the level of the land and sea.</p>
+
+<hr style="width: 45%;" />
+
+<p>But we must hasten to a close. Let us turn
+from the consideration of Dante's work to a
+picture of personal character drawn by his own
+hand. It is his ideal of a life inspired by that
+'gentleness' for which, since the days of chivalry,
+we have had no precise equivalent in language,
+and which is itself too rare in every age.</p>
+
+<div class="poem"><div class="stanza">
+<span class="i0">The soul that this celestial grace adorns<br /></span>
+<span class="i2">In secret holds it not;<br /></span>
+<span class="i2">For from the first, when she the body weds,<br /></span>
+<span class="i2">She shows it, until death:<br /></span>
+<span class="i2">Gentle, obedient, and alive to shame,<br /></span>
+<span class="i2">Is seen in her first age,<br /></span>
+<span class="i2">Adding a comely beauty to the frame,<br /></span>
+<span class="i2">With all accomplishments:<br /></span>
+<span class="i2">In youth is temperate and resolute,<br /></span>
+<span class="i2">Replete with love and praise of courtesy,<br /></span>
+<span class="i2">Placing in loyalty her sole delight:<br /></span>
+<span class="i2">And in declining age<br /></span>
+<span class="i2">Is prudent, just, and for her bounty known;<br /></span>
+<span class="i2">And joys within herself<br /></span>
+<span class="i2">To listen and discourse for others' good:<br /></span>
+<span class="i2">Then in the fourth remaining part of life</span><span class="pagenum"><a name="Page_55" id="Page_55">[Pg 55]</a></span><br />
+<span class="i2">To God is re-espoused,<br /></span>
+<span class="i2">Contemplating the end that draws a-nigh,<br /></span>
+<span class="i2">And blesseth all the seasons that are past:<br /></span>
+<span class="i2">&mdash;Reflect now, how the many are deceived!<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a><br /></span>
+</div></div>
+
+<p>Cherishing such an ideal, Dante wandered
+from court to court of Italy, finding here and
+there a heart of gold, but for the most part
+moving amongst those to whom grace and purity
+and justice were but names. Can we wonder
+that sometimes the lonely exile felt as if his own
+sorrow-laden heart were the sole refuge upon
+earth of love and temperance?</p>
+
+<p>Three noble dames, he tells us&mdash;noble in
+themselves but in nought else, for their garments
+were tattered, their feet unshod, their hair dishevelled,
+and their faces stained with tears&mdash;came
+and flung themselves at the portal of his
+heart, for they knew that Love was there. Moved
+with deep pity, Love came forth to ask them of
+their state. They were Rectitude, Temperance,
+and Generosity, once honoured by the world, now
+driven out in want and shame, and they came
+there for refuge in their woe. Then Love, with
+moistened eyes, bade them lift up their heads.<span class="pagenum"><a name="Page_56" id="Page_56">[Pg 56]</a></span>
+If they were driven begging through the world,
+it was for men to weep and wail whose lives
+had fallen in such evil times; but not for them,
+hewn from the eternal rock&mdash;it was not for them
+to grieve. A race of men would surely rise
+at last whose hearts would turn to them again.
+And hearing thus how exiles great as these were
+grieved and comforted, the lonely poet thought
+his banishment his glory.</p>
+
+<p>Yet when he looked for his sweet home and
+found it not, the agony that could not break
+his spirit fast destroyed his flesh, and he knew
+that death had laid the key upon his bosom.<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p>
+
+<p>When this sublime and touching poem was
+composed we have no means of knowing, but it
+can hardly have been long before the end.
+When that end came, Dante can barely have
+completed his great life work, he can barely have
+written the last lines of the 'Divine Comedy.'
+He had been on an unsuccessful mission in the
+service of his last protector, Guido da Polenta
+of Ravenna. On his return he was seized with
+a fatal illness, and died at Ravenna in 1321, at
+the age of fifty-six.<span class="pagenum"><a name="Page_57" id="Page_57">[Pg 57]</a></span></p>
+
+<p>Who can grudge him his rest? As we read the
+four tracts of the 'Convito,' which were to have
+been the first of fourteen, but must now remain
+alone, as we are brought to a sudden stand at
+the abrupt termination of his unfinished work
+on the dialects and poetry of Italy,<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a> as we ponder
+on the unexhausted treasures that still lay in
+the soul of him who could write as Dante wrote
+even to the end, we can hardly suppress a sigh
+to think that our loss purchased his rest so soon.
+But his great work was done; he had told his
+vision, that men might go with him to Hell, to
+Purgatory, and to Heaven, and be saved from all
+things base. Then his weary head was laid down
+in peace, and his exile was at an end. 'That fair
+fold in which, a lamb, he lay'<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a> was never opened
+to him again, but he went home, and the blessings
+of the pure in heart and strong in love go
+with him.</p>
+
+<hr style="width: 45%;" />
+
+<p>The thoughts with which we turn from the
+contemplation of Dante's life and work find utterance
+in the lines of Michael Angelo. 'The works
+of Dante were unrecognised, and his high purpose,<span class="pagenum"><a name="Page_58" id="Page_58">[Pg 58]</a></span>
+by the ungrateful folk whose blessing rests
+on all&mdash;except the just. Yet would his fate
+were mine! For his drear exile, with his virtue
+linked, glad would I change the fairest state on
+earth.'</p>
+
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> See Symonds, p. 186.</p></div>
+
+<div class="footnote"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> See <i>Inferno</i>, i. 1-111.</p></div>
+
+<div class="footnote"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> <i>Inferno</i>, i. 105.</p></div>
+
+<div class="footnote"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> <i>Purgatorio</i>, vi. 76-126.</p></div>
+
+<div class="footnote"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> See especially Epistol� v-vii.; <i>Paradiso</i>, xxx. 133-138.</p></div>
+
+<div class="footnote"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> See Epistola xi.</p></div>
+
+<div class="footnote"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> <i>Paradiso</i>, xvii. 70-93.</p></div>
+
+<div class="footnote"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> <i>Ibid.</i> xxv. 52-54.</p></div>
+
+<div class="footnote"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> <i>Inferno</i>, i. 112-129.</p></div>
+
+<div class="footnote"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> <i>Inferno</i>, i. 121-123, ii. 52-142; <i>Purgatorio</i>, xxx. sqq.;
+<i>Paradiso</i>, passim.</p></div>
+
+<div class="footnote"><p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> <i>Paradiso</i>, xvii. 103-142.</p></div>
+
+<div class="footnote"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> Epistola x.</p></div>
+
+<div class="footnote"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> <i>Qu�stio de Aqua et Terra</i>, � 1.</p></div>
+
+<div class="footnote"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> Canzone xvi., 'Le dolci rime,' st. vii. See <i>Convito</i>, trat. iv.
+Translation slightly altered from Lyell.</p></div>
+
+<div class="footnote"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> Canzone xix., 'Tre donne.'</p></div>
+
+<div class="footnote"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> <i>De Vulgari Eloquio.</i></p></div>
+
+<div class="footnote"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> <i>Paradiso</i>, xxv. 5.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_59" id="Page_59">[Pg 59]</a></span></p>
+
+<h2>III<br />
+<br />
+HELL<br />
+</h2>
+
+<p><span class="pagenum"><a name="Page_61" id="Page_61">[Pg 61]</a></span></p>
+<p>The first cantica of the 'Divine Comedy'&mdash;the
+Inferno or Hell&mdash;is the best known of all
+Dante's works in prose or verse, in Latin or
+Italian; and though students of Dante may
+sometimes regret this fact, yet no one can be
+at a moment's loss to understand it.</p>
+
+<p>For the attributes of heart and brain requisite
+for some kind of appreciation of the Inferno are
+by many degrees more common than those to
+which the other works of Dante appeal. It is
+easy to imagine a reader who has not even
+begun truly to understand either the poet or the
+poem nevertheless rendering a sincere tribute of
+admiration to the colossal force of the Inferno,
+and feeling the weird spell of fascination and
+horror ever tightening its grasp on him as he
+descends from circle to circle of that starless
+realm.<span class="pagenum"><a name="Page_62" id="Page_62">[Pg 62]</a></span></p>
+
+<p>There is no mystery in the inveterate tendency
+to regard Dante as pre-eminently the poet
+of Hell. Nor is it a new phenomenon. Tradition
+tells of the women who shrank aside as Dante
+passed them by, and said one to another, shuddering
+as they spoke, 'See how his black hair
+crisped in the fire as he passed through Hell!'
+But no tradition tells of awe-struck passers-by
+who noted that the stains had been wiped from
+that clear brow in Purgatory, that the gleam of
+that pure and dauntless eye had been kindled
+in Heaven.</p>
+
+<p>The machinery of the Inferno, then, is moderately
+familiar to almost all. Dante, lost in the
+darksome forest, scared from the sunlit heights
+by the wild beasts that guard the mountain
+side, meets the shade of Virgil, sent to rescue
+him by Beatrice, and suffered by Omnipotence
+to leave for a time his abode in the limbo of
+the unbaptised, on this mission of redeeming
+love. Virgil guides Dante through the open
+gate of Hell, down through circle after circle of
+contracting span and increasing misery and sin,
+down to the central depth where the arch-rebel
+Satan champs in his triple jaws the arch-traitors<span class="pagenum"><a name="Page_63" id="Page_63">[Pg 63]</a></span>
+against Church and State, Judas Iscariot, and
+Brutus and Cassius.<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p>
+
+<p>Through all these circles Dante passes under
+Virgil's guidance. He sees and minutely describes
+the varying tortures apportioned to the
+varying guilt of the damned, and converses
+with the souls of many illustrious dead in
+torment.</p>
+
+<p>And is this the poem that has enthralled and
+still enthrals so many a heart? Are we to look
+for the strengthening, purifying, and uplifting of
+our lives, are we to look for the very soul of poetry
+in an almost unbroken series of descriptions,
+unequalled in their terrible vividness, of ghastly
+tortures, interspersed with tales of shame, of
+guilt, of misery? Even so. And we shall not
+look in vain.</p>
+
+<p>But let us listen first to Dante's own account
+of the subject-matter of his poem. Five words
+of his are better than a volume of the commentators.
+'The subject of the whole work, literally
+accepted,' he says, 'is the state of souls after
+death.... But if the work is taken allegorically
+the subject is <span class="smcap">Man</span>, as rendering himself liable,<span class="pagenum"><a name="Page_64" id="Page_64">[Pg 64]</a></span>
+by good or ill desert in the exercise of his free
+will, to rewarding or punishing justice.'<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a></p>
+
+<p>According to Dante, then, the real subject
+of the Inferno is 'Man, as rendered liable, by ill
+desert in the exercise of his free will, to punishing
+justice.' Surely a subject fraught with unutterable
+sadness, compassed by impenetrable
+mystery, but one which in the hands of a prophet
+may well be made to yield the bread of
+life; a subject fitly introduced by those few
+pregnant words, 'The day was going, and the
+dusky air gave respite to the animals that are
+on earth from all their toils; and I alone girt
+me in solitude to bear the strain both of the
+journey and the piteous sight, which memory
+that errs not shall retrace.'<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></p>
+
+<hr style="width: 45%;" />
+
+<p>Now if this be the true subject of the poem,
+it follows that all those physical horrors of
+which it seems almost to consist must be strictly
+subordinate to something else, must be part of
+the machinery or means by which the end of
+the poet is reached, but in no way the end
+itself.<span class="pagenum"><a name="Page_65" id="Page_65">[Pg 65]</a></span></p>
+
+<p>If the subject of the poem is a moral one,
+then the descriptions of physical torment and
+horror must never even for a moment overbalance
+or overwhelm the true 'motive' of the
+work, must never even for a moment so crush
+or deaden the feelings as to render them incapable
+of moral impressions, must never in a
+single instance leave a prevailingly physical
+impression upon the mind.</p>
+
+<p>And it is just herein that the transcendent
+power of the Inferno is displayed. Horrors
+which rise and ever rise in intensity till they
+culminate in some of the ghastliest scenes ever
+conceived by mortal brain are from first to last
+held under absolute control, are forced to support
+and intensify moral conceptions which in
+less mighty hands they would have numbed and
+deadened.</p>
+
+<p>Oh, the pity of this sin, the unutterable, indelible
+pity of it! Its wail can never be stilled
+in our hearts while thought and memory remain.
+The misery of some forms of sin, the foul
+shame of others, the vileness, the hatefulness,
+the hideous deformity of others yet&mdash;this, and
+not horror at the punishment of sin, is what<span class="pagenum"><a name="Page_66" id="Page_66">[Pg 66]</a></span>
+Dante stamps and brands upon our hearts as
+we descend with him towards the central depths,
+stamps and brands upon our hearts till the pity,
+the loathing, the horror can endure no more;&mdash;then
+in the very depth of Hell, at the core of
+the Universe, with one mighty strain that leaves
+us well-nigh spent, we turn upon that central
+point, and, leaving Hell beneath our feet, ascend
+by the narrow path at the antipodes.</p>
+
+<p>With the horror and the burden of the starless
+land far off, we lift up our eyes again to
+see the stars, and our souls are ready for the
+purifying sufferings of Purgatory.</p>
+
+<hr style="width: 45%;" />
+
+<p>Sometimes the tortures of the damned are
+a mere physical translation, so to speak, of their
+crimes. Thus the ruthless disseminators of
+strife and dissension who have torn asunder
+those who belonged one to another, those who
+had no proper existence apart from one another,
+are in their turn hewn and cleft by the avenging
+sword; and ever as their bodies reunite and their
+wounds are healed, the fierce blow falls again.
+Amongst them Dante sees the great troubadour
+Bertram de Born, who fostered the rebellion of<span class="pagenum"><a name="Page_67" id="Page_67">[Pg 67]</a></span>
+the sons of our own king Henry II. In that
+he made father and son each other's enemy, his
+head is severed from his trunk, his brain from
+its own root.<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></p>
+
+<p>In other cases a transparent metaphor or
+allegory dictates the form of punishment; as
+when the hypocrites crawl in utter weariness
+under the crushing weight of leaden garments,
+shaped like monkish cloaks and cowls, and all
+covered with shining gold outside.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> Or when
+the flatterers and sycophants wallow in filth
+which fitly symbolises their foul life on earth.<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a></p>
+
+<p>It is probable that some special significance
+and appropriateness might be traced in almost
+all the forms of punishment in Dante's Hell,
+though it is not always obvious. But one thing
+at least is obvious: the uniform congruousness of
+the impression which the physical and moral
+factors of each description combine to produce.
+In fact, the Inferno is an account of 'man, as deserving
+ill by the exercise of his free will,' in which
+all the external surroundings are brought into
+precise accord with the central conception. The<span class="pagenum"><a name="Page_68" id="Page_68">[Pg 68]</a></span>
+tortures are only the background; and as in the
+picture of a great artist, whether we can trace
+any special significance and appropriateness in
+the background or not, we always feel that it
+supports the true subject of the picture and
+never overpowers it, so it is here. Man as misusing
+his free will. This is the real subject of
+the Inferno. All else is accessory and subordinate.</p>
+
+<p>But if this be so, we should expect to
+find an endless variety and gradation, alike
+of guilt and punishment, as we pass through
+the circles of Hell. And so we do. At
+one moment indignation and reproof are all
+swallowed up in pity, and the suffering of the
+exiled soul only serves to quicken an infinite
+compassion in our hearts, a compassion not so
+much for the punishment of sin as for sin itself
+with its woeful loss and waste of the blessings
+and the holiness of life. At another moment
+we are brought face to face with a wretch whose
+tortures only serve to throw his vileness into
+sharper relief; and when we think of him and of
+his deeds, of him and of his victims, we can
+understand those awful words of Virgil's when<span class="pagenum"><a name="Page_69" id="Page_69">[Pg 69]</a></span>
+Dante weeps, 'Art thou too like the other fools?
+The death of pity is true pity here.'<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a> Infinite
+pity would indeed embrace the most abandoned,
+but it is only weak and misdirected pity that
+wakes or slumbers at the dictate of mere
+suffering.</p>
+
+<p>And as there is infinite variety of guilt and
+woe, so is there infinite variety of character in
+Dante's Hell. Though the poet condemns with
+sternest impartiality all who have died in unrepented
+sin, yet he recognises and honours the
+moral distinctions amongst them. What a difference,
+for instance, between the wild blaspheming
+robber Vanni Fucci,<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> and the defiant
+Capaneus,<a name="FNanchor_39_39" id="FNanchor_39_39"></a><a href="#Footnote_39_39" class="fnanchor">[39]</a> a prototype of Milton's Satan, the one
+incited by the bestial rage of reckless self-abandonment,
+the other by the proud self-reliance of a
+spirit that eternity cannot break&mdash;alike in their
+defiance of the Almighty, but how widely
+severed in the sources whence it springs.</p>
+
+<p>Look again where Jason strides. The
+wrongs he did Medea and Hypsipyle have condemned<span class="pagenum"><a name="Page_70" id="Page_70">[Pg 70]</a></span>
+him to the fierce lash under which his
+base companions shriek and fly; but he, still
+kingly in his mien, without a tear or cry bears
+his eternal pain.<a name="FNanchor_40_40" id="FNanchor_40_40"></a><a href="#Footnote_40_40" class="fnanchor">[40]</a></p>
+
+<p>See Farinata, the great Florentine&mdash;in his
+ever burning tomb he stands erect and proud, 'as
+holding Hell in great disdain;' tortured less by
+the flames than by the thought that the faction
+he opposed is now triumphant in his city; proud,
+even in Hell, to remember how once he stood
+alone between his country and destruction.<a name="FNanchor_41_41" id="FNanchor_41_41"></a><a href="#Footnote_41_41" class="fnanchor">[41]</a></p>
+
+<p>See again where Pietro delle Vigne, in the
+ghastly forest of suicides, longs with a passionate
+longing that his fidelity at that time when
+he 'held both the keys of the great Frederick's
+heart' should be vindicated upon earth from
+the unjust calumnies that drove him to self-slaughter.<a name="FNanchor_42_42" id="FNanchor_42_42"></a><a href="#Footnote_42_42" class="fnanchor">[42]</a></p>
+
+<p>And see where statesmen and soldiers of
+Florence, themselves condemned for foul and
+unrepented sin, still love the city in which they
+lived, still long to hear some good of her. As
+the flakes of fire fall 'like snow upon a windless<span class="pagenum"><a name="Page_71" id="Page_71">[Pg 71]</a></span>
+day' on their defenceless bodies, see with
+what dismay they gaze into one another's
+eyes when Dante brings ill news to them of
+Florence.<a name="FNanchor_43_43" id="FNanchor_43_43"></a><a href="#Footnote_43_43" class="fnanchor">[43]</a></p>
+
+<p>In a word, the souls in Hell are what they
+were on earth, no better and no worse. This is
+the key-note to the comprehension of the poem.
+No change has taken place; none are made
+rebels to God's will, and none are brought into
+submission to it, by their punishment; but all
+are as they were. Even amongst the vilest
+there is only the rejection of a thin disguise,
+no real increase of shamelessness. Many souls
+desire to escape notice and to conceal their
+crimes, just as they would have done on
+earth; many condemn their evil deeds and are
+ashamed of them, just as they would have
+been on earth; but there is no change of character,
+no infusion of a new spirit either for good
+or ill; with all their variety and complexity of
+character, the unrepentant sinners wake in Hell
+as they would wake on earth our mingled pity
+and horror, our mingled loathing and admiration.
+Man as misusing his free will, in all the<span class="pagenum"><a name="Page_72" id="Page_72">[Pg 72]</a></span>
+scope and variety of the infinite theme, is the
+subject of the poem.</p>
+
+<p>And this brings us to another consideration:
+the eternity of Dante's Hell. Those who know
+no other line of Dante, know the last verse of
+the inscription upon the gate of Hell: 'All hope
+relinquish, ye that enter here.' The whole inscription
+is as follows: 'Through me the way
+lies to the doleful city; through me the way
+lies to eternal pain; through me the way lies
+'mongst the people lost. 'Twas justice moved
+my Lofty Maker; Divine Power made me,
+Wisdom Supreme and Primal Love. Before
+me were no things created, save things eternal;
+and I, too, last eternal. All hope relinquish,
+ye that enter here.'<a name="FNanchor_44_44" id="FNanchor_44_44"></a><a href="#Footnote_44_44" class="fnanchor">[44]</a></p>
+
+<p>The gates of Hell reared by the Primal
+Love! If we believe in the eternity of sin and
+evil, the eternity of suffering and punishment
+follows of necessity. To be able to acquiesce
+in the one, but to shrink from the thought of
+the other, is sheer weakness. The eternity and
+hopelessness of Dante's Hell are the necessary
+corollaries of the impenitence of his sinners.<span class="pagenum"><a name="Page_73" id="Page_73">[Pg 73]</a></span>
+To his mind wisdom and love cannot exist
+without justice, and justice demands that eternal
+ill-desert shall reap eternal woe.</p>
+
+<p>But how could one who so well knew what
+an eternal Hell of sin and suffering meant,
+believe it to be founded on eternal love? Why
+did not Dante's heart in the very strength of
+that eternal love rebel against the hideous
+belief in eternal sin and punishment? I cannot
+answer the question I have asked. Dante
+believed in the Church, believed in the theology
+she taught, and could not have been what
+he was had he not done so. Had he rejected
+any of the cardinal beliefs of the Christianity of
+his age and rebelled against the Church, he
+might have been the herald of future reformations,
+but he could never have been the index
+and interpreter to remotest generations of that
+medi�val Catholic religion of which his poem is
+the very soul.</p>
+
+<p>Meanwhile note this, that if ever man realised
+the awful mystery and contradiction involved
+in the conception of a good God
+condemning the virtuous heathen to eternal
+exile, that man was Dante. If ever heart of<span class="pagenum"><a name="Page_74" id="Page_74">[Pg 74]</a></span>
+man was weighed down beneath the load of pity
+for the damned, that heart was Dante's. The
+virtuous heathen he places in the first round
+of Hell; here 'no plaint is to be heard except
+of sighs, which make the eternal air to tremble;'
+here, with no other torture than the death of
+hope without the death of longing, they live in
+neither joy nor sorrow, eternal exiles from the
+realms of bliss.<a name="FNanchor_45_45" id="FNanchor_45_45"></a><a href="#Footnote_45_45" class="fnanchor">[45]</a></p>
+
+<p>Dante, as we shall see hereafter, longed with
+a passionate thirsty longing to know how the
+Divine justice could thus condemn the innocent.
+But his thirst was never slaked. It was and
+remained an utter mystery to him; and there
+are few passages of deeper pathos than those
+in which he remembers that his beloved and
+honoured guide and master, even Virgil, the
+very type of human wisdom and excellence, was
+himself amongst these outcasts.<a name="FNanchor_46_46" id="FNanchor_46_46"></a><a href="#Footnote_46_46" class="fnanchor">[46]</a></p>
+
+<p>Again and again, as we pass with Dante
+through the circles of Hell, we feel that his
+yearning pity for the lost, racking his very soul
+and flinging him senseless to the ground for<span class="pagenum"><a name="Page_75" id="Page_75">[Pg 75]</a></span>
+misery, shows an awakening spirit which could
+not long exist in human hearts without teaching
+them that God's redeeming pity is greater and
+more patient than their own. So, too, when
+Francesca and Paolo, touched by Dante's pitying
+sympathy, exclaim, 'Oh, thou gracious being,
+if we were dear to God, how would we pray for
+thee!'<a name="FNanchor_47_47" id="FNanchor_47_47"></a><a href="#Footnote_47_47" class="fnanchor">[47]</a> who can help feeling that Dante was
+not far from the thought that all souls are dear
+to God?</p>
+
+<p>Meanwhile, how strong that faith which
+could lift up all this weight of mystery and woe,
+and still believe in the Highest Wisdom and the
+Primal Love! Only the man who knew the holiness
+of human life to the full as well as he knew
+its infamy, only the man who had seen Purgatory
+and Heaven, and who had actually felt the love
+of God, could know that with all its mystery
+and misery the universe was made not only by
+the Divine Power, but by the Supreme Wisdom
+and the Primal Love, could weave this Trinity
+of Power, Wisdom, Love, into the Unity of the
+all-sustaining God, who made both Heaven and
+Hell.<span class="pagenum"><a name="Page_76" id="Page_76">[Pg 76]</a></span></p>
+
+<p>And we still have to face the same insoluble
+mystery. The darker shade is indeed lifted
+from the picture upon which we gaze; we have
+no eternal Hell, no eternity of sin, to reckon
+with; but to us too comes the question, 'Can
+the world with all its sin and misery be built
+indeed upon the Primal Love?' And our answer
+too must be the answer not of knowledge
+but of faith. Only by making ourselves God's
+fellow workers till we <i>feel</i> that the Divine
+Power and the Primal Love are one, can we
+gain a faith that will sustain the mystery it
+cannot solve. Alas! how often our weaker
+faith fails in its lighter task, how often do we
+speak of sin and misery as though they were
+discoveries of yesterday that had brought new
+trials to our faith, unknown before; how often
+do we feel it hard to say even of earth what
+Dante in the might of his unshaken faith could
+say of Hell itself&mdash;that it is made by Power,
+Wisdom, Love!</p>
+
+<hr style="width: 45%;" />
+
+<p>But perhaps we have dwelt too long already
+on this topic, and in any case we must now
+hasten on. Dante's Hell, as we have seen, represents<span class="pagenum"><a name="Page_77" id="Page_77">[Pg 77]</a></span>
+sinful and impenitent humanity with all
+its fitting surroundings and accessories, cut off
+from everything that can distract the attention,
+confuse the moral impression, or alleviate its
+appalling strength. And as the magic power of
+his words, with the absolute sincerity and clearness
+of his own conceptions, forces us to realise
+the details of his vision as if we had trodden every
+step of the way with him, this result follows
+amongst others: that we realise, with a vividness
+that can never again grow dim, an existence without
+any one of those sweet surroundings and
+embellishments of human life which seem the fit
+support and reflection of purity and love.</p>
+
+<p>We have been in a land where none of the fair
+sounds or sights of nature have access, no flowers,
+no stars, no light, and if there are streams and
+hills there they are hideously transformed into
+instruments and emblems not of beauty but of
+horror. We are made to realise all this, and to
+feel that it is absolutely and eternally fitting as
+the abode of sin and of impenitence. And
+when once this association has been stamped
+upon our minds, the beauty and the sweetness
+of the world in which we live gain a new meaning<span class="pagenum"><a name="Page_78" id="Page_78">[Pg 78]</a></span>
+for us. They become the standing protest
+of all that is round us against every selfish, every
+sinful thought or deed; the standing appeal to
+us to bring our souls into sweet harmony with
+their surroundings, since God in His mercy
+brings not their surroundings into ghastly harmony
+with them.</p>
+
+<p>When we have been with the poor wretch,
+deep down in Hell, who gasps in his burning
+fever for 'the rivulets that from the green slopes
+of Casentino drop down into the Arno, freshening
+the soft, cool channels, where they glide,'<a name="FNanchor_48_48" id="FNanchor_48_48"></a><a href="#Footnote_48_48" class="fnanchor">[48]</a> and
+have realised that in that land there are not and
+ought not to be the cooling streams and verdant
+slopes of earth; we can never again enjoy the
+sweetness and the peace of nature without our
+hearts being consciously or unconsciously purified,
+without every evil thing in our lives feeling
+the rebuke.</p>
+
+<p>When we have known what it is to be in a
+starless land, and have felt how strange and
+incongruous the fair sights of Heaven would be,
+have felt that they would have no place or<span class="pagenum"><a name="Page_79" id="Page_79">[Pg 79]</a></span>
+meaning there, have felt that cheerless gloom
+alone befits the souls enveloped there, then
+when we leave the dreary realms, and once more
+gaze upon the heavens by night and day, they
+are more to us than they have ever been
+before, they are indeed what Dante so often
+calls them, using the language of the falconers,
+the <i>lure</i> by which God summons back our
+wayward souls from vain and mean pursuits.</p>
+
+<p>Look, again, upon this fearful picture. Dante
+and Virgil come to a black and muddy lake in
+which the passionate tear and smite one another
+in bestial rage; and all over its surface are
+bubbles rising up. They come from the cries
+of the morose and sullen ones 'who are fixed in
+the slime at the bottom of the lake. They cry:
+"Gloomy we were in the sweet air that the sun
+gladdens, bearing in our hearts the smoke of
+sullenness; now we are gloomy here in the
+black slime"&mdash;such is the strain that gurgles in
+their throats, but cannot find full utterance.'<a name="FNanchor_49_49" id="FNanchor_49_49"></a><a href="#Footnote_49_49" class="fnanchor">[49]</a>
+Who that has seen those bubbles rise upon
+the lake can ever suffer himself again to cherish<span class="pagenum"><a name="Page_80" id="Page_80">[Pg 80]</a></span>
+sullenness within his heart without feeling at the
+very instant the rebuke of the 'sweet air that
+the sun gladdens,' and thinking of that gurgling
+strain of misery?</p>
+
+<hr style="width: 45%;" />
+
+<p>Another of the lessons taught by the Inferno
+is, that no plea, however moving, can avail the
+sinner, or take away the sinfulness of sin, that
+no position can place him above punishment,
+that no authority can shield him from it.</p>
+
+<p>The guilty love of Francesca and Paolo, so
+strong, so deathless in that it was love, has sunk
+them to Hell instead of raising them to Heaven
+in that it was guilty. Stronger to make them
+one than Hell to sever them, it is powerless to
+redeem the sin to which it has allied itself, and
+its tenderness has but swelled the eternal anguish
+of those whom it still joins together, because it
+has suffered the sanctuary of life, which love
+is set to guard, to be polluted and betrayed.
+Sung in those strains of deathless tenderness
+and pity where 'tears seem to drop from the
+very words,' the story of this guilty love reveals
+the fatalest of all mischoice, and tells us that no
+passion, however wild in its intensity, however<span class="pagenum"><a name="Page_81" id="Page_81">[Pg 81]</a></span>
+innocent in its beginnings, however unpremeditated
+in its lawless outburst, however overmastering
+in its pleas, however loyal to itself in
+time and in eternity, may dare to raise itself
+above the laws of God and man, or claim immunity
+from its wretched consequences for those
+who are its slaves. How infinite the pity and
+the waste, how irreparable the loss, when the
+love that might have been an ornament to
+Heaven, adds to the unmeasured guilt and
+anguish of Hell a wail of more piercing sorrow
+than rings through all its lower depths!</p>
+
+<p>Nor could any height of place claim exemption
+from the moral law. Dante was a Catholic,
+and his reverence for the Papal Chair was deep.
+But against the faithless Popes he cherished a
+fiery indignation proportioned to his high estimate
+of the sacred office they abused. In one
+of the most fearful passages of the Inferno he
+describes, in terms that gain a terrible significance
+from one of the forms of criminal execution
+practised in his day, how he stood by a
+round hole in one of the circles of Hell, in which
+Pope Nicholas III. was thrust head foremost&mdash;stood
+like the confessor hearing the assassin's<span class="pagenum"><a name="Page_82" id="Page_82">[Pg 82]</a></span>
+final words, and heard the guilty story of Pope
+Nicholas.<a name="FNanchor_50_50" id="FNanchor_50_50"></a><a href="#Footnote_50_50" class="fnanchor">[50]</a></p>
+
+<p>It is characteristic of Dante that he tells
+us here, as if quite incidentally, that these holes
+were about the size of the baptising stands or
+fonts in the Church of San Giovanni, 'one of
+which,' says he, 'I broke not many years ago to
+save one who was drowning in it. Let this
+suffice to disabuse all men.' Evidently he had
+been taxed with sacrilege for saving the life
+of the drowning child at the expense of the
+sacred vessel, and it can hardly be an accident
+that he recalls this circumstance in the Hell of
+the sacrilegious Popes and Churchmen. These
+men, who had despised their sacred trust and
+turned it to basest trafficking, were the representatives
+of that hard system of soulless officialism
+that would pollute the holiest functions of
+the Church, while reverencing with superstitious
+scruple their outward symbols and instruments.</p>
+
+<p>And if the Papal office could not rescue the
+sinner that held it, neither could the Papal
+authority shield the sins of others. It is said
+that Catholics have not the keeping of their own<span class="pagenum"><a name="Page_83" id="Page_83">[Pg 83]</a></span>
+consciences. Dante at least thought they had.
+In the Hell of fraudulent counsellors, wrapped
+in a sheet of eternal flame one comes to him and
+cries, 'Grudge not to stay and speak with me a
+while. Behold, I grudge it not, although I burn.'
+It is Guido da Montefeltro, whose fame in council
+and in war had gone forth to the ends of the
+earth. All wiles and covert ways he knew, and
+there had ever been more of the fox than of the
+lion in him. But when he saw himself arriving
+at that age when every man should lower sails
+and gather in his ropes, then did he repent of all
+that once had pleased him, and girding him with
+the cord of St. Francis he became a monk.
+Alas! his penitence would have availed him well
+but for the Prince of the new Pharisees, Pope
+Boniface VIII., who was waging war with
+Christians that should have been his friends,
+hard by the Lateran. 'He demanded counsel of
+me,' continues Guido, 'but I kept silence, for his
+words seemed drunken. Then he said to me,
+"Let not thy heart misdoubt: henceforth do I
+absolve thee, but do thou teach me so to act
+that I may cast Prenestina to the ground.
+Heaven I can shut and open, as thou knowest."<span class="pagenum"><a name="Page_84" id="Page_84">[Pg 84]</a></span>
+... Then the weighty arguments impelled me
+to think silence worse than speech; and so I said,
+"Father, since thou dost cleanse me from that
+guilt wherein I now must fall, long promise and
+performance short will make thee triumph in thy
+lofty seat." Then when I died St. Francis came
+for me, but one of the black cherubim said to him:
+"Do me no wrong, nor take thou him away.
+He must come down amongst my menials, e'en
+for the fraudulent advice he gave, since when
+I have kept close upon his hair. He who repents
+not cannot be absolved, nor can one will
+the same thing he repents, the contradiction not
+permitting it." Ah wretched me! how did I
+shudder then, for he laid hold of me, and with
+the cry, "Haply thou knew'st not I was a
+logician?" bore me to judgment.'<a name="FNanchor_51_51" id="FNanchor_51_51"></a><a href="#Footnote_51_51" class="fnanchor">[51]</a></p>
+
+<p>Who can fail to recognise the utter truth of
+Dante's teaching here? What can stand between
+a man's own conscience and his duty? Though
+the very symbol and mouthpiece of the collective
+wisdom and piety of Christendom should
+hold the shield of authority before the culprit,
+yet it cannot ward off the judgment for one<span class="pagenum"><a name="Page_85" id="Page_85">[Pg 85]</a></span>
+single deed done in violation of personal moral
+conviction. When once we have realised the
+meaning of this awful passage, how can we ever
+urge again as an excuse for unfaithfulness to
+our own consciences, that the assurance of those
+we loved and reverenced overcame our scruples?
+Here as everywhere Dante strips sin of every
+specious and distracting circumstance, and shows
+it to us where it ought to be&mdash;in Hell.</p>
+
+<p>Contrast with the scene we have just looked
+upon the companion picture from the Purgatory;
+where Buonconte di Montefeltro tells how he
+fled on foot from the battle-field of Campaldino,
+his throat pierced with a mortal wound ensanguining
+the earth. Where Archiano falls into the
+Arno there darkness came upon him, and he fell
+crossing his arms upon his breast and calling on
+the name of Mary with his last breath. 'Then,'
+he continues, 'God's angel came and took me,
+and Hell's angel shrieked, "O thou of Heaven,
+wherefore dost thou rob me? Thou bear'st
+with thee the eternal part of him, all for one
+wretched tear which saves it from me. But
+with the other part of him I'll deal in other
+fashion."' Upon which the infuriated demon<span class="pagenum"><a name="Page_86" id="Page_86">[Pg 86]</a></span>
+swells the torrent with rain, sweeps the warrior's
+body from the bank, dashes away the hateful
+cross into which its arms are folded, and in
+impotent rage rolls it along the river bed and
+buries it in slime so that men never see it more;
+but the soul is meanwhile saved.<a name="FNanchor_52_52" id="FNanchor_52_52"></a><a href="#Footnote_52_52" class="fnanchor">[52]</a></p>
+
+<hr style="width: 45%;" />
+
+<p>Here we must pause. I have made no
+attempt to give a systematic account of the
+Inferno, still less to select the finest passages
+from it. I have only tried to interpret some of
+the leading thoughts which run through it, some
+of the deep lessons which it can hardly fail to
+teach the reader.</p>
+
+<p>Like all great works, the Inferno should be
+studied both in detail and as a whole in order
+to be rightly understood; and when we understand
+it, even partially, when we have been with
+Dante down through all the circles to that central
+lake of ice in which all humanity seems
+frozen out of the base traitors who showed no
+humanity on earth, when we have faced the icy
+breath of the eternal air winnowed by Satan's
+wings, and have been numbed to every thought<span class="pagenum"><a name="Page_87" id="Page_87">[Pg 87]</a></span>
+and feeling except one&mdash;one which has been
+burned and frozen into our hearts through all
+those rounds of shame and woe&mdash;the thought of
+the pity, the misery, the hatefulness of sin;
+then, but then only, we shall be ready to
+understand the Purgatory, shall know something
+of what the last lines of the Inferno
+meant to Dante: 'We mounted up, he first
+and second I, until through a round opening
+I saw some of those beauteous things that
+Heaven bears; and thence we issued forth again
+to see the stars.'<a name="FNanchor_53_53" id="FNanchor_53_53"></a><a href="#Footnote_53_53" class="fnanchor">[53]</a></p>
+
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> Compare pp. 21-23.</p></div>
+
+<div class="footnote"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> Epistola xi. � 8.</p></div>
+
+<div class="footnote"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> <i>Inferno</i>, ii. 1-6.</p></div>
+
+<div class="footnote"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> <i>Inferno</i>, xxviii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> <i>Ibid.</i> xxiii. 58 sqq.</p></div>
+
+<div class="footnote"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> <i>Ibid.</i> xviii. 103-136.</p></div>
+
+<div class="footnote"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> <i>Inferno</i>, xx. 27, 28: 'Qui vive la piet� quand' � ben morta.'
+The double force of piet�, 'pi[e]ty,' is lost in the translation.</p></div>
+
+<div class="footnote"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> <i>Ibid.</i> xxiv. 112-xxv. 9 &amp;c.</p></div>
+
+<div class="footnote"><p><a name="Footnote_39_39" id="Footnote_39_39"></a><a href="#FNanchor_39_39"><span class="label">[39]</span></a> <i>Ibid.</i> xiv. 43-66.</p></div>
+
+<div class="footnote"><p><a name="Footnote_40_40" id="Footnote_40_40"></a><a href="#FNanchor_40_40"><span class="label">[40]</span></a> <i>Inferno</i>, xviii. 82-96.</p></div>
+
+<div class="footnote"><p><a name="Footnote_41_41" id="Footnote_41_41"></a><a href="#FNanchor_41_41"><span class="label">[41]</span></a> <i>Ibid.</i> x. 22-93.</p></div>
+
+<div class="footnote"><p><a name="Footnote_42_42" id="Footnote_42_42"></a><a href="#FNanchor_42_42"><span class="label">[42]</span></a> <i>Ibid.</i> xiii. 55-78.</p></div>
+
+<div class="footnote"><p><a name="Footnote_43_43" id="Footnote_43_43"></a><a href="#FNanchor_43_43"><span class="label">[43]</span></a> <i>Inferno</i>, xvi. 64-85.</p></div>
+
+<div class="footnote"><p><a name="Footnote_44_44" id="Footnote_44_44"></a><a href="#FNanchor_44_44"><span class="label">[44]</span></a> <i>Inferno</i>, iii. 1-9.</p></div>
+
+<div class="footnote"><p><a name="Footnote_45_45" id="Footnote_45_45"></a><a href="#FNanchor_45_45"><span class="label">[45]</span></a> <i>Inferno</i>, iv. 23-45, 84.</p></div>
+
+<div class="footnote"><p><a name="Footnote_46_46" id="Footnote_46_46"></a><a href="#FNanchor_46_46"><span class="label">[46]</span></a> Compare e.g. <i>Purgatorio</i>, iii. 34-45, xxii. 67-73.</p></div>
+
+<div class="footnote"><p><a name="Footnote_47_47" id="Footnote_47_47"></a><a href="#FNanchor_47_47"><span class="label">[47]</span></a> <i>Inferno</i>, v. 88, 91, 92.</p></div>
+
+<div class="footnote"><p><a name="Footnote_48_48" id="Footnote_48_48"></a><a href="#FNanchor_48_48"><span class="label">[48]</span></a> <i>Inferno</i>, xxx. 64-67.</p></div>
+
+<div class="footnote"><p><a name="Footnote_49_49" id="Footnote_49_49"></a><a href="#FNanchor_49_49"><span class="label">[49]</span></a> <i>Inferno</i>, vii. 117-126.</p></div>
+
+<div class="footnote"><p><a name="Footnote_50_50" id="Footnote_50_50"></a><a href="#FNanchor_50_50"><span class="label">[50]</span></a> <i>Inferno</i>, xix.</p></div>
+
+<div class="footnote"><p><a name="Footnote_51_51" id="Footnote_51_51"></a><a href="#FNanchor_51_51"><span class="label">[51]</span></a> <i>Inferno</i>, xxvii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_52_52" id="Footnote_52_52"></a><a href="#FNanchor_52_52"><span class="label">[52]</span></a> <i>Purgatorio</i>, v. 85-129.</p></div>
+
+<div class="footnote"><p><a name="Footnote_53_53" id="Footnote_53_53"></a><a href="#FNanchor_53_53"><span class="label">[53]</span></a> <i>Inferno</i>, xxxiv. 136-139.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_89" id="Page_89">[Pg 89]</a></span></p>
+
+<h2>IV<br />
+<br />
+PURGATORY<br />
+</h2>
+
+<p><span class="pagenum"><a name="Page_91" id="Page_91">[Pg 91]</a></span></p>
+
+<p>'Leaving behind her that so cruel sea, the
+bark of poesy now spreads her sails to speed
+o'er happier waters; and I sing of that mid
+kingdom where the soul of man is freed from
+stain, till worthy to ascend to Heaven.'<a name="FNanchor_54_54" id="FNanchor_54_54"></a><a href="#Footnote_54_54" class="fnanchor">[54]</a> Such
+are the opening words of Dante's Purgatory,
+and they drop like balm upon our seared and
+wounded hearts when we have escaped from
+the dread abode of eternal ill-desert.</p>
+
+<p>'Man, atoning for the misuse of his free will,'
+may be regarded as the subject of this poem.
+And it brings it in a sense nearer to us than either
+the Hell or the Paradise. Perhaps it ought not
+to surprise us that the Purgatory has not by any
+means taken such a hold of the general imagination
+as the Hell, and that its machinery and<span class="pagenum"><a name="Page_92" id="Page_92">[Pg 92]</a></span>
+incidents are therefore far less widely known;
+for the power of the Purgatory does not overwhelm
+us like that of the Inferno whether we
+understand or no. There are passages indeed
+in the poem which take the reader by storm
+and force themselves upon his memory, but as a
+whole it must be felt in its deeper spiritual
+meaning to be felt at all. Its gentleness is
+ultimately as strong as the relentless might of
+the Hell, but it works more slowly and takes
+time to sink into our hearts and diffuse its
+influence there. Nor again need we be surprised
+that the inner circle of Dante students
+often concentrate their fullest attention and
+admiration upon the Paradise, for it is the
+Paradise in which the poet is most absolutely
+unique and unapproached, and in it his admirers
+rightly find the supreme expression of
+his spirit.</p>
+
+<p>And yet there is much in the Purgatory
+that seems to render it peculiarly fitted to
+support our spiritual life and help us in our
+daily conflict, much which we might reasonably
+have expected would give its images and allegories
+a permanent place in the devout heart of<span class="pagenum"><a name="Page_93" id="Page_93">[Pg 93]</a></span>
+Christendom; for, as already hinted, it is nearer
+to us in our struggles and imperfections, in
+our aspirations and our conscious unworthiness,
+nearer to us in our love of purity and our knowledge
+that our own hearts are stained with sin,
+in our desire for the fullness of God's light, and
+our knowledge that we are not yet worthy or
+ready to receive it; it is nearer to us in its
+piercing appeals, driven home to the moral experience
+of every day and hour, nearer to us in
+its mingled longing and resignation, in its mingled
+consolations and sufferings, nearer to us in
+its deep unrest of unattained but unrelinquished
+ideals, than either the Hell in its ghastly
+harmony of impenitence and suffering, or the
+Paradise in its ineffable fruition.</p>
+
+<p>Moreover, the allegorical appropriateness of
+the various punishments is far more obvious
+and simple, and the spiritual significance of the
+whole machinery clearer and more direct, in the
+Purgatory than in the Hell. In a word, the
+Purgatory is more obviously though not more
+truly, more directly though not more profoundly,
+moral and spiritual in its purport than the Hell.</p>
+
+<p>Dante addresses some of the sufferers on<span class="pagenum"><a name="Page_94" id="Page_94">[Pg 94]</a></span>
+the fifth circle of Purgatory as 'chosen ones of
+God whose pains are soothed by justice and by
+hope.'<a name="FNanchor_55_55" id="FNanchor_55_55"></a><a href="#Footnote_55_55" class="fnanchor">[55]</a> And in truth the spirits in Purgatory
+are already utterly separated from their sins in
+heart and purpose, are already chosen ones of
+God. They are deeply sensible of the justice
+of their punishment, and they are fed by the
+certain hope that at last, when purifying pain
+has done its work, their past sins will no longer
+separate them from God, they will not only be
+parted in sympathy and emotion from their own
+sinful past, but will be so cut off from it as no
+longer to feel it as their own, no longer to recognise
+it as a part of themselves, no longer to
+be weighed down by it. Then they will rise
+away from it into God's presence. 'Repenting
+and forgiving,' says one of them, 'we passed
+from life, at peace with God, who pierces our
+hearts with longing to see Him.'<a name="FNanchor_56_56" id="FNanchor_56_56"></a><a href="#Footnote_56_56" class="fnanchor">[56]</a></p>
+
+<p>The souls in Purgatory, then, are already
+transformed by the thirst for the living water,
+already filled with the longing to see God,
+already at one with Him in will, already
+gladdened by the hope of entering into full<span class="pagenum"><a name="Page_95" id="Page_95">[Pg 95]</a></span>
+communion with Him. But they do not wish to
+go into His presence yet. The sense of shame
+and the sense of justice forbid it. They feel
+that the unexpiated stains of former sin still
+cleave to them, making them unfit for Heaven,
+and they love the purifying torments which are
+burning those stains away. In the topmost
+circle of Purgatory, amongst the fierce flames
+from which Dante would have hurled himself
+into molten glass for coolness, he sees souls
+whose cheeks flush at the memory of their sin
+with a shame that adds a burning to the burning
+flame; whilst others, clustering at the edge
+that they may speak with him, yet take good
+heed to keep within the flame, lest for one
+moment they should have respite from the
+fierce pain which is purging away their sins and
+drawing them nearer to their desire.<a name="FNanchor_57_57" id="FNanchor_57_57"></a><a href="#Footnote_57_57" class="fnanchor">[57]</a></p>
+
+<p>Sweet hymns of praise and supplication are
+the fitting solace of this purifying pain; and as
+Dante passes through the first of the narrow
+ascents that lead from circle to circle of
+Purgatory, he may well contrast this place of
+torment with the one that he has left, may well<span class="pagenum"><a name="Page_96" id="Page_96">[Pg 96]</a></span>
+exclaim, 'Ah me! how diverse are these straits
+from those of Hell!'<a name="FNanchor_58_58" id="FNanchor_58_58"></a><a href="#Footnote_58_58" class="fnanchor">[58]</a></p>
+
+<p>Penitence, humility, and peace&mdash;though not
+the highest or the fullest peace&mdash;are the key-notes
+of the Purgatory.</p>
+
+<hr style="width: 45%;" />
+
+<p>When Dante issued from the deadly shades
+of Hell, his cheeks all stained with tears, his
+eyes and heart heavy with woe, his whole frame
+spent with weariness and agony, the sweet blue
+heavens stretched above him, and his eyes, that
+for so long had gazed on nought but horror,
+rested in their peaceful depths; Venus, the
+morning star, brightened the east, and the
+Southern Cross poured its splendour over the
+heavens; daybreak was at hand, and the poets
+were at the foot of the mount of Purgatory.</p>
+
+<p>The sea rippled against the mountain, and
+reeds, the emblems of humility, ever yielding
+to the wave that swept them, clustered round
+the shore. Dante and Virgil went down to the
+margin, and there the living poet bathed away
+the stains and tears of Hell.</p>
+
+<p>Ere long the waves were skimmed by a light<span class="pagenum"><a name="Page_97" id="Page_97">[Pg 97]</a></span>
+bark, a radiant angel standing in the prow,
+bearing the souls of the redeemed, who must
+yet be purified, singing the psalm, 'When Israel
+came out of Egypt.' Amongst the shades thus
+borne to the mount of purification was Dante's
+friend Casella, the singer and musician. How
+often had his voice lulled all Dante's cares to
+sleep, and 'quieted all his desires,' and now it
+seemed as though he were come to bring his
+troubled heart to peace, to rest him in his utter
+weariness of body and of soul.</p>
+
+<p>So, at his entreaty, Casella raised his voice,
+and all the shades gathered entranced around
+him as he sang a noble canzone composed by
+Dante himself in years gone by.<a name="FNanchor_59_59" id="FNanchor_59_59"></a><a href="#Footnote_59_59" class="fnanchor">[59]</a> The sweet
+sound never ceased to echo in the poet's memory&mdash;not
+even the ineffable harmonies of Paradise
+drowned those first strains of peace that soothed
+him after his awful toil.</p>
+
+<p>But Purgatory is no place of rest, and
+Casella's song was rudely interrupted by the
+guardian of the place, who cried aloud, 'How
+now, ye sluggard souls! What negligence and<span class="pagenum"><a name="Page_98" id="Page_98">[Pg 98]</a></span>
+what delay is here? Speed to the mountain!
+Rid you of the crust that lets not God be
+manifest to you!' To purge away our sins is
+not to rest; and no longing for repose must
+tempt us to delay even for a moment.<a name="FNanchor_60_60" id="FNanchor_60_60"></a><a href="#Footnote_60_60" class="fnanchor">[60]</a></p>
+
+<p>Dante draws no flattering picture of the
+ease of self-purification; Hell itself hardly gives
+us such a sense of utter weariness as the first
+ascent of the mount of Purgatory. Virgil is
+on in front, and Dante cries out, altogether
+spent, 'Oh, my sweet father, turn thou and behold
+how I am left alone unless thou stay;' but
+Virgil still urges him on, and after a time comforts
+him with the assurance that though the
+mountain is so hard to scale at first, yet the
+higher a man climbs the easier the ascent
+becomes, till at last it is so sweet and easy to
+him that he rises without effort as a boat drops
+down the stream: then he may know that the end
+of his long journey has come, that the weight
+of sin is cast off, that his soul obeys its own
+pure nature, and rises unencumbered to its
+God.<a name="FNanchor_61_61" id="FNanchor_61_61"></a><a href="#Footnote_61_61" class="fnanchor">[61]</a></p>
+
+<p>The lower portion of the mountain forms a<span class="pagenum"><a name="Page_99" id="Page_99">[Pg 99]</a></span>
+kind of ante-Purgatory, where the souls in weary
+exile wait for admission to the purifying pain for
+which they long. Here those who have delayed
+their penitence till the end of life atone for their
+wilful alienation by an equal term of forced
+delay ere they may enter the blessed suffering
+of Purgatory. Here those who have lived in
+contumacy against the Church expiate their
+offences by a thirty-fold exile in the ante-Purgatory;
+but as we saw in Hell that Papal
+absolution will not shield the sinful soul, so we
+find in Purgatory that the Papal malediction,
+the thunders of excommunication itself, cannot
+permanently part the repentant soul from the
+forgiving God.<a name="FNanchor_62_62" id="FNanchor_62_62"></a><a href="#Footnote_62_62" class="fnanchor">[62]</a></p>
+
+<p>When this first exile is at an end, and the
+lower mountain scaled, the gate of the true
+Purgatory is reached. Three steps lead up to
+it, 'the first of marble white, so polished and so
+smooth that in it man beholds him as he is.'
+This represents that transparent simplicity and
+sincerity of purpose that, throwing off all self-delusion,
+sees itself as it is, and is the first<span class="pagenum"><a name="Page_100" id="Page_100">[Pg 100]</a></span>
+step towards true penitence. 'The second
+step, darker than purpled black, of rough and
+calcined stone, all rent through length and
+breadth,' represents the contrite heart of true
+affliction for past sin. 'The third and crowning
+mass methought was porphyry, and flamed like
+the red blood fresh spouting from the vein.'
+This is the glowing love which crowns the work
+of penitence, and gives the earnest of a new and
+purer life. Above these steps an angel stands
+to whom Peter gave the keys&mdash;the silver key of
+knowledge and the golden key of authority&mdash;bidding
+him open to the penitent, and err
+rather towards freedom than towards over-sternness.<a name="FNanchor_63_63" id="FNanchor_63_63"></a><a href="#Footnote_63_63" class="fnanchor">[63]</a></p>
+
+<p>Within the gate of Purgatory rise the seven
+terraces where sin is purged. On the three
+lower ledges man atones for that perverse and
+ill-directed love which seeks another's ill&mdash;for
+love of some sort is the one sole motive of all
+action, good or bad.<a name="FNanchor_64_64" id="FNanchor_64_64"></a><a href="#Footnote_64_64" class="fnanchor">[64]</a> In the lowest circle the
+pride that rejoices in its own superiority, and
+therefore in the inferiority of others, is purged<span class="pagenum"><a name="Page_101" id="Page_101">[Pg 101]</a></span>
+and expiated. 'As to support a ceiling or a
+roof,' says Dante, 'one sees a figure bracket-wise
+with knees bent up against it bosom, till
+the imaged strain begets real misery in him
+who sees, so I beheld these shades when close
+I scanned them. True it is that less or greater
+burdens cramped each one or less or more, yet
+he whose mien had most of patience, wailing
+seemed to say, "I can no more!"'<a name="FNanchor_65_65" id="FNanchor_65_65"></a><a href="#Footnote_65_65" class="fnanchor">[65]</a></p>
+
+<p>In the second circle the blind sin of envy is
+expiated. Here the eyelids of the envious are
+ruthlessly pierced and closed by the stitch of an
+iron wire, and through the horrid suture gush
+forth tears of penitence that bathe the sinner's
+cheeks. 'Here shall my eyes be closed,' says
+Dante, half in shame at seeing those who saw
+him not, 'here shall my eyes be closed, though
+open now&mdash;but not for long. Far more I dread
+the pain of those below; for even now methinks
+I bend beneath the load.'<a name="FNanchor_66_66" id="FNanchor_66_66"></a><a href="#Footnote_66_66" class="fnanchor">[66]</a></p>
+
+<p>In the third circle the passionate wend their
+way through a blinding, stinging smoke, darker
+than Hell; but all are one in heart, and join in<span class="pagenum"><a name="Page_102" id="Page_102">[Pg 102]</a></span>
+sweet accord of strain and measure singing the
+'Agnus Dei.'</p>
+
+<p>In these three lower circles is expiated the
+perverse love that, in pride, in envy, or in passion,
+seeks another's ill.</p>
+
+<p>Round the fourth or central ledge hurry in
+ceaseless flight the laggards whose feeble love of
+God, though not perverse, was yet inadequate.</p>
+
+<p>Then on the succeeding circles are punished
+those whose sin was excessive and ill-regulated
+love of earthly things.</p>
+
+<p>There in the fifth round the avaricious and
+the prodigal, who bent their thoughts alike to
+the gross things of earth and lost all power of
+good, lie with their faces in the dust and their
+backs turned to heaven, pinioned and helpless.</p>
+
+<p>In the sixth circle the gluttonous in lean and
+ghastly hunger gaze from hollow eyes 'like
+rings without the gems,' upon the fruit they may
+not taste.<a name="FNanchor_67_67" id="FNanchor_67_67"></a><a href="#Footnote_67_67" class="fnanchor">[67]</a></p>
+
+<p>And lastly, in the seventh circle the sin of
+inchastity is purged, in flames as fierce as its
+own reckless passion.</p>
+
+<p>Through all of these circles to which its life<span class="pagenum"><a name="Page_103" id="Page_103">[Pg 103]</a></span>
+on earth has rendered it liable, the soul must
+pass, in pain but not in misery; at perfect
+peace with God, loving the pain that makes it
+fit to rise into His presence, longing for that
+more perfect union, but not desiring it as yet
+because still knowing itself unworthy.</p>
+
+<p>At last the moment comes when this shrinking
+from God's presence, this clinging to the
+pain of Purgatory, has its end. The desire to
+rise up surprises the repentant soul, and that
+desire is itself the proof that the punishment is
+over, that the soul is ripe for Heaven. Then,
+as it ascends, the whole mountain shakes from
+base to summit with the mighty cry of 'Gloria
+in excelsis!' raised by every soul in Purgatory
+as the ransomed and emancipated spirit seeks
+its home.<a name="FNanchor_68_68" id="FNanchor_68_68"></a><a href="#Footnote_68_68" class="fnanchor">[68]</a></p>
+
+<p>Through all these circles Dante is led by
+Virgil, and here as in Hell he meets and converses
+with spirits of the departed. He displays
+the same unrivalled power and the same relentless
+use of it, the same passionate indignation,
+the same yearning pity, which take the soul
+captive in the earlier poem. In the description<span class="pagenum"><a name="Page_104" id="Page_104">[Pg 104]</a></span>
+of Corso Donati's charger dragging his mangled
+body towards the gorge of Hell in ever fiercer
+flight; in the indignant protest against the
+factious spirit of Italy and the passionate appeal
+to the Empire; in the description of the impotent
+rage of the fiend who is cheated by 'one
+wretched tear' of the soul of Buonconte; in the
+scathing denunciations of the cities of the Arno;<a name="FNanchor_69_69" id="FNanchor_69_69"></a><a href="#Footnote_69_69" class="fnanchor">[69]</a>
+in these and in many another passage the poet
+of the Purgatory shows that he is still the poet
+of the Hell; but it is rather to the richness of
+the new thoughts and feelings than to the unabated
+vigour and passion of the old ones, that
+we naturally direct our attention in speaking of
+the Purgatory. And these we have by no
+means exhausted.</p>
+
+<p>When Dante first entered the gate of Purgatory
+he heard 'voices mingled with sweet
+strains' chanting the Te Deum, and they raised
+in his heart such images as when we hear voices
+singing to the organ and 'partly catch and
+partly miss the words.'<a name="FNanchor_70_70" id="FNanchor_70_70"></a><a href="#Footnote_70_70" class="fnanchor">[70]</a> And this sweet music,
+only to find its fullest and distinctest utterance<span class="pagenum"><a name="Page_105" id="Page_105">[Pg 105]</a></span>
+in the Paradise, pervades almost the whole of
+the Purgatory, filling it with a reposeful longing
+that prepares for the fruition it does not give.</p>
+
+<p>There is a tender and touching simplicity in
+the records of their earthly lives which the gentle
+souls in Purgatory give to our poet. Take as
+an example, the story of Pope Adrian V., whom
+Dante finds amongst the avaricious: 'A month
+and little more I felt the weight with which the
+Papal mantle presses on his shoulders who would
+keep it from the mire. All other burdens seem
+like feathers to it. Ah me! but late was my
+conversion; yet when I became Rome's Shepherd
+then I saw the hollow cozenage of life; for
+my heart found no repose in that high dignity,
+and yonder life on earth gave it no room to aim
+yet higher; wherefore the love of this life rose
+within me. Till then was I a wretched soul
+severed from God, enslaved to avarice, for which,
+thou seest, I now bear the pain.'<a name="FNanchor_71_71" id="FNanchor_71_71"></a><a href="#Footnote_71_71" class="fnanchor">[71]</a></p>
+
+<p>Most touching too are the entreaties of the
+souls in Purgatory for the prayers of those on
+earth, or their confession that they have already
+been lifted up by them. 'Tell my Giovanna to<span class="pagenum"><a name="Page_106" id="Page_106">[Pg 106]</a></span>
+cry for me where the innocent are heard,' says
+Nino to Dante;<a name="FNanchor_72_72" id="FNanchor_72_72"></a><a href="#Footnote_72_72" class="fnanchor">[72]</a> and when the poet meets his
+friend Forese, who had been dead but five years,
+in the highest circle but one of Purgatory, whereas
+he would have expected him still to be in exile
+at the mountain's base, he asks him to explain
+the reason why he is there, and Forese answers,
+'It is my Nella's broken sobs that have brought
+me so soon to drink the sweet wormwood of
+torment. Her devout prayers and sighs have
+drawn me from the place of lingering, and freed
+me from the lower circles. My little widow,
+whom I greatly loved, is all the dearer and
+more pleasing to God because her goodness
+stands alone amid surrounding vice.'<a name="FNanchor_73_73" id="FNanchor_73_73"></a><a href="#Footnote_73_73" class="fnanchor">[73]</a></p>
+
+<p>Surely it is a deep and holy truth, under
+whatever varying forms succeeding ages may
+embody it, that the faithful love of a pure soul
+does more than any other earthly power to
+hasten the passage of the penitent through
+Purgatory. When under the load of self-reproach
+and shame that weighs down our souls,
+we dare not look up to Heaven, dare not look
+into our own hearts, dare not meet God, then<span class="pagenum"><a name="Page_107" id="Page_107">[Pg 107]</a></span>
+the faithful love of a pure soul can raise us up
+and teach us not to despair of ourselves, can
+lift us on the wings of its prayer, can waft us on
+the breath of its sobs, swiftly through the purifying
+anguish into the blissful presence of God.</p>
+
+<hr style="width: 45%;" />
+
+<p>A feature of special beauty in the Purgatory
+is formed by the allegorical or typical sculptures
+on the wall and floor of some of the terraces, by
+the voices of warning or encouragement that
+sweep round the mountain, and by the visions
+that from time to time visit the poet himself.
+Let one of these visions suffice. Dante is about
+to enter the circles in which the inordinate love
+of earthly things, with all vain and vicious indulgence,
+is punished. 'In dream there came
+to me,' he says, 'a woman with a stuttering
+tongue, and with distorted eyes, all twisted on
+her feet, maimed in her hands, and sallow in her
+hue. I gazed at her, and as the sun comforts
+the chilled limbs by the night oppressed, so did
+my look give ease unto her speech, and straightway
+righted her in every limb, and with love's
+colours touched her haggard face. And when
+her speech was liberated thus, she sang so<span class="pagenum"><a name="Page_108" id="Page_108">[Pg 108]</a></span>
+sweetly it were dire pain to wrest attention from
+her. "I," she sang, "am that sweet siren who
+lead astray the sailors in mid sea, so full am I
+of sweetness to the ear. 'Twas I that drew
+Ulysses from his way with longing for my song;
+and he on whom the custom of my voice has
+grown, full rarely leaves me, so do I content
+him."' In the end this false siren is exposed in
+all her foulness, and Dante turns from her in
+loathing.<a name="FNanchor_74_74" id="FNanchor_74_74"></a><a href="#Footnote_74_74" class="fnanchor">[74]</a></p>
+
+<p>Throughout Purgatory Dante is still led and
+instructed by Virgil. I think there is nothing
+in the whole Comedy so pathetic as the passages
+in which the fate of Virgil, to be cut off for ever
+from the light of God, is contrasted with the
+hope of the souls in Purgatory. The sweetness
+and beauty of Virgil's character as conceived by
+Dante grow steadily upon us throughout this
+poem, until they make the contemplation of his
+fate and the patient sadness with which he
+speaks of it more heartrending than anything
+that we have heard or seen in Hell. After this
+we hardly need to hear from Dante the direct
+expression he subsequently gives of his passionate<span class="pagenum"><a name="Page_109" id="Page_109">[Pg 109]</a></span>
+thirst to know the meaning of so mysterious
+a decree as that which barred Heaven against
+the unbaptised.</p>
+
+<p>In Purgatory, Virgil and Dante meet the
+emancipated soul of the Roman poet Statius,
+freed at last after many centuries of purifying
+pain, and ready now to ascend to Heaven.
+Virgil asks him how he became a Christian, and
+Statius refers him to his own words in one of
+the Eclogues, regarded in those days as containing
+a prophecy of Christ. 'Thou,' says Statius,
+'didst first guide me to Parnassus to drink in its
+grottoes, and afterwards thou first didst light me
+unto God. When thou didst sing, "The season
+is renewed, justice returns, and the first age of
+man, and a new progeny descends from Heaven,"
+thou wast as one who, marching through the
+darkness of the night, carries the light behind
+him, aiding not himself, but teaching those who
+follow him the way. Through thee was I a poet,
+and through thee a Christian.' Not a shade of
+envy, not a thought of resentment or rebellion,
+passes over Virgil's heart as he hears that while
+saving others he could not save himself.<a name="FNanchor_75_75" id="FNanchor_75_75"></a><a href="#Footnote_75_75" class="fnanchor">[75]</a><span class="pagenum"><a name="Page_110" id="Page_110">[Pg 110]</a></span></p>
+
+<p>But now, without dwelling further on the
+episodes of the poem, we must hasten to consider
+the most beautiful and profoundest of its closing
+scenes.</p>
+
+<p>Under Virgil's guidance Dante had traversed
+all the successive circles of the mount of Purgatory.
+He stood at its summit, in the earthly
+Paradise, the Garden of Eden which Eve had
+lost. There amid fairest sights and sounds he
+was to meet the glorified Beatrice, and she was
+to be his guide in Heaven as Virgil had been his
+guide in Hell and Purgatory.</p>
+
+<p>In any degree to understand what follows
+we must try to realise the intimate blending of
+lofty abstract conceptions and passionate personal
+emotions and reminiscences in Dante's
+thoughts of Beatrice.</p>
+
+<p>This sweet and gentle type of womanhood,
+round whose earthly life the genius and devotion
+of Dante have twined a wreath of the tenderest
+poetry, the most romantic love, that ever rose
+from heart of man, had been to him in life and
+death the vehicle and messenger of God's highest
+grace. Round her memory clustered all the
+noblest purposes and purest motives of his life,<span class="pagenum"><a name="Page_111" id="Page_111">[Pg 111]</a></span>
+and in her spirit seemed to be reflected the
+divinest truth, the loftiest wisdom, that the
+human soul could comprehend. And so, making
+her objectively and in the scheme of the universe
+what she had really been and was to him subjectively,
+he came to regard her as the symbol
+of Divine philosophy as Virgil was the symbol
+of human virtue and wisdom.</p>
+
+<p>Touched by the glow of an ideal love, Dante
+had reached a deeper knowledge, a fuller grace,
+than the wisdom of this world could teach or
+gain. The doctors of the Church, the sweet
+singers, the mighty heroes, the profound philosophers,
+who had instructed and supported him,
+had none of them touched his life so deeply,
+had none of them led him so far into the secret
+place of truth, had none of them brought him
+so near to God, as that sweet child, that lovely
+maid, that pure woman, who had given him his
+first and noblest ideal.</p>
+
+<p>Now to Dante and to his age it was far from
+unnatural to erect concrete human beings into
+abstract types or personifications. Leah and
+Rachel are the active and the contemplative life
+respectively. Virgil, we have seen, is human<span class="pagenum"><a name="Page_112" id="Page_112">[Pg 112]</a></span>
+philosophy. Cato of Utica represents the
+triumph over the carnal nature and the passions.
+And it is not only the Old Testament
+and classical antiquity that furnish these types.
+The celebrated Countess Matilda, who lived only
+about two centuries before Dante himself, becomes
+in his poem, according to the generally
+received interpretation, one of the attributes of
+God personified. And so Beatrice became the
+personification of that heavenly wisdom, that
+true knowledge of God, of which she had been
+the vehicle to Dante.</p>
+
+<p>But to the poet and to the age in which he
+lived, it was impossible to separate this heavenly
+wisdom in its simple, spiritual essence, from the
+form which its exposition had received at the
+hands of the great teachers of the Church. To
+them true spiritual wisdom, personal experience
+and knowledge of God, were inseparable from
+<i>theology</i>. The two united in the conception of
+Divine philosophy. Thus by a strange but intelligible
+gradation Dante blended in his conception
+of Beatrice two elements which seem to
+us the very extreme of incompatibility. She is
+in the first place the personification of scholastic<span class="pagenum"><a name="Page_113" id="Page_113">[Pg 113]</a></span>
+theology, with all its subtle intricacy of pedantic
+method; she is in the second place the maiden
+to whom Dante sang his songs of love in
+Florence, and whose early death he wept disconsolate.
+And in the closing scenes of the
+Purgatory these two conceptions are more intimately
+blended, perhaps, than anywhere else
+in Dante's writings.</p>
+
+<p>After wandering, as it were, in the forest of
+a bewildered life, the poet is led through Hell
+and Purgatory until he stands face to face at
+last with his own purest and loftiest ideal; and
+the fierceness of his own self-accusation when
+thus confronted with Beatrice he expresses
+under the form of reproaches which he lays
+upon <i>her</i> lips, but which we must retranslate
+into the reproachful utterances of his own tortured
+heart, if we are to retain our gentle
+thoughts of Beatrice.</p>
+
+<p>We need not dwell even for a moment on
+the gorgeous pageantry with which Dante introduces
+and surrounds Beatrice. Suffice it to say
+that she comes in a mystic car, which represents
+the Church, surrounded by saints and angels.</p>
+
+<p>No sooner does Dante see her, although<span class="pagenum"><a name="Page_114" id="Page_114">[Pg 114]</a></span>
+closely veiled, than the might of the old passion
+sweeps upon him, and like a child that flees in
+terror to its mother, so does he turn to Virgil
+with the cry: 'Not one drop of blood but trembles
+in my veins! I recognise the tokens of
+the ancient flame.' But Virgil is gone. Dante
+has no refuge from his own offended and reproachful
+ideal. As he bursts into lamentations
+at the loss of Virgil's companionship, Beatrice
+sternly calls him back: 'Dante! weep not that
+Virgil has gone from thee. Thou hast a deeper
+wound for which to weep.'</p>
+
+<p>As one who speaks, but holds back words
+more burning than he utters, so she stood. A
+clear stream flowed between her and Dante, and
+as she began to renew her reproaches he cast
+down his eyes in shame upon the water;&mdash;but
+there he saw himself! The angels sang a
+plaintive psalm, and Dante knew that they were
+pleading for him more clearly than if they had
+used directer words. Then the agony of shame
+and penitence that Beatrice's reproof had frozen
+in his bosom, as when the icy north wind freezes
+the snow amid the forests of the Apennine, was
+melted by the angels' plea for him as snow by<span class="pagenum"><a name="Page_115" id="Page_115">[Pg 115]</a></span>
+the breezes of the south, and burst from him in a
+convulsion of sobs and tears.</p>
+
+<p>How was it possible that he should have
+gone so far astray, have been so false to the
+promise and the purpose of his early life, have
+abused his own natural gifts and the superadded
+grace of heaven? How was it possible that he
+should have let all the richness of his life run
+wild? That after Beatrice had for a time sustained
+him and led him in the true path with her
+sweet eyes, he should have turned away from
+her in Heaven whom he had so loved on earth?
+How could he have followed the false semblances
+of good that never hold their word?
+His visions and his dreams of the ideal he was
+deserting had not sufficed, and so deep had he
+sunk that nothing short of visiting the region of
+the damned could save him from perdition.
+Why had he deserted his first purposes? What
+obstacle had baffled or appalled him? What
+new charm had those lower things of earth obtained
+to draw him to them? 'The false enticements
+of the present things,' he sobbed, 'had
+led his feet aside, soon as her countenance was
+hid.' But should not the decay of that fair<span class="pagenum"><a name="Page_116" id="Page_116">[Pg 116]</a></span>
+form have been itself the means of weaning him
+from things of earth, that he might ne'er again
+be cheated by their beauty or drawn aside by
+them from the pursuit of heavenly wisdom and
+of heavenly love? When the fairest of all earthly
+things was mouldering in the dust, should he
+not have freed himself from the entanglements
+of the less beauteous things remaining?</p>
+
+<p>To all these reproaches, urged by Beatrice,
+Dante had no reply. With eyes rooted to the
+ground, filled with unutterable shame, like a
+child repentant and confessing, longing to throw
+himself at his mother's feet, but afraid to meet
+her glance while her lips still utter the reproof,
+so Dante stood. From time to time a few
+broken words, which needed the eye more than
+the ear to interpret them, dropped from his
+lips like shafts from a bow that breaks with
+excess of strain as the arrow is delivered.</p>
+
+<p>At last Beatrice commanded him to look up.
+The wind uproots the oak tree with less resistance
+than Dante felt ere he could turn his
+downcast face to hers; but when he saw her,
+transcending her former self more than her
+former self transcended others, his agony of<span class="pagenum"><a name="Page_117" id="Page_117">[Pg 117]</a></span>
+self-reproach and penitence was more than he
+could bear, and he fell senseless to the ground.<a name="FNanchor_76_76" id="FNanchor_76_76"></a><a href="#Footnote_76_76" class="fnanchor">[76]</a></p>
+
+<p>When he awoke he was already plunged in
+the waters of Lethe, which with the companion
+stream of Euno� would wash from his memory
+the shame and misery of past unfaithfulness,
+would enable him, no longer crushed by self-reproach,
+to ascend with the divine wisdom and
+purity of his own ideal into the higher realms.</p>
+
+<p>And here the Purgatory ends, the Paradise
+begins.</p>
+
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_54_54" id="Footnote_54_54"></a><a href="#FNanchor_54_54"><span class="label">[54]</span></a> <i>Purgatorio</i>, i. 1-6.</p></div>
+
+<div class="footnote"><p><a name="Footnote_55_55" id="Footnote_55_55"></a><a href="#FNanchor_55_55"><span class="label">[55]</span></a> <i>Purgatorio</i>, xix. 76, 77.</p></div>
+
+<div class="footnote"><p><a name="Footnote_56_56" id="Footnote_56_56"></a><a href="#FNanchor_56_56"><span class="label">[56]</span></a> <i>Ibid.</i> v. 55-57.</p></div>
+
+<div class="footnote"><p><a name="Footnote_57_57" id="Footnote_57_57"></a><a href="#FNanchor_57_57"><span class="label">[57]</span></a> <i>Purgatorio</i>, xxvi. 13-15, 81; xxvii. 49-51.</p></div>
+
+<div class="footnote"><p><a name="Footnote_58_58" id="Footnote_58_58"></a><a href="#FNanchor_58_58"><span class="label">[58]</span></a> <i>Purgatorio</i>, xii. 112, 113.</p></div>
+
+<div class="footnote"><p><a name="Footnote_59_59" id="Footnote_59_59"></a><a href="#FNanchor_59_59"><span class="label">[59]</span></a> Canzone xv. 'Amor, che nella mente.' See also <i>Convito</i>,
+trat. iii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_60_60" id="Footnote_60_60"></a><a href="#FNanchor_60_60"><span class="label">[60]</span></a> <i>Purgatorio</i>, i. ii.</p></div>
+
+<div class="footnote"><p><a name="Footnote_61_61" id="Footnote_61_61"></a><a href="#FNanchor_61_61"><span class="label">[61]</span></a> <i>Ibid.</i> iv. 37-95.</p></div>
+
+<div class="footnote"><p><a name="Footnote_62_62" id="Footnote_62_62"></a><a href="#FNanchor_62_62"><span class="label">[62]</span></a> <i>Purgatorio</i>, iii. 112-145, iv. 127-135.</p></div>
+
+<div class="footnote"><p><a name="Footnote_63_63" id="Footnote_63_63"></a><a href="#FNanchor_63_63"><span class="label">[63]</span></a> <i>Purgatorio</i>, ix. 76-129.</p></div>
+
+<div class="footnote"><p><a name="Footnote_64_64" id="Footnote_64_64"></a><a href="#FNanchor_64_64"><span class="label">[64]</span></a> For the general scheme of Purgatory, see <i>Purgatorio</i>,
+xvii. 91-139.</p></div>
+
+<div class="footnote"><p><a name="Footnote_65_65" id="Footnote_65_65"></a><a href="#FNanchor_65_65"><span class="label">[65]</span></a> <i>Purgatorio</i>, x. 130-139.</p></div>
+
+<div class="footnote"><p><a name="Footnote_66_66" id="Footnote_66_66"></a><a href="#FNanchor_66_66"><span class="label">[66]</span></a> <i>Ibid.</i> xiii. 73, 74, 133-138.</p></div>
+
+<div class="footnote"><p><a name="Footnote_67_67" id="Footnote_67_67"></a><a href="#FNanchor_67_67"><span class="label">[67]</span></a> <i>Purgatorio</i>, xxiii. 31.</p></div>
+
+<div class="footnote"><p><a name="Footnote_68_68" id="Footnote_68_68"></a><a href="#FNanchor_68_68"><span class="label">[68]</span></a> <i>Purgatorio</i>, xx. 124-151, xxi. 34-78.</p></div>
+
+<div class="footnote"><p><a name="Footnote_69_69" id="Footnote_69_69"></a><a href="#FNanchor_69_69"><span class="label">[69]</span></a> <i>Purgatorio</i>, v. 85-129, vi. 76-151, xiv. 16-72, xxiv. 82-87.</p></div>
+
+<div class="footnote"><p><a name="Footnote_70_70" id="Footnote_70_70"></a><a href="#FNanchor_70_70"><span class="label">[70]</span></a> <i>Ibid.</i> ix. 139-145.</p></div>
+
+<div class="footnote"><p><a name="Footnote_71_71" id="Footnote_71_71"></a><a href="#FNanchor_71_71"><span class="label">[71]</span></a> <i>Purgatorio</i>, xix. 103-114.</p></div>
+
+<div class="footnote"><p><a name="Footnote_72_72" id="Footnote_72_72"></a><a href="#FNanchor_72_72"><span class="label">[72]</span></a> <i>Purgatorio</i>, viii. 71, 72.</p></div>
+
+<div class="footnote"><p><a name="Footnote_73_73" id="Footnote_73_73"></a><a href="#FNanchor_73_73"><span class="label">[73]</span></a> <i>Ibid.</i> xxiii. 85-93.</p></div>
+
+<div class="footnote"><p><a name="Footnote_74_74" id="Footnote_74_74"></a><a href="#FNanchor_74_74"><span class="label">[74]</span></a> <i>Purgatorio</i>, xix. 7-33.</p></div>
+
+<div class="footnote"><p><a name="Footnote_75_75" id="Footnote_75_75"></a><a href="#FNanchor_75_75"><span class="label">[75]</span></a> <i>Purgatorio</i>, xxii. 55-73.</p></div>
+
+<div class="footnote"><p><a name="Footnote_76_76" id="Footnote_76_76"></a><a href="#FNanchor_76_76"><span class="label">[76]</span></a> <i>Purgatorio</i>, xxx. 22&mdash;xxxi. 90.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_119" id="Page_119">[Pg 119]</a></span></p>
+
+<h2>V<br />
+<br />
+HEAVEN<br />
+</h2>
+
+<p><span class="pagenum"><a name="Page_121" id="Page_121">[Pg 121]</a></span></p>
+<p>When Dante wrote the Paradise, he well knew
+that he was engaged in the supreme effort of his
+life, to which all else had led up. He well knew
+that he was engaged in no pastime, but with
+intensest concentration of matured power was
+delivering such a message from God to man as
+few indeed had ever been privileged or burdened
+to receive. He well knew that the words
+in which through long years of toil he had distilled
+the sweetness and the might of his vision
+were immortal, that to latest ages they would
+bear strength and purity of life, would teach the
+keen eye of the spirit to gaze into the uncreated
+light, and would flood the soul with a joy deeper
+than all unrest or sorrow, with a glory that no
+gloom could ever dispel. He knew moreover
+that this his last and greatest poem would speak
+to a few only in any generation, though speaking<span class="pagenum"><a name="Page_122" id="Page_122">[Pg 122]</a></span>
+to those few with a voice of transforming
+power and grace.</p>
+
+<p>'Oh, ye,' he cries almost at the beginning of
+the Paradise, 'who, desirous to hear, have followed
+in slight bark behind my keel, which
+sings upon its course, now turn you back and
+make for your own shores, trust not the open
+wave lest, losing me, ye should be left bewildered.
+As yet all untracked is the wave I sail.
+Minerva breathes, Apollo leads me on, and the
+nine Muses point me to the pole. Ye other
+few, who timely have lift up your heads for
+bread of angels fed by which man liveth but
+can never surfeit know, well may ye launch
+upon the ocean deep, keeping my furrow as ye
+cut your way through waters that return and
+equal lie.'<a name="FNanchor_77_77" id="FNanchor_77_77"></a><a href="#Footnote_77_77" class="fnanchor">[77]</a></p>
+
+<p>In these last words, comparing the track he
+leaves to the watery furrow that at once subsides,
+Dante seems to indicate that he was well aware
+how easily the soul might drop out of his verses,
+how the things he had to say were essentially
+unutterable, so that his words could at best
+be only a suggestion of his meaning dependent<span class="pagenum"><a name="Page_123" id="Page_123">[Pg 123]</a></span>
+for their effect upon the subtlest spiritual influences
+and adjustments, as well as upon the
+receptive sympathy of those to whom they were
+addressed. And if there are so many that fail
+to catch the spirit and feel the heavenly harmony
+of the music when it is Dante's own hand
+that touches the strings, how hopeless seems the
+task of transferring even its echo, by translated
+extracts, or descriptions, from which the soul
+has fled.</p>
+
+<p>There is indeed much that is beautiful, much
+that is profound, in the Paradise which is capable
+of easy reproduction, but the divine aroma
+of the whole could only be translated or transferred
+by another Dante. Petal after petal of
+the rose of Paradise may be described or copied,
+but the heavenly perfume that they breathed is
+gone.</p>
+
+<p>'His glory that moves all things,' so Dante
+begins the Paradise, 'pierces the universe; and
+is here more, here less resplendent. In that
+Heaven which of His light has most, was I.
+There I saw things which he who thence descends
+has not the knowledge or power to retell.
+For as it draws anigh to its desire, our intellect<span class="pagenum"><a name="Page_124" id="Page_124">[Pg 124]</a></span>
+pierces so deep that memory cannot follow in its
+track. But of that sacred empire so much as I
+had power in my mind to store, shall now be
+matter of my poesy.'<a name="FNanchor_78_78" id="FNanchor_78_78"></a><a href="#Footnote_78_78" class="fnanchor">[78]</a></p>
+
+<p>And again, almost at the close he sings, 'As
+is he who dreams, and when the dream is broke
+still feels the emotion stamped upon his heart
+though all he saw is fled beyond recall, e'en
+such am I; for, all the vision gone well-nigh
+without a trace, yet does the sweetness that was
+born of it still drop within my heart.'<a name="FNanchor_79_79" id="FNanchor_79_79"></a><a href="#Footnote_79_79" class="fnanchor">[79]</a></p>
+
+<p>If so much as an echo of that echo, if so
+much as a dream of that dream, falls upon our
+ears and sinks into our hearts, then we are
+amongst those few for whom Dante wrote his
+last and his divinest poem.</p>
+
+<hr style="width: 45%;" />
+
+<p>Through the successive heavens of Paradise
+Dante is conducted by Beatrice; and here again
+the intimate blending in the divine guide of two
+distinct almost contradictory conceptions forms
+one of the great obstacles towards giving an
+intelligible account of the poem. This obstacle
+can only disappear when patient study guided<span class="pagenum"><a name="Page_125" id="Page_125">[Pg 125]</a></span>
+by receptive sympathy has led us truly into the
+poet's thought.</p>
+
+<p>In the Paradise, however, the allegorical and
+abstract element in the conception of Beatrice is
+generally the ruling one. She is the impersonation
+of Divine Philosophy, under whose
+guidance the spiritual discernment is so quickened
+and the moral perceptions so purified, that
+the intellect can thread its way through subtlest
+intricacies of casuistry and theology, and where
+the intellect fails the eye of faith still sees.</p>
+
+<p>Even in this allegorical character Beatrice is
+a veritable personality, as are Lucia, the Divine
+Grace, and the other attributes or agents of the
+Deity, who appear in the Comedy as personal
+beings with personal affections and feelings,
+though at the same time representing abstract
+ideas. Thus Beatrice, as Divine Philosophy
+impersonated, is at once an abstraction and a
+personality. 'The eyes of Philosophy,' says
+Dante elsewhere, 'are her demonstrations, the
+smile of Philosophy her persuasions.'<a name="FNanchor_80_80" id="FNanchor_80_80"></a><a href="#Footnote_80_80" class="fnanchor">[80]</a> And this
+mystic significance must never be lost sight of
+when we read of Beatrice's eyes kindling with<span class="pagenum"><a name="Page_126" id="Page_126">[Pg 126]</a></span>
+an ever brighter glow and her smile beaming
+through them with a diviner sweetness as she
+ascends through heaven after heaven ever nearer
+to the presence of God. The demonstrations of
+Divine Philosophy become more piercing, more
+joyous, more triumphant, her persuasions more
+soul-subduing and entrancing, as the spirit draws
+nearer to its source.</p>
+
+<p>But though we shall never understand the
+Paradise unless we perceive the allegorical significance
+and appropriateness not only of the
+general conception of Beatrice, but also of many
+details in Dante's descriptions of her, yet we
+should be equally far from the truth if we
+imagined her a mere allegory. She is a glorified
+and as it were divine <i>personality</i>, and watches
+over and guides her pupil with the tenderness
+and love of a gentle and patient mother. The
+poet constantly likens himself to a wayward, a
+delirious, or a frightened child, as he flies for
+refuge to his blessed guide's maternal care.<a name="FNanchor_81_81" id="FNanchor_81_81"></a><a href="#Footnote_81_81" class="fnanchor">[81]</a></p>
+
+<p>Again, they are in the eighth heaven, and
+Beatrice knows that a glorious manifestation of
+saints and angels is soon to be vouchsafed to<span class="pagenum"><a name="Page_127" id="Page_127">[Pg 127]</a></span>
+Dante. Listen to his description of her as she
+stands waiting: 'E'en as a bird amongst the
+leaves she loves, brooding upon the nest of her
+sweet young throughout the night wherein all
+things are hid, foreruns the time to see their loved
+aspect and find them food, wherein her heavy
+toil is sweet to her, there on the open spray,
+waiting with yearning longing for the sun,
+fixedly gazing till the morn shall rise; so did
+she stand erect, her eyes intent on the meridian.
+And seeing her suspended in such longing I
+became as one who yearns for what he knows
+not, and who rests in hope.'<a name="FNanchor_82_82" id="FNanchor_82_82"></a><a href="#Footnote_82_82" class="fnanchor">[82]</a></p>
+
+<hr style="width: 45%;" />
+
+<p>Under Beatrice's guidance, then, Dante
+ascends through the nine heavens into the empyrean
+heights of Paradise. Here in reality are
+the souls of all the blessed, rejoicing in the
+immediate presence and light of God,<a name="FNanchor_83_83" id="FNanchor_83_83"></a><a href="#Footnote_83_83" class="fnanchor">[83]</a> and here
+Dante sees them in the glorified forms which
+they will wear after the resurrection. But in
+order to bring home to his human understanding
+the varied grades of merit and beatitude in
+Paradise, he meets or appears to meet the souls<span class="pagenum"><a name="Page_128" id="Page_128">[Pg 128]</a></span>
+of the departed in the successive heavens
+through which he passes, sweeping with the
+spheres in wider and ever wider arc, as he rises
+towards the eternal rest by which all other
+things are moved.</p>
+
+<p>It is in these successive heavens that Dante
+converses with the souls of the blessed. In the
+lower spheres they appear to him in a kind of
+faint bodily form like the reflections cast by
+glass unsilvered; but in the higher spheres
+they are like gems of glowing light, like stars
+that blaze into sight or fade away in the depths
+of the sky; and these living topaz and ruby
+lights, like the morning stars that sing together
+in Job, break into strains of ineffable praise and
+joy as they glow upon their way in rhythmic
+measure both of voice and movement.</p>
+
+<p>Thus in the fourth Heaven, the Heaven of the
+Sun, Dante meets the souls of the great doctors
+of the Church. Thomas Aquinas is there, and
+Albertus Magnus and the Venerable Bede and
+many more. A circle of these glorious lights is
+shining round Dante and Beatrice as Aquinas
+tells the poet who they were on earth. 'Then
+like the horologue, that summons us, what hour<span class="pagenum"><a name="Page_129" id="Page_129">[Pg 129]</a></span>
+the spouse of God rises to sing her matins to
+her spouse, to win his love, wherein each part
+urges and draws its fellow, making a tinkling
+sound of so sweet note that the well-ordered
+spirit swells with love: so did I see the glorious
+wheel revolve, and render voice to voice in
+melody and sweetness such as ne'er could noted
+be save where joy stretches to eternity.</p>
+
+<p>'Oh, senseless care of mortals! Ah, how
+false the thoughts that urge thee in thy downward
+flight! One was pursuing law, and medicine
+one, another hunting after priesthood, and a
+fourth would rule by force or fraud; one toiled in
+robbery, and one in civil business, and a third
+was moiling in the pleasures of the flesh all
+surfeit-weary, and a fourth surrendered him to
+sloth. And I the while, released from all these
+things, thus gloriously with Beatrice was received
+in Heaven.'<a name="FNanchor_84_84" id="FNanchor_84_84"></a><a href="#Footnote_84_84" class="fnanchor">[84]</a></p>
+
+<p>When Beatrice fixes her eyes&mdash;remember
+their allegorical significance as the demonstrations
+of Divine philosophy&mdash;upon the light of
+God, and Dante gazes upon them, then quick
+as thought and without sense of motion, the<span class="pagenum"><a name="Page_130" id="Page_130">[Pg 130]</a></span>
+two arise into a higher heaven, like the arrow
+that finds its mark while yet the bow-string
+trembles; and Dante knows by the kindling
+beauty that glows in his guardian's eyes that
+they are nearer to the presence of God and are
+sweeping Heaven in a wider arc.</p>
+
+<p>The spirits in the higher heavens see God
+with clearer vision, and therefore love Him with
+more burning love, and rejoice with a fuller joy
+in His presence than those in the lower spheres.
+Yet these too rest in perfect peace and oneness
+with God's will.</p>
+
+<p>In the Heaven of the Moon, for instance,
+the lowest of all, Dante meets Piccarda. She
+was the sister of Forese, whom we saw in the
+highest circle but one of Purgatory, raised so
+far by his widowed Nella's prayers. When
+Dante recognises her amongst her companions,
+in her transfigured beauty, he says, '"But tell
+me, ye whose blessedness is here, do ye desire
+a more lofty place, to see more and to be more
+loved by God?" She with those other shades
+first gently smiled, then answered me so joyous
+that she seemed to glow with love's first flame,
+"Brother, the power of love so lulls our will, it<span class="pagenum"><a name="Page_131" id="Page_131">[Pg 131]</a></span>
+makes us long for nought but what we have,
+and feel no other thirst. If we should wish to
+be exalted more, our wish would be discordant
+with His will who here assigned us; and that
+may not be within these spheres, as thou thyself
+mayst see, knowing that here we needs must
+dwell in love, and thinking what love is. Nay,
+'tis inherent in this blessedness to hold ourselves
+within the will Divine, whereby our wills are
+one. That we should be thus rank by rank
+throughout this realm ordained, rejoices all the
+realm e'en as its King, who draws our wills in
+His. And His decree is our peace. It is that
+sea to which all things are moved which it
+creates and all that nature forges." Then was
+it clear to me how every where in Heaven is
+Paradise, e'en though the grace distil not in one
+mode from that Chief Good.'<a name="FNanchor_85_85" id="FNanchor_85_85"></a><a href="#Footnote_85_85" class="fnanchor">[85]</a></p>
+
+<p>So again in the second heaven, the Heaven
+of Mercury, the soul of Justinian tells the poet
+how that sphere is assigned to them whose
+lofty aims on earth were in some measure fed
+by love of fame and glory rather than inspired
+by the true love of God. Hence they are in<span class="pagenum"><a name="Page_132" id="Page_132">[Pg 132]</a></span>
+this lower sphere. Yet part of their very joy
+consists in measuring the exact accord between
+the merits and the blessedness of the beatified.
+'As diverse voices make sweet melody,' he continues,
+'so do the diverse ranks of our life render
+sweet harmony amidst these spheres.'<a name="FNanchor_86_86" id="FNanchor_86_86"></a><a href="#Footnote_86_86" class="fnanchor">[86]</a></p>
+
+<p>Indeed, one of the marvels of this marvellous
+poem is the extreme variety of character and
+even of incident which we find in Heaven as
+well as in Hell and Purgatory. In each of the
+three poems there is one key-note to which we
+are ever brought back, but in each there is
+infinite variety and delicacy of individual delineation
+too. The saints are no more uniform
+and characterless in their blessedness than are
+the unrepentant sinners in their tortures or the
+repentant in their contented pain.</p>
+
+<p>Nor must we suppose that the Paradise
+is an unbroken succession of descriptions of
+heavenly bliss. Here too, as in Hell and
+Purgatory, the things of earth are from time to
+time discussed by Dante and the spirits that he
+meets. Here too the glow of a lofty indignation
+flushes the very spheres of Heaven. Thus<span class="pagenum"><a name="Page_133" id="Page_133">[Pg 133]</a></span>
+Peter cries against Pope Boniface VIII: 'He
+who usurps upon the earth my place, <i>my place</i>,
+<span class="smcap">MY PLACE</span>, which in the presence of the Son
+of God is vacant now, has made the city of
+my sepulture a sink of blood and filth, at which
+the rebel Satan, who erst fell from Heaven,
+rejoices down in Hell.' And at this the whole
+Heaven glows with red, and Beatrice's cheek
+flushes as at a tale of shame.<a name="FNanchor_87_87" id="FNanchor_87_87"></a><a href="#Footnote_87_87" class="fnanchor">[87]</a></p>
+
+<p>Dante is still the same. The sluggish self-indulgence
+of the monks, the reckless and selfish
+ambition of the factious nobles and rulers, the
+venal infamy of the Court of Rome, cannot be
+banished from his mind even by the beatific
+visions of Heaven. Nay, the very contrast
+gives a depth of indignant sadness to the
+denunciations of the Paradise which makes
+them almost more terrible than those of Hell
+itself.</p>
+
+<p>Interwoven too with the descriptions of the
+bliss of Heaven, is the discussion of so wide a
+range of moral and theological topics that the
+Paradise has been described as having 'summed<span class="pagenum"><a name="Page_134" id="Page_134">[Pg 134]</a></span>
+up, as it were, and embodied for perpetuity ...
+the quintessence, the living substance, the ultimate
+conclusions of the scholastic theology;'<a name="FNanchor_88_88" id="FNanchor_88_88"></a><a href="#Footnote_88_88" class="fnanchor">[88]</a>
+and it may well be true that to master the last
+cantica of the 'Divine Comedy' is to pierce more
+deeply into the heart of medi�val religion and
+theology than any of the schoolmen and doctors
+of the Church can take us. At the touch of
+Dante's staff, the flintiest rock of metaphysical
+dogma yields the water of life, and in his mouth
+the subtlest discussion of casuistry becomes a
+lamp to our feet.</p>
+
+<p>And beyond all this, such is the marvellous
+concentration of Dante's poetry, there is room
+in the Paradise for long digressions, biographical,
+antiquarian, and personal; whilst all
+these parts, apparently so heterogeneous, are
+welded into perfect symmetry in this one
+poem.</p>
+
+<hr style="width: 45%;" />
+
+<p>Amongst the most important of the episodes
+is the account of ancient Florence given to
+Dante by his ancestor Cacciaguida, who also
+predicts the poet's exile and wanderings, and in
+a strain of lofty enthusiasm urges him to pour<span class="pagenum"><a name="Page_135" id="Page_135">[Pg 135]</a></span>
+out all the heart of his vision and brave the
+hatred and the persecution that it will surely
+bring upon him.</p>
+
+<p>This Cacciaguida was a Crusader who fell
+in the Holy Land, and Dante meets him in the
+burning planet of Mars, amongst the mighty
+warriors of the Lord whose souls blaze there
+in a ruddy glow of glory. There is Joshua,
+there Judas Maccab�us, and Charlemagne and
+Orlando and Godfrey and many more.</p>
+
+<p>A red cross glows athwart the planet's orb,
+and from it beams in mystic guise the Christ;
+but how, the poet cannot say, for words and
+images are wanting to portray it. Yet he who
+takes his cross and follows Christ, will one day
+forgive the tongue that failed to tell what he
+shall see when to him also Christ shall flash
+through that glowing dawn of light.</p>
+
+<p>Here the souls, like rubies that glow redder
+from the red-glowing cross as stars shine forth
+out of the Milky Way, pass and repass from
+horn to horn, from base to summit, and burst
+into a brighter radiance as they join and cross,
+while strains of lofty and victorious praise, unknown
+to mortal ears, gather upon the cross as<span class="pagenum"><a name="Page_136" id="Page_136">[Pg 136]</a></span>
+though it were a harp of many strings, touched
+by the hand of God, and take captive the entranced,
+adoring soul.</p>
+
+<p>There Cacciaguida hailed his descendant
+Dante, and long they conversed of the past, the
+present, and the future. Alas for our poor
+pride of birth! What wonder if men glory in it
+here? For even there in Heaven, where no base
+appetite distorts the will and judgment, even
+there did Dante glow with pride to call this
+man his ancestor.</p>
+
+<p>At last their converse ended; Cacciaguida's
+soul again was sweeping the unseen strings of
+that heavenly harp, and Dante turned again to
+look for guidance from his guardian. Beatrice's
+eyes were fixed above; and quick as the blush
+passes from a fair cheek, so quick the ruddy
+glow of Mars was gone, and the white light
+of Jupiter shone clear and calm in the sixth
+heaven&mdash;the Heaven of the Just.</p>
+
+<p>What a storm of passions and emotions
+swept through Dante's soul when he learnt
+where he was! 'O chivalry of Heaven!' he
+exclaimed in agony, 'pray for those who are
+led all astray on earth by foul example.' When<span class="pagenum"><a name="Page_137" id="Page_137">[Pg 137]</a></span>
+would the Righteous One again be wroth, and
+purge His temple of the traffickers&mdash;His temple
+walled by miracles and martyrdoms? How
+long should the Pope be suffered to degrade his
+holy office by making the penalties of Church
+discipline the tools of selfish politics&mdash;how long
+should his devotion to St. John the Baptist,
+whose head was stamped upon the coins of
+Florence, make him neglect the fisherman and
+Paul?</p>
+
+<p>Such were the first thoughts that rose in
+Dante's mind in the Heaven of the Just; but
+they soon gave way to others. Here surely,
+here if anywhere, God's justice must be manifest.
+Reflected in all Heaven, here must it shine without
+a veil. The spirits of the just could surely
+solve his torturing doubt. How long had his
+soul hungered and found no food on earth, and
+now how eagerly did he await the answer to his
+doubt! They knew his doubt, he need not tell it
+them; oh, let them solve it!</p>
+
+<p>Yes, they knew what he would say: 'A
+man is born upon the bank of Indus, and there
+there is none to speak of Christ, or read or
+write of him. All this man's desires and acts<span class="pagenum"><a name="Page_138" id="Page_138">[Pg 138]</a></span>
+are good, and without sin, as far as human eye
+can see, in deed or word. He dies unbaptised,
+without the faith. Where is that justice which
+condemns him? Where is his fault in not believing?'
+Yes, they knew his doubt, but could
+not solve it. Their answer is essentially the
+same as Paul's: 'Nay, but, O man, who art
+thou that repliest against God?'</p>
+
+<p>The Word of God, say the spirits of the just,
+could not be so expressed in all the universe
+but what it still remained in infinite excess.
+Nay, Lucifer, the highest of created beings, could
+not at once see all the light of God, and fell
+through his impatience. How then could a
+poor mortal hope to scan the ways of God?
+His ken was lost in His deep justice as the eye
+is lost in the ocean. We can see the shallow
+bottom of the shore, but we cannot see the
+bottom of the deep, which none the less is
+there. So God's unfathomable justice is too
+deep, too just, for us to comprehend. The
+Primal Will, all goodness in itself, moves not
+aside from justice and from good. Never indeed
+did man ascend to heaven who believed
+not in Christ, yet are there many who cry, Lord,<span class="pagenum"><a name="Page_139" id="Page_139">[Pg 139]</a></span>
+Lord, and in the day of judgment shall be far
+more remote from Christ than many a one that
+knew him not.<a name="FNanchor_89_89" id="FNanchor_89_89"></a><a href="#Footnote_89_89" class="fnanchor">[89]</a></p>
+
+<p>With this answer Dante must be content.
+He must return from Heaven with this thirst
+unslaked, this long hunger still unsatisfied. Ay,
+and with this answer must we too rest content.
+And yet not with this answer, for we do not ask
+this question. That awful load of doubt under
+which Dante bent is lifted from our souls, and
+for us there is no eternal Hell, there are no
+virtuous but rejected Heathen. Yet to us too
+the ocean of God's justice is too deep to pierce.
+And when we ask why every blessing, every
+chance of good, is taken from one child, while
+another is bathed from infancy in the light of
+love, and is taught sooner than it can walk to
+choose the good and to reject the evil, what
+answer can we have but Dante's? Rest in
+faith. You know God's justice, for you feel it
+with you in your heart when you are fighting
+for the cause of justice; you know God's justice,
+for you feel it in your heart like an avenging<span class="pagenum"><a name="Page_140" id="Page_140">[Pg 140]</a></span>
+angel when you sin; you know God's justice&mdash;but
+you do not know it all.</p>
+
+<hr style="width: 45%;" />
+
+<p>There in the Heaven of the Just was David;
+now he knew how precious were his songs, since
+his reward was such. There too was Trajan,
+who by experience of the bliss of Heaven and
+pain of Hell knew how dear the cost of not
+obeying Christ. There were Constantine, and
+William of Sicily, and Ripheus, that just man of
+Troy. 'What things are these?' was the cry
+that dropped by its own weight from Dante's
+lips. The heathens Trajan and Ripheus here!
+No, not heathens. Ripheus had so given himself
+to justice when on earth, that God in His
+grace revealed to him the coming Christ, and
+he believed. Faith, Hope, and Charity were his
+baptism more than a thousand years ere baptism
+was known. And for Trajan, Gregory
+had wrestled in prayer for him, had taken the
+Kingdom of Heaven by storm with his warm
+love and living hope; and since no man repents
+in Hell, God at the prayer of Gregory
+had recalled the imperial soul back for a moment
+to its mouldering clay. There it believed<span class="pagenum"><a name="Page_141" id="Page_141">[Pg 141]</a></span>
+in Christ, and once more dying, entered on
+his joy.<a name="FNanchor_90_90" id="FNanchor_90_90"></a><a href="#Footnote_90_90" class="fnanchor">[90]</a></p>
+
+<p>Thus did Dante wrestle with his faith, and
+in the passion of his love of virtue and thirst for
+justice seek to escape the problem which he
+could not solve.</p>
+
+<hr style="width: 45%;" />
+
+<p>But we must hasten to the close. Dante and
+Beatrice have passed through all the heavens.
+The poet's sight is gradually strengthened and
+prepared for the supreme vision. He has already
+seen a kind of symbol of the Uncreated, surrounded
+by the angelic ministers. It was in
+the ninth heaven, the Heaven of the Primum
+Mobile, that he saw a single point of intensest
+light surrounded by iris rings, upon which point,
+said Beatrice, all Heaven and all nature hung.<a name="FNanchor_91_91" id="FNanchor_91_91"></a><a href="#Footnote_91_91" class="fnanchor">[91]</a></p>
+
+<p>But now they have passed beyond all nine
+revolving heavens into the region of 'pure light,
+light intellectual full of love, love of the truth
+all full of joy, joy that transcends all sweetness.'<a name="FNanchor_92_92" id="FNanchor_92_92"></a><a href="#Footnote_92_92" class="fnanchor">[92]</a>
+And here the poet sees that for which all else had
+been mere preparation.<span class="pagenum"><a name="Page_142" id="Page_142">[Pg 142]</a></span></p>
+
+<p>But I will not strive to reproduce his imagery,
+with the mighty river of light inexhaustible, with
+the mystic flowers of heavenly perfume, with the
+sparks like rubies set in gold ever passing between
+the flowers and the river. Of this river
+Dante drank, and then the true forms of what
+had hitherto been shadowed forth in emblems
+only, rose before his eyes. Rank upon rank the
+petals of the mystic rose of Paradise stretched
+far away around and above him. There were
+the blessed souls of the holy ones, bathed in the
+light of God that streamed upon them from
+above, while the angels ever passed between it
+and them ministering peace and love.</p>
+
+<p>There high up, far, far beyond the reach of
+mortal eye, had it been on earth, sat Beatrice,
+who had left the poet's side. But in Heaven,
+with no destroying medium to intervene, distance
+is no let to perfect sight. He spoke to
+her. He poured out his gratitude to her, for it
+was she who had made him a free man from a
+slave, she who had made him sane, she who had
+left her footprints in Hell for him, when she
+went to summon Virgil to his aid. Oh, that his
+life hereafter might be worthy of the grace and<span class="pagenum"><a name="Page_143" id="Page_143">[Pg 143]</a></span>
+power that had so worked for him! Then
+from her distant place in Heaven, Beatrice
+looked at him and smiled, then turned her eyes
+upon the Uncreated Light.<a name="FNanchor_93_93" id="FNanchor_93_93"></a><a href="#Footnote_93_93" class="fnanchor">[93]</a></p>
+
+<p>St. Bernard was at Dante's side, and prayed
+that the seer's vision might be strengthened to
+look on God. Then Dante turned his eyes to
+the light above. The unutterable glory of that
+light dazzled not his intent, love-guided gaze.
+Nay, rather did it draw it to itself and every
+moment strengthen it with keener sight and
+feed it with intenser love.</p>
+
+<p>Deeper and deeper into that Divine Light
+the seer saw. Had he turned his eyes aside,
+then indeed he knew the piercing glory would
+have blinded them; but that could never be,
+for he who gazes on that light feels all desire
+centred there&mdash;in it are all things else. So for
+a time with kindling gaze the poet looked
+into the light of God, unchanging, yet to the
+strengthening sight revealing ever more. Mysteries
+that no human tongue can tell, no human
+mind conceive, were flashed upon him in the<span class="pagenum"><a name="Page_144" id="Page_144">[Pg 144]</a></span>
+supreme moment, and then all was over&mdash;'The
+power of the lofty vision failed.'</p>
+
+<hr style="width: 45%;" />
+
+<p>Dante does not tell us where he found himself
+when the vision broke. He only tells us
+this: that as a wheel moves equally in all its
+parts, so his desire and will were, without strain
+or jar, revolved henceforth by that same Love
+that moves the sun and all the other stars.<a name="FNanchor_94_94" id="FNanchor_94_94"></a><a href="#Footnote_94_94" class="fnanchor">[94]</a></p>
+
+<p>This was the end of all that Dante had
+thought and felt and lived through&mdash;a will that
+rolled in perfect oneness with the will of God.
+This was the end to which he would bring his
+readers, this was the purpose of his sacred poem,
+this was the meaning of his life.<a name="FNanchor_95_95" id="FNanchor_95_95"></a><a href="#Footnote_95_95" class="fnanchor">[95]</a></p>
+
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_77_77" id="Footnote_77_77"></a><a href="#FNanchor_77_77"><span class="label">[77]</span></a> <i>Paradiso</i>, ii. 1-15.</p></div>
+
+<div class="footnote"><p><a name="Footnote_78_78" id="Footnote_78_78"></a><a href="#FNanchor_78_78"><span class="label">[78]</span></a> <i>Paradiso</i>, i. 1-12.</p></div>
+
+<div class="footnote"><p><a name="Footnote_79_79" id="Footnote_79_79"></a><a href="#FNanchor_79_79"><span class="label">[79]</span></a> <i>Ibid.</i> xxxiii. 58-63.</p></div>
+
+<div class="footnote"><p><a name="Footnote_80_80" id="Footnote_80_80"></a><a href="#FNanchor_80_80"><span class="label">[80]</span></a> <i>Convito</i>, III. xv.</p></div>
+
+<div class="footnote"><p><a name="Footnote_81_81" id="Footnote_81_81"></a><a href="#FNanchor_81_81"><span class="label">[81]</span></a> <i>Purgatorio</i>, xxx. 79-81, xxxi. 64-67; <i>Paradiso</i>, i. 100-102,
+xxii. 1 sqq.</p></div>
+
+<div class="footnote"><p><a name="Footnote_82_82" id="Footnote_82_82"></a><a href="#FNanchor_82_82"><span class="label">[82]</span></a> <i>Paradiso</i>, xxiii. 1-15.</p></div>
+
+<div class="footnote"><p><a name="Footnote_83_83" id="Footnote_83_83"></a><a href="#FNanchor_83_83"><span class="label">[83]</span></a> <i>Ibid.</i> iv. 28-48.</p></div>
+
+<div class="footnote"><p><a name="Footnote_84_84" id="Footnote_84_84"></a><a href="#FNanchor_84_84"><span class="label">[84]</span></a> <i>Paradiso</i>, x. 139&mdash;xi. 12.</p></div>
+
+<div class="footnote"><p><a name="Footnote_85_85" id="Footnote_85_85"></a><a href="#FNanchor_85_85"><span class="label">[85]</span></a> <i>Paradiso</i>, iii. 64-90.</p></div>
+
+<div class="footnote"><p><a name="Footnote_86_86" id="Footnote_86_86"></a><a href="#FNanchor_86_86"><span class="label">[86]</span></a> <i>Paradiso</i>, vi. 112-126.</p></div>
+
+<div class="footnote"><p><a name="Footnote_87_87" id="Footnote_87_87"></a><a href="#FNanchor_87_87"><span class="label">[87]</span></a> <i>Paradiso</i>, xxvii, 22-34.</p></div>
+
+<div class="footnote"><p><a name="Footnote_88_88" id="Footnote_88_88"></a><a href="#FNanchor_88_88"><span class="label">[88]</span></a> Milman.</p></div>
+
+<div class="footnote"><p><a name="Footnote_89_89" id="Footnote_89_89"></a><a href="#FNanchor_89_89"><span class="label">[89]</span></a> <i>Paradiso</i>, xiv. 85&mdash;xix. 148.</p></div>
+
+<div class="footnote"><p><a name="Footnote_90_90" id="Footnote_90_90"></a><a href="#FNanchor_90_90"><span class="label">[90]</span></a> <i>Paradiso</i>, xx.</p></div>
+
+<div class="footnote"><p><a name="Footnote_91_91" id="Footnote_91_91"></a><a href="#FNanchor_91_91"><span class="label">[91]</span></a> <i>Ibid.</i> xxviii. 41, 42.</p></div>
+
+<div class="footnote"><p><a name="Footnote_92_92" id="Footnote_92_92"></a><a href="#FNanchor_92_92"><span class="label">[92]</span></a> <i>Ibid.</i> xxx. 40-42.</p></div>
+
+<div class="footnote"><p><a name="Footnote_93_93" id="Footnote_93_93"></a><a href="#FNanchor_93_93"><span class="label">[93]</span></a> <i>Paradiso</i>, xxxi. 52-93.</p></div>
+
+<div class="footnote"><p><a name="Footnote_94_94" id="Footnote_94_94"></a><a href="#FNanchor_94_94"><span class="label">[94]</span></a> <i>Paradiso</i>, xxxiii. 143-145.</p></div>
+
+<div class="footnote"><p><a name="Footnote_95_95" id="Footnote_95_95"></a><a href="#FNanchor_95_95"><span class="label">[95]</span></a> Compare Symonds, p. 183.</p></div>
+</div>
+
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_145" id="Page_145">[Pg 145]</a></span></p>
+
+<h2>APPENDIX<br />
+<br />
+AN ATTEMPT TO STATE THE CENTRAL<br />
+THOUGHT OF THE COMEDY<br />
+</h2>
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_147" id="Page_147">[Pg 147]</a></span></p>
+<h2><a name="APPENDIX" id="APPENDIX"></a>APPENDIX.</h2>
+
+
+<p>Dante's poem&mdash;the true reflection of his mind&mdash;is a
+compact and rounded <i>whole</i> in which all the parts
+are mutually interdependent. Its digressions are never
+excrescences, its episodes are never detached from its
+main purpose, its form is never arbitrary and accidental,
+but is always the systematic and deliberate expression
+of its substance. Moreover it is profoundly
+medi�val and Catholic in conception and spirit. The
+scholastic theology and science of the Middle Ages
+and the spiritual institutions of the Catholic Church
+were no trammels to Dante's thought and aspiration.
+Under them and amidst them he moved with a
+perfect sense of freedom, in them he found the
+embodiment of his loftiest conceptions. Against
+their abuses his impetuous spirit poured out its lava-stream
+of burning indignation, but his very passion
+against those who laid impure hands upon the sacred
+things of God is the measure of his reverence for
+their sanctity.</p>
+
+<p>If the Catholic poet of the fourteenth century
+speaks with a voice that can reach the ears and stir<span class="pagenum"><a name="Page_148" id="Page_148">[Pg 148]</a></span>
+the hearts of the Protestant and heretic of the nineteenth,
+it is not so much because he rose above the
+special forms and conditions of the faith of his own
+age as because he went below them and touched the
+eternal rock upon which they rested. Not by neglecting
+or making light of the dogmas and institutions
+of his day, but by piercing to their very heart and
+revealing their deepest foundations, did he become
+a poet for all time.</p>
+
+<p>The distinction, then, which we are about to draw
+between the permanent realities of Dante's religion and
+the passing forms, the temporary conditions of belief,
+under which it was manifested, is a distinction which
+did not exist for him. His faith was a garment woven
+without seam, or, to use his own metaphor, a coin so
+true in weight and metal, so bright and round, that
+there was no 'perhaps' to him in its impression.<a name="FNanchor_96_96" id="FNanchor_96_96"></a><a href="#Footnote_96_96" class="fnanchor">[96]</a></p>
+
+<p>This unwavering certainty alike in principle and
+in detail, this unfaltering loyalty to the beliefs of his
+day alike in form and substance, is one of the secrets
+of Dante's strength.</p>
+
+<p>But, again, such compactness and cohesion of
+belief could not have been attained except by the
+strict subordination of every article of concrete faith
+to the great central conceptions of religion, rising out
+of the very nature and constitution of the devout
+human soul. And therefore, paradox as it may seem,
+the very intensity with which Dante embraced beliefs<span class="pagenum"><a name="Page_149" id="Page_149">[Pg 149]</a></span>
+that we have definitely and utterly rejected, is the
+pledge that we shall find in his teaching the essence
+of our own religion; and we may turn to the Comedy
+with the certainty that we shall not only discover here
+and there passages which will wake an echo in our
+bosoms, but shall also find at the very heart of it some
+guiding thought that will be to us as it was to him
+absolutely true.</p>
+
+<p>Now Dante himself, as we have seen, tells us what
+is the subject of his Comedy. Literally it is 'The
+state of souls after death,' and allegorically 'Man, as
+rendering himself liable to rewarding or punishing
+justice, by good or ill desert in the exercise of his
+free will.' The ideal requirements of Divine Justice,
+then, form the central subject of this poem, the one
+theme to which, amidst infinite diversity of application,
+the poet remains ever true; and these requirements
+he works out in detail and enforces with all the
+might, the penetration, the sweetness of his song,
+under the conditions of medi�val belief as to the
+future life.</p>
+
+<p>But these conditions of belief are utterly foreign
+to our own conceptions. I say nothing of the rejection
+of the virtuous heathen, because Dante himself
+could really find no room for it in his own system of
+conceptions. It lay in his mind as a belief accepted
+from tradition, but never really assimilated by faith.
+Apart from this, however, we find ourselves severed
+from Dante by his fundamental dogma that the hour of<span class="pagenum"><a name="Page_150" id="Page_150">[Pg 150]</a></span>
+death ends all possibility of repentance or amendment.
+With him there is no repentance in Hell, no
+progress in Heaven; and it is therefore only in Purgatory
+that we find anything at all fundamentally
+analogous to the modern conception of a progressive
+approximation to ideal perfection and oneness with
+God throughout the cycles of a future life. And even
+here the transition of Purgatory is but temporal, nor
+is there any fundamental or progressive change of
+heart in its circles, for unless the heart be changed
+before death it cannot change at all.</p>
+
+<p>In its literal acceptation, then, dealing with 'the
+state of souls after death,' the 'Divine Comedy' has
+little to teach us, except indirectly.</p>
+
+<p>But allegorically it deals with 'man,' first as impenitently
+sinful; second, as penitent; last, as purified
+and holy. It shows us the requirements of Divine
+Justice with regard to these three states; and whether
+we regard them as permanent or transitory, as severed
+by sharp lines one from the other or as melting imperceptibly
+into each other, as existing on earth or
+beyond the grave, in any case Dante teaches us what
+sentence justice must pronounce on impenitence, on
+penitence, and on sanctity. Nay, independently of
+any belief in future retribution at all, independently of
+any belief in what our actions will receive, Dante
+burns or flashes into our souls the indelible conviction
+of what they deserve.</p>
+
+<p>Now to Dante's mind, as to most others, the conceptions<span class="pagenum"><a name="Page_151" id="Page_151">[Pg 151]</a></span>
+of <i>justice</i> and <i>desert</i> implied the conception
+of <i>free will</i>. And accordingly we find the reality
+of the choice exercised by man, and attended by such
+eternal issues, maintained with intense conviction
+throughout the poem. The free will is the supreme
+gift of God, and that by which the creature most
+closely partakes of the nature of the Creator. The
+free gift of God's love must be seized by an act of
+man's free will, in opposition to the temptations and
+difficulties that interpose themselves. There is justice
+as well as love in Heaven; justice as well as mercy in
+Purgatory. The award of God rests upon the free
+choice of man, and registers his merit or demerit. It
+is true, and Dante fully recognises it, that one man has
+a harder task than another. The original constitution
+and the special circumstances of one man make the
+struggle far harder for him than for another; but God
+never suffers the hostile influence of the stars to be so
+strong that the human will may not resist it. Diversity
+of character and constitution is the necessary
+condition of social life, and we can see why God did
+not make us all alike; but when we seek to pierce yet
+deeper into the mystery of His government, and ask
+why this man is selected for this task, why another is
+burdened with this toil, why one finds the path of
+virtue plain for his feet to tread, while one finds it
+beset with obstacles before which his heart stands
+still&mdash;when we ask these questions we trench close
+upon one of those doubts which Dante brought back<span class="pagenum"><a name="Page_152" id="Page_152">[Pg 152]</a></span>
+unsolved from Heaven. Not the seraph whose sight
+pierces deepest into the light of God could have told
+him this, so utterly is it veiled from all created sight.<a name="FNanchor_97_97" id="FNanchor_97_97"></a><a href="#Footnote_97_97" class="fnanchor">[97]</a></p>
+
+<p>But amidst all these perplexities one supreme fact
+stands out to Dante's mind: that, placed as we are
+on earth amidst the mysterious possibilities of good
+and evil, we are endowed with a genuine power of
+self-directed choice between them. The fullness of
+God's grace is freely offered to us all, the life eternal
+of obedience, of self-surrender, of love, tending ever to
+the fuller and yet fuller harmony of united will and
+purpose, of mutually blessed and blessing offices of
+affection, of growing joy in all the supporting and
+surrounding creation, of growing repose in the might
+and love of God.</p>
+
+<p>But if we shut our eyes against the light of God's
+countenance and turn our backs upon His love, if we
+rebel against the limitations of mutual self-sacrifice to
+one another and common obedience to God, then an
+alternative is also offered us in the fierce and weltering
+chaos of wild passions and disordered desires,
+recognising no law and evoking no harmony, striking
+at the root of all common purpose and cut off from
+all helpful love.</p>
+
+<p>Our inmost hearts recognise the reality of this
+choice, and the justice and necessity of the award
+that gives us what we have chosen. That the hard,<span class="pagenum"><a name="Page_153" id="Page_153">[Pg 153]</a></span>
+bitter, self-seeking, impure, mutinous, and treacherous
+heart should drive away love and peace and joy is the
+natural, the necessary result of the inmost nature and
+constitution of things, and our hearts accept it. That
+self-discipline, gentleness, self-surrender, devotion,
+generosity, self-denying love, should gather round
+them light and sweetness, should infuse a fullness of
+joy into every personal and domestic relation, should
+give a glory to every material surrounding, and should
+gain an ever closer access to God, is no artificial
+arrangement which might with propriety be reversed,
+it is a part of the eternal and necessary constitution
+of the universe, and we feel that it ought so to be.</p>
+
+<p>There is no joy or blessedness without harmony,
+there is no harmony without the concurrence of
+independent forces, there is no such concurrence
+without self-discipline and self-surrender.</p>
+
+<p>But these natural consequences of our moral
+action are here on earth constantly interfered with
+and qualified, constantly baulked of their full and
+legitimate effect. Here we do not get our deserts.
+The actions of others affect us almost as much as
+our own, and artificially interpose themselves to
+screen us from the results of what we are and do ourselves.
+Hence we constantly fail to perceive the true
+nature of our choice. Its consequences fall on others;
+we partially at least evade the Divine Justice, and forget
+or know not what we are doing, and what are the
+demands of justice with regard to us.<span class="pagenum"><a name="Page_154" id="Page_154">[Pg 154]</a></span></p>
+
+<p>Now Dante, in his three poems, with an incisive
+keenness of vision and a relentless firmness of touch,
+that stand alone, strips our life and our principles of
+action of all these distracting and confusing surroundings,
+isolates them from all qualifying and artificial
+palliatives, and shows us what our choice is and where
+it leads to.</p>
+
+<p>In Hell we see the natural and righteous results
+of sin, recognise the direct consequences, the fitting
+surroundings of a sinful life, and understand what the
+sinful choice in its inmost nature is. As surely as
+our consciences accuse us of the sins that are here
+punished, so surely do we feel with a start of self-accusing
+horror, 'This is what I am trying to make
+the world. This is where we should be lodged if I
+received what I have given. This is what justice
+demands that I should have. This is what I deserve.
+It is what I have chosen.'</p>
+
+<p>The tortures of Hell are not artificial inflictions,
+they are simply the reflection and application of the
+sinner's own ways and principles. He has made his
+choice, and he is given that which he has chosen.
+He has found at last a world in which his principles
+of action are not checked and qualified at every turn
+by those of others, in which he is not screened from
+any of the consequences of his deeds, in which his
+own life and action has consolidated, so to speak,
+about him, and has made his surroundings correspond
+with his heart.<span class="pagenum"><a name="Page_155" id="Page_155">[Pg 155]</a></span></p>
+
+<p>In the Hell, Dante shows us the nature and the
+deserts of impenitent sin; and though we may well
+shrink from the ghastly conception of an eternal state
+of impenitence and hatred, yet surely there is nothing
+from which we ought to shrink in the conception of
+impenitent sin as long as it lasts, whether in us or in
+others, concentrating its results upon itself, making its
+own place and therefore receiving its deserts.</p>
+
+<p>When we turn from Hell to Purgatory, we turn
+from unrepentant and therefore constantly cherished,
+renewed, and reiterated sin, to repentant sin, already
+banished from the heart. What does justice demand
+with regard to such sin? Will it have it washed out?
+Will it, in virtue of the sinner's penitence, interpose between
+him and the wretched results and consequences
+of his deeds? Who that has ever sinned and repented
+will accept for a moment such a thought? The repentant
+sinner does not <i>wish</i> to escape the consequences
+and results of his sin. His evil deeds or passions
+must bring and ought to bring a long trail of wretched
+suffering for himself. This suffering is not corrective,
+it is expiatory. His heart is already corrected, it is
+already turned in shame and penitence to God; but if
+he had no punishment, if his evil deed brought no
+suffering upon himself, he would feel that the Divine
+Justice had been outraged. He shrinks from the
+thought with a hurt sense of moral unfitness. He
+wishes to suffer, he would not escape into the peace of
+Heaven if he might.<span class="pagenum"><a name="Page_156" id="Page_156">[Pg 156]</a></span></p>
+
+<p>Never did Dante pierce more deeply into the truth
+of things, never did he bring home the <i>justice</i> of
+punishment more closely to the heart, than when he
+told how the souls in Purgatory do not wish to rise
+to Heaven till they have worked out the consequences
+of their sins. The sin long since repented and renounced
+still haunts us with its shame and its remorse,
+still holds us from the fullness of the joy of God's love,
+still smites us with a keener pain the closer we press
+into the forgiving Father's presence; and we would
+have it so. The deepest longing of our heart, which
+is now set right, is for full, untroubled communion
+with God, yet it is just when nearest to Him that we
+feel the wretched penalty of our sin most keenly and
+that we least desire to escape it.</p>
+
+<p>But if the sinful disposition be gone, then the
+source of our suffering is dried up with it, and the
+sense of oneness with God, of harmony and trust,
+gradually overpowers the self-reproach, until from the
+state of penitence and suffering the soul rises to holiness
+and peace.</p>
+
+<p>It is in giving us glimpses of this final state that
+Dante wields his most transforming power over our
+lives. He shows us what God offers us, what it is
+that we have hitherto refused, what it is that we may
+still aspire to, that here or hereafter we may hope
+to reach. Sin-stained and sorrow-laden as we are,
+it is only on wings as strong as his that we can be
+raised even for a moment into that Divine blessedness<span class="pagenum"><a name="Page_157" id="Page_157">[Pg 157]</a></span>
+in which sin has been so purged by suffering, so dried
+up by the sinner's love of God, so blotted out by God's
+love of him, that it has vanished as a dream, and the
+soul can say, 'Here we repent not.'<a name="FNanchor_98_98" id="FNanchor_98_98"></a><a href="#Footnote_98_98" class="fnanchor">[98]</a> How mighty the
+spirit that can raise us even for a moment from the
+desolate weariness of Hell, and the long suffering of
+Purgatory, to the joy and peace of Heaven!</p>
+
+<p>And here too there is justice. Here too the deserts
+of the soul are the gauge of its condition. For, as we
+have seen, in the very blessedness of Heaven there
+are grades, and the soul which has once been stained
+with sin or tainted with selfish and worldly passion,
+can never be as though it had been always pure. Yet
+the torturing sense of unworthiness is gone, the
+unrest of a past that thwarts the present is no more;
+the souls have cast off the burden of their sin, and
+are at perfect peace with God and with themselves.</p>
+
+<p>Sin, repentance, holiness, confronted with the
+Eternal Justice&mdash;what they are and what they
+deserve&mdash;such is the subject of Dante Alighieri's
+Comedy.</p>
+
+<p>Have five and a half centuries of progress outgrown
+the poem, or are Dante's still the mightiest and
+most living words in which man has ever painted in
+detail the true deserts of sin, of penitence, of sanctity?
+The growing mind of man has burst the shell of
+Dante's medi�val creed. Is his portrayal of the true
+conditions of blessedness as antiquated as his philosophy,<span class="pagenum"><a name="Page_158" id="Page_158">[Pg 158]</a></span>
+his religion as strange to modern thought as his
+theology? Or has he still a power, wielded by no
+other poet, of taking us into the very presence of God
+and tuning our hearts to the harmonies of Heaven?
+Those who have been with him on his mystic journey,
+and have heard and seen, can answer these questions
+with a declaration as clear and ringing as the poet's
+own confession of faith in the courts of Heaven. If
+those who have but caught some feeble echoes of his
+song can partly guess what the true answer is, then
+those echoes have not been waked in vain.</p>
+
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_96_96" id="Footnote_96_96"></a><a href="#FNanchor_96_96"><span class="label">[96]</span></a> <i>Paradiso</i>, xxiv. 86, 87.</p></div>
+
+<div class="footnote"><p><a name="Footnote_97_97" id="Footnote_97_97"></a><a href="#FNanchor_97_97"><span class="label">[97]</span></a> Compare <i>Purgatorio</i>, xvi. 67-84; <i>Paradiso</i>, iv. 73-114,
+v. 13 sqq., viii. 115-129, xxi. 76-102, xxxii. 49-75.</p></div>
+
+<div class="footnote"><p><a name="Footnote_98_98" id="Footnote_98_98"></a><a href="#FNanchor_98_98"><span class="label">[98]</span></a> <i>Paradiso</i>, ix. 103.</p></div>
+</div>
+
+
+<p class="center"><small>LONDON: PRINTED BY<br />
+SPOTTISWOODE AND CO., NEW-STREET SQUARE<br />
+AND PARLIAMENT STREET<br /></small></p>
+
+<hr style="width: 65%;" /><p><span class="pagenum"><a name="Page_1a" id="Page_1a">[Pg 1]</a></span></p>
+
+<h2><i>A LIST OF<br />
+C. KEGAN PAUL AND CO.'S<br />
+PUBLICATIONS.</i></h2>
+<hr style="width: 65%;" />
+
+<p><span class="pagenum"><a name="Page_2a" id="Page_2a">[Pg 2]</a></span></p>
+
+<p class="ralign"><i>1, Paternoster Square, London.</i><br />
+</p>
+
+<h2>A LIST OF<br />
+C. KEGAN PAUL AND CO.'S<br />
+PUBLICATIONS.</h2>
+
+
+<p>ABBEY (Henry).</p>
+
+<div class="blockquot"><p><b>Ballads of Good Deeds,
+and Other Verses.</b> Fcap. 8vo.
+Cloth gilt, price 5<i>s.</i></p></div>
+
+
+<p>ABDULLA (Hakayit).</p>
+
+<div class="blockquot"><p><b>Autobiography of a Malay
+Munshi.</b> Translated by J. T.
+Thomson, F.R.G.S With Photo-lithograph
+Page of Abdulla's MS.
+Post 8vo. Cloth, price 12<i>s.</i></p></div>
+
+
+<p>ADAMS (A. L.), M.A., M.B.,
+F.R.S., F.G.S.</p>
+
+<div class="blockquot"><p><b>Field and Forest Rambles
+of a Naturalist in New Brunswick.</b>
+With Notes and Observations
+on the Natural History of Eastern
+Canada. Illustrated. 8vo. Cloth,
+price 14<i>s.</i></p></div>
+
+
+<p>ADAMS (F. O.), F.R.G.S.</p>
+
+<div class="blockquot"><p><b>The History of Japan.</b> From
+the Earliest Period to the Present
+Time. New Edition, revised. 2
+volumes. With Maps and Plans.
+Demy 8vo. Cloth, priced 21<i>s.</i> each.</p></div>
+
+
+<p>ADAMS (W. D.).</p>
+
+<div class="blockquot"><p><b>Lyrics of Love</b>, from Shakespeare
+to Tennyson. Selected and
+arranged by. Fcap. 8vo. Cloth extra,
+gilt edges, price 3<i>s.</i> 6<i>d.</i></p>
+
+<p>Also, a Cheap Edition. Fcap. 8vo.
+Cloth, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>ADAMS (John), M.A.</p>
+
+<div class="blockquot"><p><b>St. Malo's Quest, and
+other Poems.</b> Fcap. 8vo. Cloth, 5<i>s.</i></p></div>
+
+
+<p>ADAMSON (H. T.), B.D.</p>
+
+
+<div class="blockquot"><p><b>The Truth as it is in Jesus.</b>
+Crown 8vo. Cloth, price 8<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>ADON.</p>
+
+<div class="blockquot"><p><b>Through Storm &amp; Sunshine.</b>
+Illustrated by M. E. Edwards,
+A. T. H. Paterson, and the Author.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>A. J. R.</p>
+
+<div class="blockquot"><p><b>Told at Twilight</b>; Stories
+in Verse, Songs, &amp;c. Fcap. 8vo.
+Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>A. K. H. B.</p>
+
+<div class="blockquot"><p><b>A Scotch Communion Sunday</b>,
+to which are added Certain
+Discourses from a University City.
+By the Author of "The Recreations
+of a Country Parson." Second
+Edition. Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>From a Quiet Place.</b> A New
+Volume of Sermons. Crown 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+
+<p>ALBERT (Mary).</p>
+
+<div class="blockquot"><p><b>Holland and her Heroes to
+the year 1585.</b> An Adaptation from
+Motley's "Rise of the Dutch Republic."
+Small crown 8vo. Cloth,
+price, 4<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>ALLEN (Rev. R.), M.A.</p>
+
+<div class="blockquot"><p><b>Abraham; his Life, Times,
+and Travels</b>, 3,800 years ago. Second
+Edition. With Map. Post
+8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>ALLEN (Grant), B.A.</p>
+
+<div class="blockquot"><p><b>Physiological �sthetics.</b>
+Large post 8vo. 9<i>s.</i></p></div>
+
+
+<p>AMOS (Prof. Sheldon).</p>
+
+<div class="blockquot"><p><b>Science of Law.</b> Third
+Edition. Crown 8vo. Cloth, price 5<i>s.</i></p>
+
+<p>Volume X. of The International
+Scientific Series.</p></div>
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+
+<p>ANDERSON (Rev. C.), M.A.</p>
+
+<div class="blockquot"><p><b>New Readings of Old
+Parables.</b> Demy 8vo. Cloth, price
+4<i>s.</i> 6<i>d.</i></p></div>
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+<div class="blockquot"><p><b>Church Thought and
+Church Work.</b> Edited by. Second
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+
+<div class="blockquot"><p><b>The Curate of Shyre.</b> Second
+Edition. 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>ANDERSON (Col. R. P.).</p>
+
+<div class="blockquot"><p><b>Victories and Defeats.</b> An
+Attempt to explain the Causes which
+have led to them. An Officer's
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+
+
+<p>ANDERSON (R. C.), C.E.</p>
+
+<div class="blockquot"><p><b>Tables for Facilitating the
+Calculation of every Detail in
+connection with Earthen and
+Masonry Dams.</b> Royal 8vo. Cloth,
+price �2 2<i>s.</i></p></div>
+<p><span class="pagenum"><a name="Page_3a" id="Page_3a">[Pg 3]</a></span></p>
+
+
+<p>ARCHER (Thomas).</p>
+
+<div class="blockquot"><p><b>About my Father's
+Business.</b> Work amidst the Sick,
+the Sad, and the Sorrowing. Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p><b>Army of the North German
+Confederation.</b></p>
+
+<div class="blockquot"><p>A Brief Description of its Organization,
+of the Different Branches
+of the Service and their <i>r�le</i> in War,
+of its Mode of Fighting, &amp;c. &amp;c.
+Translated from the Corrected Edition,
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+
+
+<p>ARNOLD (Arthur).</p>
+
+<div class="blockquot"><p><b>Social Politics.</b> Demy 8vo.
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+
+
+<p>AUBERTIN (J. J.).</p>
+
+<div class="blockquot"><p><b>Camoens' Lusiads.</b> Portuguese
+Text, with Translation by.
+With Map and Portraits. 2 vols.
+Demy 8vo. Price 30<i>s.</i></p></div>
+
+
+<p><b>Aunt Mary's Bran Pie.</b></p>
+
+<div class="blockquot"><p>By the author of "St. Olave's."
+Illustrated. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p><b>Aurora.</b></p>
+
+<div class="blockquot"><p>A Volume of Verse. Fcap. 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+
+<p>BAGEHOT (Walter).</p>
+
+<div class="blockquot"><p><b>Physics and Politics</b>; or,
+Thoughts on the Application of the
+Principles of "Natural Selection"
+and "Inheritance" to Political Society.
+Fourth Edition. Crown 8vo.
+Cloth, price 4<i>s.</i></p>
+
+<p>Volume II. of The International
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+
+<div class="blockquot"><p><b>Some Articles on the Depreciation
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+connected with it. Demy 8vo. Price
+5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The English Constitution.</b>
+A New Edition, Revised and
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+Dissertation on Recent Changes and
+Events. Crown 8vo. Cloth, price
+7<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><i>Lombard Street.</i> A
+Description of the Money Market.
+Seventh Edition. Crown 8vo. Cloth,
+price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>BAGOT (Alan).</p>
+
+<div class="blockquot"><p><b>Accidents in Mines</b>: their
+Causes and Prevention. Crown 8vo.
+Cloth, price 6<i>s.</i></p></div>
+
+
+<p>BAIN (Alexander), LL.D.</p>
+
+<div class="blockquot"><p><b>Mind and Body</b>: the Theories
+of their relation. Sixth Edition.
+Crown 8vo. Cloth, price 4<i>s.</i></p>
+
+<p>Volume IV. of The International
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+
+<div class="blockquot"><p><b>Education as a Science.</b>
+Crown 8vo. Second Edition. Cloth,
+price 5<i>s.</i></p>
+
+<p>Volume XXV. of The International
+Scientific Series.</p></div>
+
+
+<p>BAKER (Sir Sheraton, Bart.).</p>
+
+<div class="blockquot"><p><b>Halleck's International
+Law</b>; or Rules Regulating the
+Intercourse of States in Peace and
+War. A New Edition, Revised, with
+Notes and Cases. 2 vols. Demy
+8vo. Cloth, price 38<i>s.</i></p></div>
+
+
+<p>BALDWIN (Capt. J. H.), F.Z.S.</p>
+
+<div class="blockquot"><p><b>The Large and Small Game
+of Bengal and the North-Western
+Provinces of India.</b> 4to. With
+numerous Illustrations. Second Edition.
+Cloth, price 21<i>s.</i></p></div>
+
+
+<p>BANKS (Mrs. G. L.).</p>
+
+<div class="blockquot"><p><b>God's Providence House.</b>
+New Edition. Crown 8vo. Cloth,
+price 3<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Ripples and Breakers.</b>
+Poems. Square 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>BARING (T. C.), M.A., M.P.</p>
+
+<div class="blockquot"><p><b>Pindar in English Rhyme.</b>
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+Epinikian Odes with the principal
+remaining Fragments of Pindar into
+English Rhymed Verse. Small
+Quarto. Cloth, price 7<i>s.</i></p></div>
+
+
+<p>BARLEE (Ellen).</p>
+
+<div class="blockquot"><p><b>Locked Out</b>: a Tale of the
+Strike. With a Frontispiece. Royal
+16mo. Cloth, price 1<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>BARNES (William).</p>
+
+<div class="blockquot"><p><b>An Outline of English
+Speechcraft.</b> Crown 8vo. Cloth,
+price 4<i>s.</i></p></div>
+
+
+<p>BARTLEY (George C. T.).</p>
+
+<div class="blockquot"><p><b>Domestic Economy</b>: Thrift
+in Every Day Life. Taught in
+Dialogues suitable for Children of
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+limp, 2<i>s.</i></p></div>
+<p><span class="pagenum"><a name="Page_4a" id="Page_4a">[Pg 4]</a></span></p>
+
+
+<p>BAUR (Ferdinand), Dr. Ph.</p>
+
+<div class="blockquot"><p><b>A Philological Introduction
+to Greek and Latin for Students.</b>
+Translated and adapted from the
+German of. By <span class="smcap">C. Kegan Paul</span>,
+M.A. Oxon., and the Rev. <span class="smcap">E. D.
+Stone</span>, M.A., late Fellow of King's
+College, Cambridge, and Assistant
+Master at Eton. Second and revised
+edition. Crown 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+
+<p>BAYNES (Rev. Canon R. H.)</p>
+
+<div class="blockquot"><p><b>At the Communion Time.</b>
+A Manual for Holy Communion.
+With a preface by the Right Rev.
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+Raphoe. Cloth, price 1<i>s.</i> 6<i>d.</i></p>
+
+<p>&#8258; Can also be had bound in
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+Turkey morocco, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Home Songs for Quiet
+Hours.</b> Fourth and cheaper Edition.
+Fcap. 8vo. Cloth, price 2<i>s.</i> 6<i>d.</i></p>
+
+<p><i>This may also be had handsomely
+bound in morocco with gilt edges.</i></p></div>
+
+
+<p>BECKER (Bernard H.).</p>
+
+<div class="blockquot"><p><b>The Scientific Societies of
+London.</b> Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>BELLINGHAM (Henry), Barrister-at-Law.</p>
+
+<div class="blockquot"><p><b>Social Aspects of Catholicism
+and Protestantism in their
+Civil Bearing upon Nations.</b>
+Translated and adapted from the
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+With a Preface by His Eminence
+Cardinal Manning. Crown 8vo.
+Cloth, price 6<i>s.</i></p></div>
+
+
+<p>BENNETT (Dr. W. C).</p>
+
+<div class="blockquot"><p><b>Narrative Poems &amp; Ballads.</b>
+Fcap. 8vo. Sewed in Coloured Wrapper,
+price 1<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Songs for Sailors.</b> Dedicated
+by Special Request to H. R. H. the
+Duke of Edinburgh. With Steel
+Portrait and Illustrations. Crown
+8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p>
+
+<p>An Edition in Illustrated Paper
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+
+<div class="blockquot"><p><b>Songs of a Song Writer.</b>
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>BENNIE (Rev. J. N.), M.A.</p>
+
+<div class="blockquot"><p><b>The Eternal Life.</b> Sermons
+preached during the last twelve years.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>BERNARD (Bayle).</p>
+
+<div class="blockquot"><p><b>Samuel Lover, the Life and
+Unpublished Works of.</b> In 2
+vols. With a Steel Portrait. Post
+8vo. Cloth, price 21<i>s.</i></p></div>
+
+
+<p>BERNSTEIN (Prof.).</p>
+
+<div class="blockquot"><p><b>The Five Senses of Man.</b>
+With 91 Illustrations. Second
+Edition. Crown 8vo. Cloth,
+price 5<i>s.</i></p>
+
+<p>Volume XXI. of The International
+Scientific Series.</p></div>
+
+
+<p>BETHAM&mdash;EDWARDS (Miss
+M.).</p>
+
+<div class="blockquot"><p><b>Kitty.</b> With a Frontispiece.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>BISCOE (A. C.).</p>
+
+<div class="blockquot"><p><b>The Earls of Middleton,
+Lords of Clermont and of Fettercairn,
+and the Middleton Family.</b>
+Crown 8vo. Cloth, price 10<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>BISSET (A.)</p>
+
+<div class="blockquot"><p><b>History of the Struggle for
+Parliamentary Government in
+England.</b> 2 vols. Demy 8vo.
+Cloth, price 24<i>s.</i></p></div>
+
+
+<p>BLASERNA (Prof. Pietro).</p>
+
+<div class="blockquot"><p><b>The Theory of Sound in its
+Relation to Music.</b> With numerous
+Illustrations. Second Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p>
+
+<p>Volume XXII. of The International
+Scientific Series.</p></div>
+
+
+<p class="i4"><b>Blue Roses</b>; or, Helen Malinofska's
+Marriage. By the Author
+of "V�ra." 2 vols. Fifth Edition.
+Cloth, gilt tops, 12<i>s.</i></p>
+
+<div class="blockquot"><p>&#8258; Also a Cheaper Edition in 1
+vol. With Frontispiece. Crown 8vo.
+Cloth, price 6<i>s.</i></p></div><p><span class="pagenum"><a name="Page_5a" id="Page_5a">[Pg 5]</a></span></p>
+
+
+<p>BLUME (Major W.).</p>
+
+<div class="blockquot"><p><b>The Operations of the
+German Armies in France</b>, from
+Sedan to the end of the war of 1870-71.
+With Map. From the Journals
+of the Head-quarters Staff. Translated
+by the late E. M. Jones, Maj.
+20th Foot, Prof. of Mil. Hist., Sandhurst.
+Demy 8vo. Cloth, price 9<i>s.</i></p></div>
+
+
+<p>BOGUSLAWSKI (Capt. A. von).</p>
+
+<div class="blockquot"><p><b>Tactical Deductions from
+the War of 1870-71.</b> Translated
+by Colonel Sir Lumley Graham,
+Bart., late 18th (Royal Irish) Regiment.
+Third Edition, Revised and
+Corrected. Demy 8vo. Cloth, price
+7<i>s.</i></p></div>
+
+
+<p>BONWICK (J.), F.R.G.S.</p>
+
+<div class="blockquot"><p><b>Egyptian Belief and Modern
+Thought.</b> Large post 8vo.
+Cloth, price 10<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Pyramid Facts and Fancies.</b>
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Tasmanian Lily.</b> With
+Frontispiece. Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Mike Howe, the Bushranger
+of Van Diemen's Land.</b> With
+Frontispiece. Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>BOSWELL (R. B.), M.A., Oxon.</p>
+
+<div class="blockquot"><p><b>Metrical Translations from
+the Greek and Latin Poets</b>, and
+other Poems. Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>BOWEN (H. C.), M.A.</p>
+
+<div class="blockquot"><p><b>English Grammar for Beginners.</b>
+Fcap. 8vo. Cloth, price 1<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Studies in English</b>, for the
+use of Modern Schools. Small crown
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+
+
+<p>BOWRING (L.), C.S.I.</p>
+
+<div class="blockquot"><p><b>Eastern Experiences.</b>
+Illustrated with Maps and Diagrams.
+Demy 8vo. Cloth, price 16<i>s.</i></p></div>
+
+
+<p>BOWRING (Sir John).</p>
+
+<div class="blockquot"><p><b>Autobiographical Recollections.</b>
+With Memoir by Lewin B. Bowring.
+Demy 8vo. Price 14<i>s.</i></p></div>
+
+
+<p>BRADLEY (F. H.).</p>
+
+<div class="blockquot"><p>Essays in Moral Philosophy. Large
+post 8vo. Cloth, price 9<i>s.</i></p></div>
+
+<p><b>Brave Men's Footsteps.</b></p>
+
+<div class="blockquot"><p>By the Editor of "Men who have
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+Four Illustrations by C. Doyle.
+Fifth Edition. Crown 8vo. Cloth,
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+
+
+<p>BRIALMONT (Col. A.).</p>
+
+<div class="blockquot"><p><b>Hasty Intrenchments.</b>
+Translated by Lieut. Charles A.
+Empson, R. A. With Nine Plates.
+Demy 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>BROOKE (Rev. S. A.), M.A.</p>
+
+<div class="blockquot"><p><b>The Late Rev. F. W. Robertson,
+M.A., Life and Letters
+of.</b> Edited by.</p></div>
+
+<div class="blockquot"><p>I. Uniform with the Sermons.
+2 vols. With Steel Portrait. Price
+7<i>s.</i> 6<i>d.</i></p>
+
+<p>II. Library Edition. 8vo. With
+Two Steel Portraits. Price 12<i>s.</i></p>
+
+<p>III. A Popular Edition, in 1 vol.
+8vo. Price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Theology in the English
+Poets.</b>&mdash;<span class="smcap">Cowper</span>, <span class="smcap">Coleridge</span>,
+<span class="smcap">Wordsworth</span>, and <span class="smcap">Burns</span>. Third
+Edition. Post 8vo. Cloth, price 9<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Christ in Modern Life.</b>
+Thirteenth Edition. Crown 8vo. Cloth,
+price 7<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Sermons.</b> First Series. Tenth
+Edition. Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Sermons.</b> Second Series.
+Third Edition. Crown 8vo. Cloth,
+price 7<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Fight of Faith.</b> Sermons
+preached on various occasions.
+Third Edition. Crown 8vo. Cloth,
+price 7<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Frederick Denison Maurice:</b>
+The Life and Work of. A Memorial
+Sermon. Crown 8vo. Sewed, price 1<i>s.</i></p></div>
+
+
+<p>BROOKE (W. G.), M.A.</p>
+
+<div class="blockquot"><p><b>The Public Worship
+Regulation Act.</b> With a Classified
+Statement of its Provisions, Notes,
+and Index. Third Edition, Revised
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+Annotated by.
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+<p>BROUN (J. A.).</p>
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+<div class="blockquot"><p><b>Magnetic Observations at
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+Malley.</b> Vol. I. 4to. Cloth,
+price 63<i>s.</i></p>
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+<p>The Report from above, separately
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+
+<div class="blockquot"><p><b>The Higher Life.</b> Its Reality,
+Experience, and Destiny. Fifth and
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+With 24 Illustrations and Portrait of
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+
+<div class="blockquot"><p><b>Poetical works.</b> Collected
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+
+<div class="blockquot"><p><b>The Civilization of the Period
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+Authorized translation, by S. G. C.
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+<div class="blockquot"><p><b>Calderon's Dramas</b>: The
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+
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+A Volume of Travels, with Maps.
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+
+<div class="blockquot"><p><b>Narcissus and other
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+<p>CARPENTER (W. B.), M.D.</p>
+
+<div class="blockquot"><p><b>The Principles of Mental
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+
+<p>Volume XIV. of The International
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+
+
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+
+<div class="blockquot"><p><b>The New Chemistry.</b> With
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+<div class="blockquot"><p><b>Half-a-Dozen Daughters.</b> By
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+
+<div class="blockquot"><p><b>The House of Raby.</b> By Mrs. G.
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+
+<div class="blockquot"><p><b>A Fight for Life.</b> By Moy
+Thomas.</p></div>
+
+<div class="blockquot"><p><b>Robin Gray.</b> By Charles Gibbon.</p></div>
+
+<div class="blockquot"><p><b>One of Two; or, A Left-Handed
+Bride.</b> By J. Hain Friswell.</p></div><p><span class="pagenum"><a name="Page_8a" id="Page_8a">[Pg 8]</a></span></p>
+
+<div class="blockquot"><p><b>God's Providence House.</b> By
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+
+<div class="blockquot"><p><b>For Lack of Gold.</b> By Charles
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+
+<div class="blockquot"><p><b>Abel Drake's Wife.</b> By John
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+
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+
+
+<p>CORY (Lieut. Col. Arthur).</p>
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+
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+
+<div class="blockquot"><p>A Poem. Fcap. 8vo. Cloth, price
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+
+
+<p>COX (Rev. Samuel).</p>
+
+<div class="blockquot"><p><b>Salvator Mundi</b>; or, Is
+Christ the Saviour of all Men? Fifth
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+
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+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
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+
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+
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+
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+of Literary Struggle. Henry Murger&mdash;Novalis&mdash;Alexander
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+
+
+<p>DAVIDSON (Rev. Samuel), D.D., LL.D.</p>
+
+<div class="blockquot"><p><b>The New Testament</b>, translated
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+<p>DAVIES (G. Christopher).</p>
+
+<div class="blockquot"><p><b>Mountain, Meadow, and
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+Essays on Questions of Belief and
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+
+<p>DE L'HOSTE (Col. E. P.).</p>
+
+<div class="blockquot"><p><b>The Desert Pastor, Jean
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+
+
+<p>DENNIS (J.).</p>
+
+<div class="blockquot"><p><b>English Sonnets.</b> Collected
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+Fcap. 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>DE REDCLIFFE (Viscount
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+
+<div class="blockquot"><p><b>Why am I a Christian?</b>
+Fifth Edition. Crown 8vo. Cloth,
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+
+
+<p>DESPREZ (Philip S.).</p>
+
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+Apocalypse of the Old and that of
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+Cloth, price 12<i>s.</i></p></div>
+
+
+<p>DE TOCQUEVILLE (A.).</p>
+
+<div class="blockquot"><p><b>Correspondence and Conversations
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+Senior, from 1834 to 1859.
+Edited by M. C. M. Simpson. 2
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+
+<div class="blockquot"><p><b>Alexander the Great.</b> A
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+Fcap. 8vo. Price 6<i>s.</i></p></div>
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+Fcap. 8vo. Price 6<i>s.</i></p></div>
+
+
+<p>DOBSON (Austin).</p>
+
+<div class="blockquot"><p><b>Vignettes in Rhyme and
+Vers de Soci�t�.</b> Third Edition.
+Fcap. 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Proverbs in Porcelain.</b> By
+the Author of "Vignettes in Rhyme."
+Second Edition. Crown 8vo. 6<i>s.</i></p></div>
+
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+<p>DOWDEN (Edward), LL.D.</p>
+
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+Large post 8vo. Cloth, price
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+<div class="blockquot"><p><b>Poems.</b> Second Edition.
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+<p>DOWNTON (Rev. H.), M.A.</p>
+
+<div class="blockquot"><p><b>Hymns and Verses.</b> Original
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+
+
+<p>DRAPER (J. W.), M.D., LL.D.</p>
+
+<div class="blockquot"><p><b>History of the Conflict between
+Religion and Science.</b>
+Eleventh Edition. Crown 8 vo. Cloth,
+price 5<i>s.</i></p>
+
+<p>Volume XIII. of The International
+Scientific Series.</p></div><p><span class="pagenum"><a name="Page_10a" id="Page_10a">[Pg 10]</a></span></p>
+
+
+<p>DREW (Rev. Q. S.), M.A.</p>
+
+<div class="blockquot"><p><b>Scripture Lands in connection
+with their History.</b>
+Second Edition. 8vo. Cloth, price
+10<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Nazareth: Its Life and
+Lessons.</b> Third Edition. Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Divine Kingdom on
+Earth as it is in Heaven.</b> 8vo.
+Cloth, price 10<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>The Son of Man</b>: His Life
+and Ministry. Crown 8vo. Cloth,
+price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>DREWRY (G. O.), M.D.</p>
+
+<div class="blockquot"><p><b>The Common-Sense
+Management of the Stomach.</b>
+Fifth Edition. Fcap. 8vo. Cloth,
+price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>DREWRY (G. O.), M.D., and
+BARTLETT (H. C.), Ph.D.,
+F.C.S.</p>
+
+<div class="blockquot"><p><b>Cup and Platter</b>: or, Notes
+on Food and its Effects. Small 8vo.
+Cloth, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>DRUMMOND (Miss).</p>
+
+<div class="blockquot"><p><b>Tripps Buildings.</b> A Study
+from Life, with Frontispiece. Small
+crown 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>DURAND (Lady).</p>
+
+<div class="blockquot"><p><b>Imitations from the German
+of Spitta and Terstegen.</b>
+Fcap. 8vo. Cloth, price 4<i>s.</i></p></div>
+
+
+<p>DU VERNOIS (Col. von Verdy).</p>
+
+<div class="blockquot"><p><b>Studies in leading Troops.</b>
+An authorized and accurate Translation
+by Lieutenant H. J. T.
+Hildyard, 71st Foot. Parts I. and
+II. Demy 8vo. Cloth, price 7<i>s.</i></p></div>
+
+
+<p>EDEN (Frederick).</p>
+
+<div class="blockquot"><p><b>The Nile without a
+Dragoman.</b> Second Edition.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>EDMONDS (Herbert).</p>
+
+<div class="blockquot"><p><b>Well Spent Lives</b>: a Series
+of Modern Biographies. Crown 8vo.
+Price 5<i>s.</i></p></div>
+
+
+<p>EDWARDS (Rev. Basil).</p>
+
+<div class="blockquot"><p><b>Minor Chords; or, Songs
+for the Suffering</b>: a Volume of
+Verse. Fcap. 8vo. Cloth, price
+3s. 6d.; paper, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>ELLIOT (Lady Charlotte).</p>
+
+<div class="blockquot"><p><b>Medusa and other Poems.</b>
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>ELLIOTT (Ebenezer), The Corn
+Law Rhymer.</p>
+
+<div class="blockquot"><p><b>Poems.</b> Edited by his Son,
+the Rev. Edwin Elliott, of St. John's,
+Antigua. 2 vols. Crown 8vo. Cloth,
+price 18<i>s.</i></p></div>
+
+
+<p>ELSDALE (Henry).</p>
+
+<div class="blockquot"><p><b>Studies in Tennyson's
+Idylls.</b> Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p><b>Epic of Hades (The).</b></p>
+
+<div class="blockquot"><p>By the author of "Songs of Two
+Worlds." Seventh and finally revised
+Edition. Fcap. 8vo. Cloth, price
+7<i>s.</i> 6<i>d.</i></p>
+
+<p>&#8258; Also an Illustrated Edition with
+seventeen full-page designs in photo-mezzotint
+by <span class="smcap">George R. Chapman</span>.
+4to. Cloth, extra gilt leaves, price
+25<i>s.</i></p></div>
+
+
+<p><b>Eros Agonistes.</b></p>
+
+<div class="blockquot"><p>Poems. By E. B. D. Fcap. 8vo.
+Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p><b>Essays on the Endowment of Research.</b></p>
+
+<div class="blockquot"><p>By Various Writers.
+Square crown 8vo. Cloth, price
+10<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>EVANS (Mark).</p>
+
+<div class="blockquot"><p><b>The Gospel of Home Life.</b>
+Crown 8vo. Cloth, price 4<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>The Story of our Father's
+Love</b>, told to Children. Fourth
+and Cheaper Edition. With Four
+Illustrations. Fcap. 8vo. Cloth,
+price 1<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>A Book of Common Prayer
+and Worship for Household
+Use</b>, compiled exclusively from the
+Holy Scriptures. Fcap. 8vo. Cloth,
+price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>EX-CIVILIAN.</p>
+
+<div class="blockquot"><p><b>Life in the Mofussil</b>; or,
+Civilian Life in Lower Bengal. 2
+vols. Large post 8vo. Price 14<i>s.</i></p></div>
+
+
+<p>EYRE (Maj.-Gen. Sir V.), C.B., K.C.S.I., &amp;c.</p>
+
+<div class="blockquot"><p><b>Lays of a Knight-Errant
+in many Lands.</b> Square crown
+8yo. With Six Illustrations. Cloth,
+price 7<i>s.</i> 6<i>d.</i></p></div><p><span class="pagenum"><a name="Page_11a" id="Page_11a">[Pg 11]</a></span></p>
+
+
+<p>FARQUHARSON (M.).</p>
+
+<div class="blockquot"><p><b>I. Elsie Dinsmore.</b> Crown
+8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>II. Elsie's Girlhood.</b> Crown
+8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>III. Elsie's Holidays at
+Roselands.</b> Crown 8vo.
+Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>FERRIS (Henry Weybridge).</p>
+
+<div class="blockquot"><p><b>Poems.</b> Fcap. 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>FINN (the late James), M.R.A.S.</p>
+
+<div class="blockquot"><p><b>Stirring Times</b>; or, Records
+from Jerusalem Consular Chronicles
+of 1853 to 1856. Edited and Compiled
+by his Widow. With a Preface
+by the Viscountess <span class="smcap">Strangford</span>.
+2 vols. Demy 8vo. Price 30<i>s.</i></p></div>
+
+
+<p>FLEMING (James), D.D.</p>
+
+<div class="blockquot"><p><b>Early Christian Witnesses</b>;
+or, Testimonies of the First Centuries
+to the Truth of Christianity.
+Small crown 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p class="i4"><b>Folkestone Ritual Case (The).</b>
+The Argument, Proceedings,
+Judgment, and Report, revised by
+the several Counsel engaged. Demy
+8vo. Cloth, price 25<i>s.</i></p>
+
+
+<p>FOOTMAN (Rev. H.), M.A.</p>
+
+<div class="blockquot"><p><b>From Home and Back</b>; or,
+Some Aspects of Sin as seen in the
+Light of the Parable of the Prodigal.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>FOWLE (Rev. Edmund).</p>
+
+<div class="blockquot"><p><b>Latin Primer Rules made
+Easy.</b> Crown 8vo. Cloth, price 3<i>s.</i></p></div>
+
+
+<p>FOWLE (Rev. T. W.), M.A.</p>
+
+<div class="blockquot"><p><b>The Reconciliation of Religion
+and Science.</b> Being Essays
+on Immortality, Inspiration, Miracles,
+and the Being of Christ. Demy
+8vo. Cloth, price 10<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>The Divine Legation of
+Christ.</b> Crown 8vo. Cloth, price
+7<i>s.</i></p></div>
+
+
+<p>FOX-BOURNE (H. R.).</p>
+
+<div class="blockquot"><p><b>The Life of John Locke</b>,
+1632-1704. 2 vols. Demy 8vo.
+Cloth, price 28<i>s.</i></p></div>
+
+
+<p>FRASER (Donald).</p>
+
+<div class="blockquot"><p><b>Exchange Tables of Sterling
+and Indian Rupee Currency</b>,
+upon a new and extended system,
+embracing Values from One Farthing
+to One Hundred Thousand
+Pounds, and at Rates progressing, in
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+2<i>s.</i> 3<i>d.</i> per Rupee. Royal 8vo.
+Cloth, price 10<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>FRISWELL (J. Hain).</p>
+
+<div class="blockquot"><p><b>The Better Self.</b> Essays for
+Home Life. Crown 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>One of Two; or, A Left-Handed
+Bride.</b> With a Frontispiece.
+Crown 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>FYTCHE (Lieut.-Gen. Albert), C.S.I.,
+late Chief Commissioner of
+British Burma.</p>
+
+<div class="blockquot"><p><b>Burma Past and Present</b>,
+with Personal Reminiscences of the
+Country. With Steel Portraits, Chromo-lithographs,
+Engravings on Wood,
+and Map. 2 vols. Demy 8vo. Cloth,
+price 30<i>s.</i></p></div>
+
+
+<p>GAMBIER (Capt. J. W.), R.N.</p>
+
+<div class="blockquot"><p><b>Servia.</b> Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>GARDNER (H.).</p>
+
+<div class="blockquot"><p><b>Sunflowers.</b> A Book of
+Verses. Fcap. 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>GARDNER (J.), M.D.</p>
+
+<div class="blockquot"><p><b>Longevity: The Means of
+Prolonging Life after Middle
+Age.</b> Fourth Edition, Revised and
+Enlarged. Small crown 8vo. Cloth,
+price 4<i>s.</i></p></div>
+
+
+<p>GARRETT (E.).</p>
+
+<div class="blockquot"><p><b>By Still Waters.</b> A Story
+for Quiet Hours. With Seven Illustrations.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>GEBLER (Karl Von).</p>
+
+<div class="blockquot"><p><b>Galileo Galilei and the
+Roman Curia</b>, from Authentic
+Sources. Translated with the sanction
+of the Author, by Mrs. <span class="smcap">George
+Sturge</span>. Demy 8vo. Cloth.</p></div>
+
+
+<p>G. H. T.</p>
+
+<div class="blockquot"><p><b>Verses</b>, mostly written in
+India. Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>GILBERT (Mrs.).</p>
+
+<div class="blockquot"><p><b>Autobiography and other
+Memorials.</b> Edited by Josiah
+Gilbert. Third Edition. With Portrait
+and several Wood Engravings.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div><p><span class="pagenum"><a name="Page_12a" id="Page_12a">[Pg 12]</a></span></p>
+
+
+<p>GILL (Rev. W. W.), B.A.</p>
+
+<div class="blockquot"><p><b>Myths and Songs from the
+South Pacific.</b> With a Preface by
+F. Max M�ller, M.A., Professor of
+Comparative Philology at Oxford.
+Post 8vo. Cloth, price 9<i>s.</i></p></div>
+
+
+<p>GODKIN (James).</p>
+
+<div class="blockquot"><p><b>The Religious History of
+Ireland: Primitive, Papal, and
+Protestant.</b> Including the Evangelical
+Missions, Catholic Agitations,
+and Church Progress of the last half
+Century. 8vo. Cloth, price 12<i>s.</i></p></div>
+
+
+<p>GODWIN (William).</p>
+
+<div class="blockquot"><p><b>William Godwin: His
+Friends and Contemporaries.</b>
+With Portraits and Facsimiles of the
+handwriting of Godwin and his Wife.
+By C. Kegan Paul. 2 vols. Demy
+8vo. Cloth, price 28<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Genius of Christianity
+Unveiled.</b> Being Essays never
+before published. Edited, with a
+Preface, by C. Kegan Paul. Crown
+8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>GOETZE (Capt. A. von).</p>
+
+<div class="blockquot"><p><b>Operations of the German
+Engineers during the War of
+1870-1871.</b> Published by Authority,
+and in accordance with Official Documents.
+Translated from the German
+by Colonel G. Graham, V.C., C.B.,
+R.E. With 6 large Maps. Demy
+8vo. Cloth, price 21<i>s.</i></p></div>
+
+
+<p>GOLDIE (Lieut. M. H. G.)</p>
+
+<div class="blockquot"><p><b>Hebe: a Tale.</b> Fcap. 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+
+<p>GOODENOUGH (Commodore J. G.), R.N., C.B., C.M.G.</p>
+
+<div class="blockquot"><p><b>Memoir of, with Extracts from
+his Letters and Journals.</b> Edited by
+his Widow. With Steel Engraved
+Portrait. Square 8vo. Cloth, 5<i>s.</i></p>
+
+<p>&#8258; Also a Library Edition with
+Maps, Woodcuts, and Steel Engraved
+Portrait. Square post 8vo.
+Cloth, price 14<i>s.</i></p></div>
+
+
+<p>GOODMAN (W.).</p>
+
+<div class="blockquot"><p><b>Cuba, the Pearl of the
+Antilles.</b> Crown 8vo. Cloth, price
+7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>GOULD (Rev. S. Baring), M.A.</p>
+
+<div class="blockquot"><p><b>The Vicar of Morwenstow:
+a Memoir of the Rev. R. S. Hawker.</b>
+With Portrait. Third Edition, revised.
+Square post 8vo. Cloth, 10<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>GRANVILLE (A. B.), M.D., F.R.S., &amp;c.</p>
+
+<div class="blockquot"><p><b>Autobiography of A. B.
+Granville, F.R.S.</b>, &amp;c. Edited,
+with a brief Account of the concluding
+Years of his Life, by his youngest
+Daughter, Paulina B. Granville. 2
+vols. With a Portrait. Second Edition.
+Demy 8vo. Cloth, price 32<i>s.</i></p></div>
+
+
+<p>GREY (John), of Dilston.</p>
+
+<div class="blockquot"><p><b>John Grey (of Dilston):
+Memoirs.</b> By Josephine E. Butler.
+New and Revised Edition. Crown
+8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>GRIFFITH (Rev. T.), A.M.</p>
+
+<div class="blockquot"><p><b>Studies of the Divine Master.</b>
+Demy 8vo. Cloth, price 12<i>s.</i></p></div>
+
+
+<p>GRIFFITHS (Capt. Arthur).</p>
+
+<div class="blockquot"><p><b>Memorials of Millbank, and
+Chapters in Prison History.</b>
+With Illustrations by R. Goff and
+the Author. 2 vols. Post 8vo. Cloth,
+price 21<i>s.</i></p></div>
+
+
+<p>GRIMLEY (Rev. H. N.), M.A.</p>
+
+<div class="blockquot"><p><b>Tremadoc Sermons</b>, chiefly
+on the <span class="smcap">Spiritual Body</span>, the <span class="smcap">Unseen
+World</span>, and the <span class="smcap">Divine Humanity</span>.
+Second Edition. Crown 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+
+<p>GR�NER (M. L.).</p>
+
+<div class="blockquot"><p><b>Studies of Blast Furnace
+Phenomena.</b> Translated by L. D.
+B. Gordon, F.R.S.E., F.G.S. Demy
+8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>GURNEY (Rev. Archer).</p>
+
+<div class="blockquot"><p><b>Words of Faith and Cheer.</b>
+A Mission of Instruction and Suggestion.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p class="i4"><b>Gwen: A Drama in Monologue.</b>
+By the Author of the "Epic
+of Hades." Fcap. 8vo. Cloth, price
+5<i>s.</i></p><p><span class="pagenum"><a name="Page_13a" id="Page_13a">[Pg 13]</a></span></p>
+
+
+<p>HAECKEL (Prof. Ernst).</p>
+
+<div class="blockquot"><p><b>The History of Creation.</b>
+Translation revised by Professor E.
+Ray Lankester, M.A., F.R.S. With
+Coloured Plates and Genealogical
+Trees of the various groups of both
+plants and animals. 2 vols. Second
+Edition. Post 8vo. Cloth, price 32<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The History of the Evolution
+of Man.</b> With numerous Illustrations.
+2 vols. Large post 8vo.
+Cloth, price 32<i>s.</i></p></div>
+
+
+<p>HAKE (A. Egmont).</p>
+
+<div class="blockquot"><p><b>Paris Originals</b>, with twenty
+etchings, by L�on Richeton. Large
+post 8vo. Cloth, price 14<i>s.</i></p></div>
+
+
+<p class="i4"><b>Halleck's International Law;</b>
+or, Rules Regulating the
+Intercourse of States in Peace and
+War. A New Edition, revised, with
+Notes and Cases. By Sir Sherston
+Baker, Bart. 2 vols. Demy 8vo.
+Cloth, price 38<i>s.</i></p>
+
+
+<p>HARCOURT (Capt A. F. P.).</p>
+
+<div class="blockquot"><p><b>The Shakespeare Argosy.</b>
+Containing much of the wealth of
+Shakespeare's Wisdom and Wit,
+alphabetically arranged and classified.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>HARDY (Thomas).</p>
+
+<div class="blockquot"><p><b>A Pair of Blue Eyes.</b> New
+Edition. Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>HARRISON (Lieut.-Col. R.).</p>
+
+<div class="blockquot"><p><b>The Officer's Memorandum
+Book for Peace and War.</b>
+Second Edition. Oblong 32mo.
+roan, elastic band and pencil, price
+3<i>s.</i> 6<i>d.</i>; russia, 5<i>s.</i></p></div>
+
+
+<p>HAWEIS (Rev. H. R.), M.A.</p>
+
+<div class="blockquot"><p><b>Arrows in the Air.</b> Crown
+8vo. Second Edition. Cloth, price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Current Coin.</b> Materialism&mdash;The
+Devil&mdash;Crime&mdash;Drunkenness&mdash;Pauperism&mdash;Emotion&mdash;Recreation&mdash;The
+Sabbath. Third Edition. Crown
+8vo. Cloth, price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Speech in Season.</b> Fourth
+Edition. Crown 8vo. Cloth, price
+9<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Thoughts for the Times.</b>
+Eleventh Edition. Crown 8vo. Cloth,
+price 7<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Unsectarian Family
+Prayers</b>, for Morning and Evening
+for a Week, with short selected
+passages from the Bible. Second
+Edition. Square crown 8vo. Cloth,
+price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>HAWKER (Robert Stephen).</p>
+
+<div class="blockquot"><p><b>The Poetical Works of.</b>
+Now first collected and arranged,
+with a prefatory notice by J. G.
+Godwin. With Portrait. Crown 8vo.
+Cloth, price 12<i>s.</i></p></div>
+
+
+<p>HAYMAN (H.), D.D., late Head
+Master of Rugby School.</p>
+
+<div class="blockquot"><p><b>Rugby School Sermons.</b>
+With an Introductory Essay on the
+Indwelling of the Holy Spirit.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>HELLWALD (Baron F. von).</p>
+
+<div class="blockquot"><p><b>The Russians in Central
+Asia.</b> A Critical Examination,
+down to the present time, of the
+Geography and History of Central
+Asia. Translated by Lieut.-Col.
+Theodore Wirgman, LL.B. Large
+post 8vo. With Map. Cloth,
+price 12<i>s.</i></p></div>
+
+
+<p>HELVIG (Major H.).</p>
+
+<div class="blockquot"><p><b>The Operations of the Bavarian
+Army Corps.</b> Translated
+by Captain G. S. Schwabe. With
+Five large Maps. In 2 vols. Demy
+8vo. Cloth, price 24<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Tactical Examples</b>: Vol. I.
+The Battalion, price 15<i>s.</i> Vol. II. The
+Regiment and Brigade, price 10<i>s.</i> 6<i>d.</i>
+Translated from the German by Col.
+Sir Lumley Graham. With numerous
+Diagrams. Demy 8vo. Cloth.</p></div>
+
+
+<p>HERFORD (Brooke).</p>
+
+<div class="blockquot"><p><b>The Story of Religion in
+England.</b> A Book for Young Folk.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>HEWLETT (Henry G.)</p>
+
+<div class="blockquot"><p><b>A Sheaf of Verse.</b> Fcap.
+8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>HINTON (James).</p>
+
+<div class="blockquot"><p><b>Life and Letters of.</b> Edited
+by Ellice Hopkins, with an Introduction
+by Sir W. W. Gull, Bart., and
+Portrait engraved on Steel by C. H.
+Jeens. Second Edition. Crown 8vo.
+Cloth, 8<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Chapters on the Art of
+Thinking, and other Essays.</b>
+With an Introduction by Shadworth
+Hodgson. Edited by C. H. Hinton.
+Crown 8vo. Cloth, price 8<i>s.</i> 6<i>d.</i></p></div><p><span class="pagenum"><a name="Page_14a" id="Page_14a">[Pg 14]</a></span></p>
+
+<div class="blockquot"><p><b>The Place of the Physician.</b>
+To which is added Essays on the
+<span class="smcap">Law of Human Life</span>, and <span class="smcap">on the
+Relation between Organic and
+Inorganic Worlds</span>. Second Edition.
+Crown 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Physiology for Practical
+Use.</b> By various Writers. With 50
+Illustrations. 2 vols. Second Edition.
+Crown 8vo. Cloth, price 12<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>An Atlas of Diseases of the
+Membrana Tympani.</b> With Descriptive
+Text. Post 8vo. Price �6 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Questions of Aural
+Surgery.</b> With Illustrations. 2 vols.
+Post 8vo. Cloth, price 12<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>The Mystery of Pain.</b>
+Fcap. 8vo. Cloth limp, 1<i>s.</i></p></div>
+
+
+<p>H. J. C.</p>
+
+<div class="blockquot"><p><b>The Art of Furnishing.</b>
+A Popular Treatise on the Principles
+of Furnishing, based on the Laws of
+Common Sense, Requirement, and
+Picturesque Effect. Small crown
+8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>HOCKLEY (W. B.).</p>
+
+<div class="blockquot"><p><b>Tales of the Zenana</b>; or,
+A Nuwab's Leisure Hours. By the
+Author of "Pandurang Hari." With
+a Preface by Lord Stanley of Alderley.
+2 vols. Crown 8vo. Cloth,
+price 21<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Pandurang Hari</b>; or, Memoirs
+of a Hindoo. A Tale of
+Mahratta Life sixty years ago. With
+a Preface by Sir H. Bartle E.
+Frere, G.C.S.I., &amp;c. New and
+Cheaper Edition. Crown 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+
+<p>HOFFBAUER (Capt.).</p>
+
+<div class="blockquot"><p><b>The German Artillery in
+the Battles near Metz.</b> Based
+on the official reports of the German
+Artillery. Translated by Capt. E.
+O. Hollist. With Map and Plans.
+Demy 8vo. Cloth, price 21<i>s.</i></p></div>
+
+
+<p>HOLMES (E. G. A.).</p>
+
+<div class="blockquot"><p><b>Poems.</b> First and Second
+Series. Fcap. 8vo. Cloth, price 5<i>s.</i>
+each.</p></div>
+
+
+<p>HOLROYD (Major W. R. M.).</p>
+
+<div class="blockquot"><p><b>Tas-hil ul K&#257;l&#257;m</b>; or,
+Hindustani made Easy. Crown 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+
+<p>HOOPER (Mary).</p>
+
+<div class="blockquot"><p><b>Little Dinners: How to
+Serve them with Elegance and
+Economy.</b> Thirteenth Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Cookery for Invalids, Persons
+of Delicate Digestion, and
+Children.</b> Crown 8vo. Cloth, price
+3<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Every-Day Meals.</b> Being
+Economical and Wholesome Recipes
+for Breakfast, Luncheon, and Supper.
+Second Edition. Crown 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+
+<p>HOOPER (Mrs. G.).</p>
+
+<div class="blockquot"><p><b>The House of Raby.</b> With
+a Frontispiece. Crown 8vo. Cloth,
+price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>HOPKINS (Ellice).</p>
+
+<div class="blockquot"><p><b>Life and Letters of James
+Hinton</b>, with an Introduction by Sir
+W. W. Gull, Bart., and Portrait engraved
+on Steel by C. H. Jeens.
+Second Edition. Crown 8vo. Cloth,
+price 8<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>HOPKINS (M.).</p>
+
+<div class="blockquot"><p><b>The Port of Refuge</b>; or,
+Counsel and Aid to Shipmasters in
+Difficulty, Doubt, or Distress. Crown
+8vo. Second and Revised Edition.
+Cloth, price 6<i>s.</i></p></div>
+
+
+<p>HORNE (William), M.A.</p>
+
+<div class="blockquot"><p><b>Reason and Revelation</b>:
+an Examination into the Nature and
+Contents of Scripture Revelation, as
+compared with other Forms of Truth.
+Demy 8vo. Cloth, price 12<i>s.</i></p></div>
+
+
+<p>HORNER (The Misses).</p>
+
+<div class="blockquot"><p><b>Walks in Florence.</b> A New
+and thoroughly Revised Edition. 2
+vols. Crown 8vo. Cloth limp. With
+Illustrations.</p></div>
+
+<div class="blockquot"><p>Vol. I.&mdash;Churches, Streets, and
+Palaces. 10<i>s.</i> 6<i>d.</i> Vol. II.&mdash;Public
+Galleries and Museums. 5<i>s.</i></p></div>
+
+
+<p>HOWARD (Mary M.).</p>
+
+<div class="blockquot"><p><b>Beatrice Aylmer, and other
+Tales.</b> Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>HOWARD (Rev. G. B.).</p>
+
+<div class="blockquot"><p><b>An Old Legend of St.
+Paul's.</b> Fcap. 8vo. Cloth, price
+4<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>HOWELL (James).</p>
+
+<div class="blockquot"><p><b>A Tale of the Sea, Sonnets,
+and other Poems.</b> Fcap.
+8vo. Cloth, price 5<i>s.</i></p></div><p><span class="pagenum"><a name="Page_15a" id="Page_15a">[Pg 15]</a></span></p>
+
+
+<p>HUGHES (Allison).</p>
+
+<div class="blockquot"><p><b>Penelope and other Poems.</b>
+Fcap. 8vo. Cloth, price 4<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>HULL (Edmund C. P.).</p>
+
+<div class="blockquot"><p><b>The European in India.</b>
+With a <span class="smcap">Medical Guide for Anglo-Indians</span>.
+By R. R. S. Mair, M.D.,
+F.R.C.S.E. Third Edition. Revised
+and Corrected. Post 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+
+<p>HUTCHISON (Lieut. Col. F. J.),
+and Capt. G. H. MACGREGOR.</p>
+
+<div class="blockquot"><p><b>Military Sketching and Reconnaissance.</b>
+With Fifteen Plates.
+Small 8vo. Cloth, price 6<i>s</i>. Being
+the first Volume of Military Hand-books
+for Regimental Officers. Edited
+by Lieut.-Col. <span class="smcap">C. B. Brackenbury</span>,
+R.A., A.A.G.</p></div>
+
+
+<p>IGNOTUS.</p>
+
+<div class="blockquot"><p><b>Culmshire Folk.</b> A Novel.
+New and Cheaper Edition. Crown
+8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>INCHBOLD (J. W.).</p>
+
+<div class="blockquot"><p><b>Annus Amoris.</b> Sonnets.
+Fcap. 8vo. Cloth, price 4<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>INGELOW (Jean).</p>
+
+<div class="blockquot"><p><b>The Little Wonder-horn.</b>
+A Second Series of "Stories Told to
+a Child." With Fifteen Illustrations.
+Small 8vo. Cloth, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p class="i4"><b>Indian Bishoprics.</b> By an
+Indian Churchman. Demy 8vo. 6<i>d.</i></p>
+
+
+<p><b>International Scientific
+Series (The).</b></p>
+
+<div class="blockquot"><p><b>I. Forms of Water: A Familiar
+Exposition of the Origin and
+Phenomena of Glaciers.</b> By J.
+Tyndall, LL.D., F.R.S. With 25
+Illustrations. Seventh Edition. Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>II. Physics and Politics</b>; or,
+Thoughts on the Application of the
+Principles of "Natural Selection"
+and "Inheritance" to Political Society.
+By Walter Bagehot. Fourth
+Edition. Crown 8vo. Cloth, price 4<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>III. Foods.</b> By Edward Smith,
+M.D., LL.B., F.R.S. With numerous
+Illustrations. Fifth Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>IV. Mind and Body</b>: The Theories
+of their Relation. By Alexander
+Bain, LL.D. With Four Illustrations.
+Sixth Edition. Crown 8vo.
+Cloth, price 4<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>V. The Study of Sociology.</b>
+By Herbert Spencer. Seventh Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>VI. On the Conservation of
+Energy.</b> By Balfour Stewart, M.A.,
+LL.D., F.R.S. With 14 Illustrations.
+Fifth Edition. Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>VII. Animal Locomotion</b>; or,
+Walking, Swimming, and Flying.
+By J. B. Pettigrew, M.D., F.R.S.,
+&amp;c. With 130 Illustrations. Second
+Edition. Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>VIII. Responsibility in Mental
+Disease.</b> By Henry Maudsley,
+M.D. Third Edition. Crown 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>IX. The New Chemistry.</b> By
+Professor J. P. Cooke, of the Harvard
+University. With 31 Illustrations.
+Fourth Edition. Crown 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>X. The Science of Law.</b> By
+Professor Sheldon Amos. Third
+Edition. Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XI. Animal Mechanism.</b> A
+Treatise on Terrestrial and Aerial
+Locomotion. By Professor E. J.
+Marey. With 117 Illustrations.
+Second Edition. Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XII. The Doctrine of Descent
+and Darwinism.</b> By Professor Oscar
+Schmidt (Strasburg University).
+With 26 Illustrations. Third Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XIII. The History of the Conflict
+between Religion and Science.</b>
+By J. W. Draper, M.D.,
+LL.D. Eleventh Edition. Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XIV. Fungi</b>; their Nature, Influences,
+Uses, &amp;c. By M. C.
+Cooke, M.A., LL.D. Edited by
+the Rev. M. J. Berkeley, M.A.,
+F.L.S. With numerous Illustrations.
+Second Edition. Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XV. The Chemical Effects of
+Light and Photography.</b> By Dr.
+Hermann Vogel (Polytechnic Academy
+of Berlin). With 100 Illustrations.
+Third and Revised Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div><p><span class="pagenum"><a name="Page_16a" id="Page_16a">[Pg 16]</a></span></p>
+
+<div class="blockquot"><p><b>XVI. The Life and Growth of
+Language.</b> By William Dwight
+Whitney, Professor of Sanskrit and
+Comparative Philology in Yale College,
+New Haven. Second Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XVII. Money and the Mechanism
+of Exchange.</b> By W. Stanley
+Jevons, M.A., F.R.S. Fourth
+Edition. Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XVIII. The Nature of Light</b>:
+With a General Account of Physical
+Optics. By Dr. Eugene Lommel,
+Professor of Physics in the University
+of Erlangen. With 188 Illustrations
+and a table of Spectra in Chromo-lithography.
+Second Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XIX. Animal Parasites and
+Messmates.</b> By Monsieur Van
+Beneden, Professor of the University
+of Louvain, Correspondent of the
+Institute of France. With 83 Illustrations.
+Second Edition. Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XX. Fermentation.</b> By Professor
+Sch�tzenberger, Director of the
+Chemical Laboratory at the Sorbonne.
+With 28 Illustrations. Second
+Edition. Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XXI. The Five Senses of Man.</b>
+By Professor Bernstein, of the University
+of Halle. With 91 Illustrations.
+Second Edition. Crown 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XXII. The Theory of Sound in
+its Relation to Music.</b> By Professor
+Pietro Blaserna, of the Royal
+University of Rome. With numerous
+Illustrations. Second Edition. Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>XXIII. Studies in Spectrum
+Analysis.</b> By J. Norman Lockyer,
+F.R.S. With six photographic Illustrations
+of Spectra, and numerous
+engravings on wood. Crown 8vo.
+Second Edition. Cloth, price 6<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>XXIV. A History of the Growth
+of the Steam Engine.</b> By Prof.
+R. H. Thurston. With numerous
+Illustrations. Second Edition. Crown
+8vo. Cloth, price 6<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>XXV. Education as a Science.</b>
+By Alexander Bain, LL. D. Second
+Edition. Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<p class="center">
+<i>Forthcoming Volumes.</i><br />
+</p>
+
+<div class="blockquot"><p>Prof. <span class="smcap">W. Kingdon Clifford</span>, M.A.
+The First Principles of the Exact
+Sciences explained to the Non-mathematical.</p></div>
+
+<div class="blockquot"><p><span class="smcap">W. B. Carpenter</span>, LL.D., F.R.S.
+The Physical Geography of the Sea.</p></div>
+
+<div class="blockquot"><p>Sir <span class="smcap">John Lubbock</span>, Bart., F.R.S.
+On Ants and Bees.</p></div>
+
+<div class="blockquot"><p>Prof. <span class="smcap">W. T. Thiselton Dyer</span>, B.A.,
+B.Sc. Form and Habit in Flowering
+Plants.</p></div>
+
+<div class="blockquot"><p>Prof. <span class="smcap">Michael Foster</span>, M.D. Protoplasm
+and the Cell Theory.</p></div>
+
+<div class="blockquot"><p><span class="smcap">H. Charlton Bastian</span>, M.D.,
+F.R.S. The Brain as an Organ of
+Mind.</p></div>
+
+<div class="blockquot"><p>Prof. <span class="smcap">A. C. Ramsay</span>, LL.D., F.R.S.
+Earth Sculpture: Hills, Valleys,
+Mountains, Plains, Rivers, Lakes;
+how they were Produced, and how
+they have been Destroyed.</p></div>
+
+<div class="blockquot"><p><span class="smcap">P. Bert</span> (Professor of Physiology,
+Paris). Forms of Life and other
+Cosmical Conditions.</p></div>
+
+<div class="blockquot"><p>Prof. <span class="smcap">T. H. Huxley</span>. The Crayfish:
+an Introduction to the Study of
+Zoology.</p></div>
+
+<div class="blockquot"><p>The Rev. <span class="smcap">A. Secchi</span>, D.J., late
+Director of the Observatory at Rome.
+The Stars.</p></div>
+
+<div class="blockquot"><p>Prof. <span class="smcap">J. Rosenthal</span>, of the University
+of Erlangen. General Physiology
+of Muscles and Nerves.</p></div>
+
+<div class="blockquot"><p>Prof. <span class="smcap">A. de Quatrefages</span>, Membre
+de l'Institut. The Human Race.</p></div>
+
+<div class="blockquot"><p><span class="smcap">Francis Galton</span>, F.R.S. Psychometry.</p></div>
+
+<div class="blockquot"><p><span class="smcap">J. W. Judd</span>, F.R.S. The Laws of
+Volcanic Action.</p></div>
+
+<div class="blockquot"><p>Prof. <span class="smcap">F. N. Balfour</span>. The Embryonic
+Phases of Animal Life.</p></div>
+
+<div class="blockquot"><p><span class="smcap">J. Luys</span>, Physician to the Hospice
+de la Salp�tri�re. The Brain and its
+Functions. With Illustrations.</p></div>
+
+<div class="blockquot"><p>Dr. <span class="smcap">Carl Semper</span>. Animals and
+their Conditions of Existence.</p></div>
+
+<div class="blockquot"><p>Prof. <span class="smcap">Wurtz</span>. Atoms and the
+Atomic Theory.</p></div>
+
+<div class="blockquot"><p><span class="smcap">George J. Romanes</span>, F.L.S. Animal
+Intelligence.</p></div>
+
+<div class="blockquot"><p><span class="smcap">Alfred W. Bennett</span>. A Handbook
+of Cryptogamic Botany.</p></div><p><span class="pagenum"><a name="Page_17a" id="Page_17a">[Pg 17]</a></span></p>
+
+
+<p>JACKSON (T. G.).</p>
+
+<div class="blockquot"><p><b>Modern Gothic Architecture.</b>
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>JACOB (Maj.-Gen. Sir G. Le Grand), K.C.S.I., C.B.</p>
+
+<div class="blockquot"><p><b>Western India before and
+during the Mutinies.</b> Pictures
+drawn from life. Second Edition.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>JENKINS (E.) and RAYMOND (J.), Esqs.</p>
+
+<div class="blockquot"><p><b>A Legal Handbook for
+Architects, Builders, and Building
+Owners.</b> Second Edition Revised.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>JENKINS (Rev. R. C.), M.A.</p>
+
+<div class="blockquot"><p><b>The Privilege of Peter</b> and
+the Claims of the Roman Church,
+confronted with the Scriptures, the
+Councils, and the Testimony of the
+Popes themselves. Fcap. 8vo. Cloth,
+price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>JENNINGS (Mrs. Vaughan).</p>
+
+<div class="blockquot"><p><b>Rahel: Her Life and Letters.</b>
+With a Portrait from the
+Painting by Daffinger. Square post
+8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p class="i4"><b>Jeroveam's Wife and other
+Poems.</b> Fcap. 8vo. Cloth, price
+3<i>s.</i> 6<i>d.</i></p>
+
+
+<p>JEVONS (W. Stanley), M.A., F.R.S.</p>
+
+<div class="blockquot"><p><b>Money and the Mechanism
+of Exchange.</b> Fourth Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p>
+
+<p>Volume XVII. of The International
+Scientific Series.</p></div>
+
+
+<p>JONES (Lucy).</p>
+
+<div class="blockquot"><p><b>Puddings and Sweets.</b> Being
+Three Hundred and Sixty-Five
+Receipts approved by Experience.
+Crown 8vo., price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>KAUFMANN (Rev. M.), B.A.</p>
+
+<div class="blockquot"><p><b>Socialism:</b> Its Nature, its
+Dangers, and its Remedies considered.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>KER (David).</p>
+
+<div class="blockquot"><p><b>The Boy Slave in Bokhara.</b>
+A Tale of Central Asia. With Illustrations.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Wild Horseman of
+the Pampas.</b> Illustrated. Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>KERNER (Dr. A.), Professor of
+Botany in the University of
+Innsbruck.</p>
+
+<div class="blockquot"><p><b>Flowers and their Unbidden
+Guests.</b> Translation edited by <span class="smcap">W.
+Ogle</span>, M.A., M.D., and a prefatory
+letter by C. Darwin, F.R.S. With Illustrations.
+Sq. 8vo. Cloth, price 9<i>s.</i></p></div>
+
+
+<p>KIDD (Joseph), M.D.</p>
+
+<div class="blockquot"><p><b>The Laws of Therapeutics,</b>
+or, the Science and Art of Medicine.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>KINAHAN (G. Henry), M.R.I.A.,
+&amp;c., of her Majesty's Geological
+Survey.</p>
+
+<div class="blockquot"><p><b>Manual of the Geology of
+Ireland.</b> With 8 Plates, 26 Woodcuts,
+and a Map of Ireland, geologically
+coloured. Square 8vo. Cloth,
+price 15<i>s.</i></p></div>
+
+
+<p>KING (Alice).</p>
+
+<div class="blockquot"><p><b>A Cluster of Lives.</b> Crown
+8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>KING (Mrs. Hamilton).</p>
+
+<div class="blockquot"><p><b>The Disciples.</b> A Poem.
+Third Edition, with some Notes.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Aspromonte, and other
+Poems.</b> Second Edition. Fcap.
+8vo. Cloth, price 4<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>KINGSLEY (Charles), M.A.</p>
+
+<div class="blockquot"><p><b>Letters and Memories of
+his Life.</b> Edited by his Wife.
+With 2 Steel engraved Portraits and
+numerous Illustrations on Wood, and
+a Facsimile of his Handwriting.
+Thirteenth Edition. 2 vols. Demy
+8vo. Cloth, price 36<i>s.</i></p>
+
+<p>&#8258; Also a Cabinet Edition in 2
+vols. Crown 8vo. Cloth, price 12<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>All Saints' Day and other
+Sermons.</b> Second Edition. Crown
+8vo. Cloth, 7<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>True Words for Brave
+Men</b>: a Book for Soldiers' and
+Sailors' Libraries. Fifth Edition.
+Crown 8vo. Cloth, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>KNIGHT (A. F. C.).</p>
+
+<div class="blockquot"><p><b>Poems.</b> Fcap. 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>LACORDAIRE (Rev. P�re).</p>
+
+<div class="blockquot"><p><b>Life</b>: Conferences delivered
+at Toulouse. A New and Cheaper
+Edition. Crown 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p class="i4"><b>Lady of Lipari (The)</b>.
+A Poem in Three Cantos. Fcap.
+8vo. Cloth, price 5<i>s.</i></p><p><span class="pagenum"><a name="Page_18a" id="Page_18a">[Pg 18]</a></span></p>
+
+
+<p>LAIRD-CLOWES (W.).</p>
+
+<div class="blockquot"><p><b>Love's Rebellion</b>: a Poem.
+Fcap. 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>LAMBERT (Cowley), F.R.G.S.</p>
+
+<div class="blockquot"><p><b>A Trip to Cashmere and
+Lad�k.</b> With numerous Illustrations.
+Crown 8vo. Cloth, 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>LAMONT (Martha MacDonald).</p>
+
+<div class="blockquot"><p><b>The Gladiator</b>: A Life under
+the Roman Empire in the beginning
+of the Third Century. With four
+Illustrations by H. M. Paget. Extra
+fcap. 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>LAYMANN (Capt.).</p>
+
+<div class="blockquot"><p><b>The Frontal Attack of
+Infantry.</b> Translated by Colonel
+Edward Newdigate. Crown 8vo.
+Cloth, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>L. D. S.</p>
+
+<div class="blockquot"><p><b>Letters from China and
+Japan.</b> With Illustrated Title-page.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>LEANDER (Richard).</p>
+
+<div class="blockquot"><p><b>Fantastic Stories.</b> Translated
+from the German by Paulina
+B. Granville. With Eight full-page
+Illustrations by M. E. Fraser-Tytler.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>LEE (Rev. F. G.), D.C.L.</p>
+
+<div class="blockquot"><p><b>The Other World</b>; or,
+Glimpses of the Supernatural. 2 vols.
+A New Edition. Crown 8vo. Cloth,
+price 15<i>s.</i></p></div>
+
+
+<p>LEE (Holme).</p>
+
+<div class="blockquot"><p><b>Her Title of Honour.</b> A
+Book for Girls. New Edition. With
+a Frontispiece. Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>LENOIR (J.).</p>
+
+<div class="blockquot"><p><b>Fayoum</b>; or, Artists in Egypt.
+A Tour with M. G�rome and others.
+With 13 Illustrations. A New and
+Cheaper Edition. Crown 8vo. Cloth,
+price 3<i>s</i>. 6<i>d.</i></p></div>
+
+
+<p>LEWIS (Mary A.).</p>
+
+<div class="blockquot"><p><b>A Rat with Three Tales.</b>
+With Four Illustrations by Catherine
+F. Frere. Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>LOCKER (F.).</p>
+
+<div class="blockquot"><p><b>London Lyrics.</b> A New and
+Revised Edition, with Additions and
+a Portrait of the Author. Crown 8vo.
+Cloth, elegant, price 6<i>s.</i></p>
+
+<p>Also, an Edition for the People.
+Fcap. 8vo. Cloth, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>LOCKYER (J. Norman), F.R.S.</p>
+
+<div class="blockquot"><p><b>Studies in Spectrum Analysis</b>;
+with six photographic illustrations
+of Spectra, and numerous
+engravings on wood. Second Edition.
+Crown 8vo. Cloth, price 6<i>s.</i> 6<i>d.</i></p>
+
+<p>Vol. XXIII. of The International
+Scientific Series.</p></div>
+
+
+<p>LOMMEL (Dr. E.).</p>
+
+<div class="blockquot"><p><b>The Nature of Light</b>: With
+a General Account of Physical Optics.
+Second Edition. With 188 Illustrations
+and a Table of Spectra in
+Chromo-lithography. Second Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p>
+
+<p>Volume XVIII. of The International
+Scientific Series.</p></div>
+
+
+<p>LORIMER (Peter), D.D.</p>
+
+<div class="blockquot"><p><b>John Knox and the Church
+of England</b>: His Work in her Pulpit,
+and his Influence upon her Liturgy,
+Articles, and Parties. Demy 8vo.
+Cloth, price 12<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>John Wiclif and his
+English Precursors</b>, by Gerhard
+Victor Lechler. Translated from
+the German, with additional Notes.
+2 vols. Demy 8vo. Cloth, price 21<i>s.</i></p></div>
+
+
+<p>LOTHIAN (Roxburghe).</p>
+
+<div class="blockquot"><p><b>Dante and Beatrice from
+1282 to 1290.</b> A Romance. 2 vols.
+Post 8vo. Cloth, price 24<i>s.</i></p></div>
+
+
+<p>LOVER (Samuel), R.H.A.</p>
+
+<div class="blockquot"><p><b>The Life of Samuel Lover</b>,
+R.H.A.; Artistic, Literary, and
+Musical. With Selections from his
+Unpublished Papers and Correspondence.
+By Bayle Bernard. 2 vols.
+With a Portrait. Post 8vo. Cloth,
+price 21<i>s.</i></p></div>
+
+
+<p>LUCAS (Alice).</p>
+
+<div class="blockquot"><p><b>Translations from the
+Works of German Poets of the
+18th and 19th Centuries.</b> Fcap.
+8vo. Cloth, price 5<i>s.</i></p></div><p><span class="pagenum"><a name="Page_19a" id="Page_19a">[Pg 19]</a></span></p>
+
+
+<p>LYONS (R. T.), Surg.-Maj. Bengal Army.</p>
+
+<div class="blockquot"><p><b>A Treatise on Relapsing
+Fever.</b> Post 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MACAULAY (J.), M.A., M.D. Edin.</p>
+
+<div class="blockquot"><p><b>The Truth about Ireland</b>:
+Tours of Observation in 1872 and
+1875. With Remarks on Irish Public
+Questions. Being a Second Edition
+of "Ireland in 1872," with a New
+and Supplementary Preface. Crown
+8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MAC CLINTOCK (L.).</p>
+
+<div class="blockquot"><p><b>Sir Spangle and the Dingy
+Hen.</b> Illustrated. Square crown
+8vo., price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MAC DONALD (G.).</p>
+
+<div class="blockquot"><p><b>Malcolm.</b> With Portrait of
+the Author engraved on Steel. Fourth
+Edition. Crown 8vo. Price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Marquis of Lossie.</b>
+Second Edition. Crown 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>St. George and St. Michael.</b>
+Second Edition. Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>MAC KENNA (S. J.).</p>
+
+<div class="blockquot"><p><b>Plucky Fellows.</b> A Book
+for Boys. With Six Illustrations.
+Second Edition. Crown 8vo. Cloth,
+price 3<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>At School with an Old
+Dragoon.</b> With Six Illustrations.
+Second Edition. Crown 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>MACLACHLAN (A. N. C), M.A.</p>
+
+<div class="blockquot"><p><b>William Augustus, Duke
+of Cumberland</b>: being a Sketch of
+his Military Life and Character,
+chiefly as exhibited in the General
+Orders of His Royal Highness,
+1745-1747. With Illustrations. Post
+8vo. Cloth, price 15<i>s.</i></p></div>
+
+
+<p>MACNAUGHT (Rev. John).</p>
+
+<div class="blockquot"><p><b>C&#339;na Domini</b>: An Essay
+on the Lord's Supper, its Primitive
+Institution, Apostolic Uses,
+and Subsequent History. Demy
+8vo. Cloth, price 14<i>s.</i></p></div>
+
+
+<p>MAGNUSSON (Eirikr), M.A.,
+and PALMER (E. H.), M.A.</p>
+
+<div class="blockquot"><p><b>Johan Ludvig Runeberg's
+Lyrical Songs,</b> Idylls and Epigrams.
+Fcap. 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>MAIR (R. S.), M.D., F.R.C.S.E.</p>
+
+<div class="blockquot"><p><b>The Medical Guide for
+Anglo-Indians.</b> Being a Compendium
+of Advice to Europeans in
+India, relating to the Preservation
+and Regulation of Health. With a
+Supplement on the Management of
+Children in India. Second Edition.
+Crown 8vo. Limp cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MALDEN (H. E. and E. E.).</p>
+
+<div class="blockquot"><p><b>Princes and Princesses.</b>
+Illustrated. Small crown 8vo. Cloth,
+price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MANNING (His Eminence Cardinal).</p>
+
+<div class="blockquot"><p><b>Essays on Religion and
+Literature.</b> By various Writers.
+Third Series. Demy 8vo. Cloth,
+price 10<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>The Independence of the
+Holy See,</b> with an Appendix containing
+the Papal Allocution and a
+translation. Cr. 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The True Story of the
+Vatican Council.</b> Crown 8vo.
+Cloth, price 5<i>s.</i></p></div>
+
+
+<p>MAREY (E. J.).</p>
+
+<div class="blockquot"><p><b>Animal Mechanics.</b> A
+Treatise on Terrestrial and Aerial
+Locomotion. With 117 Illustrations.
+Second Edition. Crown 8vo. Cloth,
+price 5<i>s.</i></p>
+
+<p>Volume XI. of The International
+Scientific Series.</p></div>
+
+
+<p>MARRIOTT (Maj.-Gen. W. F.), C.S.I.</p>
+
+<div class="blockquot"><p><b>A Grammar of Political
+Economy.</b> Crown 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+
+<p class="i4"><b>Master Bobby</b>: a Tale. By
+the Author of "Christina North."
+With Illustrations by <span class="smcap">E. H. Bell</span>.
+Extra fcap. 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p>
+
+
+<p>MASTERMAN (J.).</p>
+
+<div class="blockquot"><p><b>Worth Waiting for.</b> A New
+Novel. 3 vols. Crown 8vo. Cloth.</p></div>
+
+<div class="blockquot"><p><b>Half-a-Dozen Daughters.</b>
+With a Frontispiece. Crown 8vo.
+Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MAUDSLEY (Dr. H.).</p>
+
+<div class="blockquot"><p><b>Responsibility in Mental
+Disease.</b> Third Edition. Crown
+8vo. Cloth, price 5<i>s.</i></p>
+
+<p>Volume VIII. of The International
+Scientific Series.</p></div><p><span class="pagenum"><a name="Page_20a" id="Page_20a">[Pg 20]</a></span></p>
+
+
+<p>MAUGHAN (W. C.).</p>
+
+<div class="blockquot"><p><b>The Alps of Arabia</b>; or,
+Travels through Egypt, Sinai, Arabia,
+and the Holy Land. With Map.
+Second Edition. Demy 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>MAURICE (C. E.).</p>
+
+<div class="blockquot"><p><b>Lives of English Popular
+Leaders.</b> No. 1.&mdash;<span class="smcap">Stephen Langton</span>.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i>
+No. 2.&mdash;<span class="smcap">Tyler, Ball</span>, and <span class="smcap">Oldcastle</span>.
+Crown 8vo. Cloth, price
+7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p><b>Mazzini (Joseph).</b></p>
+
+<div class="blockquot"><p>A Memoir. By E. A. V. Two
+Photographic Portraits. Second
+Edition. Crown 8vo. Cloth, price
+5<i>s.</i></p></div>
+
+
+<p>MEDLEY (Lieut.-Col. J. G.), R.E.</p>
+
+<div class="blockquot"><p><b>An Autumn Tour in the
+United States and Canada.</b>
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>MEREDITH (George).</p>
+
+<div class="blockquot"><p><b>The Ordeal of Richard Feverel.</b>
+A History of Father and Son.
+In one vol. with Frontispiece. Crown
+8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>MICKLETHWAITE (J. T.), F.S.A.</p>
+
+<div class="blockquot"><p><b>Modern Parish Churches</b>:
+Their Plan, Design, and Furniture.
+Crown 8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MIDDLETON (The Lady).</p>
+
+<div class="blockquot"><p><b>Ballads.</b> Square 16mo. Cloth,
+price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MILLER (Edward).</p>
+
+<div class="blockquot"><p><b>The History and Doctrines
+of Irvingism</b>; or, the so-called Catholic
+and Apostolic Church. 2 vols.
+Large post 8vo. Cloth, price 25<i>s.</i></p></div>
+
+
+<p>MILLER (Robert).</p>
+
+<div class="blockquot"><p><b>The Romance of Love.</b>
+Fcap. 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>MILNE (James).</p>
+
+<div class="blockquot"><p><b>Tables of Exchange</b> for the
+Conversion of Sterling Money into
+Indian and Ceylon Currency, at
+Rates from 1<i>s.</i> 8<i>d.</i> to 2<i>s.</i> 3<i>d.</i> per
+Rupee. Second Edition. Demy
+8vo. Cloth, price �2 2<i>s.</i></p></div>
+
+
+<p>MIVART (St. George), F.R.S.</p>
+
+<div class="blockquot"><p><b>Contemporary Evolution</b>:
+An Essay on some recent Social
+Changes. Post 8vo. Cloth, price
+7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MOCKLER (E.).</p>
+
+
+<div class="blockquot"><p><b>A Grammar of the Baloochee Language</b>,
+as it is spoken in
+Makran (Ancient Gedrosia), in the
+Persia-Arabic and Roman characters.
+Fcap. 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>MOFFAT (Robert Scott).</p>
+
+<div class="blockquot"><p><b>The Economy of Consumption</b>;
+an Omitted Chapter in Political
+Economy, with special reference to
+the Questions of Commercial Crises
+and the Policy of Trades Unions; and
+with Reviews of the Theories of Adam
+Smith, Ricardo, J. S. Mill, Fawcett,
+&amp;c. Demy 8vo. Cloth, price 18<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Principles of a Time
+Policy</b>: being an Exposition of a
+Method of Settling Disputes between
+Employers and Employed in regard
+to Time and Wages, by a simple Process
+of Mercantile Barter, without
+recourse to Strikes or Locks-out.
+Reprinted from "The Economy of
+Consumption," with a Preface and
+Appendix containing Observations on
+some Reviews of that book, and a Recriticism
+of the Theories of Ricardo
+and J. S. Mill on Rent, Value, and
+Cost of Production. Demy 8vo.
+Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MOLTKE (Field-Marshal Von).</p>
+
+<div class="blockquot"><p><b>Letters from Russia.</b>
+Translated by Robina Napier.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>MOORE (Rev. D.), M.A.</p>
+
+<div class="blockquot"><p><b>Christ and His Church.</b>
+By the Author of "The Age and the
+Gospel," &amp;c. Crown 8vo. Cloth,
+price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MORE (R. Jasper).</p>
+
+<div class="blockquot"><p><b>Under the Balkans.</b> Notes
+of a Visit to the District of Philippopolis
+in 1876. With a Map and
+Illustrations from Photographs.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>MORELL (J. R.).</p>
+
+<div class="blockquot"><p><b>Euclid Simplified in Method
+and Language.</b> Being a
+Manual of Geometry. Compiled from
+the most important French Works,
+approved by the University of Paris
+and the Minister of Public Instruction.
+Fcap. 8vo. Cloth, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>MORICE (Rev. F. D.), M.A.</p>
+
+<div class="blockquot"><p><b>The Olympian and Pythian
+Odes of Pindar.</b> A New Translation
+in English Verse. Crown 8vo.
+Cloth, price 7<i>s</i>. 6<i>d</i>.</p></div><p><span class="pagenum"><a name="Page_21a" id="Page_21a">[Pg 21]</a></span></p>
+
+
+<p>MORLEY (Susan).</p>
+
+<div class="blockquot"><p><b>Margaret Chetwynd.</b> A
+Novel. 3 vols. Crown 8vo. Cloth.</p></div>
+
+
+<p>MORSE (E. S.), Ph.D.</p>
+
+<div class="blockquot"><p><b>First Book of Zoology.</b>
+With numerous Illustrations. Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>MORSHEAD (E. D. A.)</p>
+
+<div class="blockquot"><p><b>The Agamemnon of �schylus.</b>
+Translated into English
+verse. With an Introductory Essay.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>MUSGRAVE (Anthony).</p>
+
+<div class="blockquot"><p><b>Studies in Political Economy.</b>
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>NAAK� (J. T.).</p>
+
+<div class="blockquot"><p><b>Slavonic Fairy Tales.</b>
+From Russian, Servian, Polish, and
+Bohemian Sources. With Four Illustrations.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>NEWMAN (J. H.), D.D.</p>
+
+<div class="blockquot"><p><b>Characteristics from the
+Writings of.</b> Being Selections
+from his various Works. Arranged
+with the Author's personal approval.
+Third Edition. With Portrait.
+Crown 8vo. Cloth, price 6<i>s.</i></p>
+
+<p>&#8258; A Portrait of the Rev. Dr. J. H.
+Newman, mounted for framing, can
+be had, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>NEW WRITER (A).</p>
+
+<div class="blockquot"><p><b>Songs of Two Worlds.</b>
+Fourth Edition. Complete in one
+volume with Portrait. Fcap. 8vo.
+Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>The Epic of Hades.</b> Seventh
+and finally revised Edition. Fcap.
+8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>NICHOLAS (Thomas), Ph.D., F.G.S.</p>
+
+<div class="blockquot"><p><b>The Pedigree of the English
+People</b>: an Argument, Historical
+and Scientific, on the Formation and
+Growth of the Nation, tracing Race-admixture
+in Britain from the earliest
+times, with especial reference to the
+incorporation of the Celtic Aborigines.
+Fifth Edition. Demy 8vo.
+Cloth, price 16<i>s.</i></p></div>
+
+
+<p>NICHOLSON (Edward B.), Librarian
+of the London Institution.</p>
+
+<div class="blockquot"><p><b>The Christ Child,</b> and other
+Poems. Crown 8vo. Cloth, price
+4<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>NOAKE (Major R. Compton).</p>
+
+<div class="blockquot"><p><b>The Bivouac</b>; or, Martial
+Lyrist, with an Appendix&mdash;Advice to
+the Soldier. Fcap. 8vo. Price 5<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>NOBLE (J. A.).</p>
+
+<div class="blockquot"><p><b>The Pelican Papers.</b>
+Reminiscences and Remains of a
+Dweller in the Wilderness. Crown
+8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>NORMAN PEOPLE (The).</p>
+
+<div class="blockquot"><p><b>The Norman People</b>, and
+their Existing Descendants in the
+British Dominions and the United
+States of America. Demy 8vo.
+Cloth, price 21<i>s.</i></p></div>
+
+
+<p>NORRIS (Rev. Alfred).</p>
+
+<div class="blockquot"><p><b>The Inner and Outer Life
+Poems.</b> Fcap. 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p class="i4"><b>Notes on Cavalry Tactics,
+Organization, &amp;c.</b> By a Cavalry
+Officer. With Diagrams. Demy 8vo.
+Cloth, price 12<i>s.</i></p>
+
+
+<p>NOTREGE (John), A.M.</p>
+
+<div class="blockquot"><p><b>The Spiritual Function of
+a Presbyter in the Church of
+England.</b> Crown 8vo. Cloth, red
+edges, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p class="i4"><b>Nuces: Exercises on the
+Syntax of the Public School
+Latin Primer.</b> New Edition in
+Three Parts. Crown 8vo. Each 1<i>s.</i></p>
+
+<div class="blockquot"><p>&#8258; The Three Parts can also be
+had bound together in cloth, price 3<i>s.</i></p></div>
+
+<p>O'BRIEN (Charlotte G.).</p>
+
+<div class="blockquot"><p><b>Light and Shade.</b> 2 vols.
+Crown 8vo. Cloth, gilt tops, price
+12<i>s.</i></p></div>
+
+
+<p>O'MEARA (Kathleen).</p>
+
+<div class="blockquot"><p><b>Frederic Ozanam</b>, Professor
+of the Sorbonne; His Life and
+Works. Second Edition. Crown
+8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p><b>Oriental Sporting Magazine (The).</b></p>
+
+<div class="blockquot"><p>A Reprint of the first 5 Volumes,
+in 2 Volumes. Demy 8vo. Cloth,
+price 28<i>s.</i></p></div>
+
+
+<p>PALGRAVE (W. Gifford).</p>
+
+<div class="blockquot"><p><b>Hermann Agha</b>; An Eastern
+Narrative. Third and Cheaper Edition.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>PANDURANG HARI;</p>
+
+<div class="blockquot"><p><b>Or, Memoirs of a Hindoo.</b>
+With an Introductory Preface by Sir
+H. Bartle E. Frere, G.C.S.I., C.B.
+Crown 8vo. Price 6<i>s.</i></p></div><p><span class="pagenum"><a name="Page_22a" id="Page_22a">[Pg 22]</a></span></p>
+
+
+<p>PARKER (Joseph), D.D.</p>
+
+<div class="blockquot"><p><b>The Paraclete</b>: An Essay
+on the Personality and Ministry of
+the Holy Ghost, with some reference
+to current discussions. Second Edition.
+Demy 8vo. Cloth, price 12<i>s.</i></p></div>
+
+
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+
+<div class="blockquot"><p><b>Echoes of a Famous Year.</b>
+Crown 8vo. Cloth, price 8<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>PARSLOE (Joseph).</p>
+
+<div class="blockquot"><p><b>Our Railways</b>: Sketches,
+Historical and Descriptive. With
+Practical Information as to Fares,
+Rates, &amp;c., and a Chapter on Railway
+Reform. Crown 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+
+<p>PATTISON (Mrs. Mark).</p>
+
+<div class="blockquot"><p><b>The Renaissance of Art in
+France.</b> With Nineteen Steel
+Engravings, 2 vols. Demy 8vo.
+Cloth, price 32<i>s.</i></p></div>
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+<p>PAUL (C. Kegan).</p>
+
+<div class="blockquot"><p><b>Mary Wollstonecraft.</b>
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+Memoir by, and Two Portraits in
+<i>eau forte</i>, by Anna Lea Merritt.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
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+<div class="blockquot"><p><b>Goethe's Faust.</b> A New
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+Cloth, price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>William Godwin</b>: His
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+Wife. 2 vols. Square post 8vo.
+Cloth, price 28<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Genius of Christianity
+Unveiled.</b> Being Essays by William
+Godwin never before published.
+Edited, with a Preface, by C.
+Kegan Paul. Crown 8vo. Cloth,
+price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>PAUL (Margaret Agnes).</p>
+
+<div class="blockquot"><p><b>Gentle and Simple</b>: A Story.
+2 vols. Crown 8vo. Cloth, gilt tops,
+price 12<i>s.</i></p>
+
+<p>&#8258; Also a Cheaper Edition in one
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+Cloth, price 6<i>s.</i></p></div>
+
+
+<p>PAYNE (John).</p>
+
+<div class="blockquot"><p><b>Songs of Life and Death.</b>
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>PAYNE (Prof. J. F.).</p>
+
+<div class="blockquot"><p><b>Lectures on Education.</b>
+Price 6<i>d.</i> each.</p></div>
+
+<div class="blockquot"><p>II. Fr�bel and the Kindergarten
+System. Second Edition.</p></div>
+
+<div class="blockquot"><p><b>A Visit to German Schools</b>:
+Elementary Schools in Germany.
+Notes of a Professional Tour
+to inspect some of the Kindergartens,
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+Instruction in Hamburgh, Berlin,
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+Crown 8vo. Cloth, price
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+
+<div class="blockquot"><p><b>Rays from the Southern
+Cross</b>: Poems. Crown 8vo. With
+Sixteen Full-page Illustrations
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+
+
+<p>PELLETAN (E.).</p>
+
+<div class="blockquot"><p><b>The Desert Pastor, Jean
+Jarousseau.</b> Translated from the
+French. By Colonel E. P. De
+L'Hoste. With a Frontispiece. New
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+
+<p>PENNELL (H. Cholmondeley).</p>
+
+<div class="blockquot"><p><b>Pegasus Resaddled.</b> By
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+Second Edition. Fcap. 4to. Cloth
+elegant, price 12<i>s.</i> 6<i>d.</i></p></div>
+
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+<p>PENRICE (Maj. J.), B.A.</p>
+
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+of the Ko-ran. With copious Grammatical
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+of the Text. 4to. Cloth, price 21<i>s.</i></p></div>
+
+
+<p>PERCIVAL (Rev. P.).</p>
+
+<div class="blockquot"><p><b>Tamil Proverbs, with their
+English Translation.</b> Containing
+upwards of Six Thousand Proverbs.
+Third Edition. Demy 8vo. Sewed,
+price 9<i>s.</i></p></div>
+
+
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+
+<div class="blockquot"><p><b>The Races of Man and
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+Large crown 8vo. Cloth, price 9<i>s.</i></p></div>
+
+
+<p>PETTIGREW (J. Bell), M. D., F.R.S.</p>
+
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+Walking, Swimming, and Flying.
+With 130 Illustrations. Second Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p>
+
+<p>Volume VII. of The International
+Scientific Series.</p></div><p><span class="pagenum"><a name="Page_23a" id="Page_23a">[Pg 23]</a></span></p>
+
+
+<p>PFEIFFER (Emily).</p>
+
+<div class="blockquot"><p><b>Quarterman's Grace, and
+other Poems.</b> Crown 8vo. Cloth,
+price 5<b>s.</b></p></div>
+
+<div class="blockquot"><p><b>Glan Alarch: His Silence
+and Song.</b> A Poem. Second
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+
+<div class="blockquot"><p><b>Gerard's Monument, and
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+
+<div class="blockquot"><p><b>Poems.</b> Second Edition.
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+
+<p>PIGGOT (J.), F.S.A., F.R.G.S.</p>
+
+<div class="blockquot"><p><b>Persia&mdash;Ancient and Modern.</b>
+Post 8vo. Cloth, price 10<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>PINCHES (Thomas), M.A.</p>
+
+<div class="blockquot"><p><b>Samuel Wilberforce: Faith&mdash;Service&mdash;Recompense.</b>
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+
+
+<p>PLAYFAIR (Lieut.-Col.), Her
+Britannic Majesty's Consul-General
+in Algiers.</p>
+
+<div class="blockquot"><p><b>Travels in the Footsteps of
+Bruce in Algeria and Tunis.</b>
+Illustrated by facsimiles of Bruce's
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+�3 3<i>s.</i></p></div>
+
+
+<p>POOR (Henry V.).</p>
+
+<div class="blockquot"><p><b>Money and its Laws</b>, embracing
+a History of Monetary
+Theories and a History of the Currencies
+of the United States. Demy
+8vo. Cloth, price 21<i>s.</i></p></div>
+
+
+<p>POUSHKIN (A. S.).</p>
+
+<div class="blockquot"><p><b>Russian Romance.</b>
+Translated from the Tales of Belkin,
+&amp;c. By Mrs. J. Buchan Telfer (n�e
+Mouravieff). Crown 8vo. Cloth,
+price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>POWER (H.).</p>
+
+<div class="blockquot"><p><b>Our Invalids: How shall
+we Employ and Amuse Them?</b>
+Fcap. 8vo. Cloth, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>POWLETT (Lieut. N.), R.A.</p>
+
+<div class="blockquot"><p><b>Eastern Legends and
+Stories in English Verse.</b> Crown
+8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>PRESBYTER.</p>
+
+<div class="blockquot"><p><b>Unfoldings of Christian
+Hope.</b> An Essay showing that the
+Doctrine contained in the Damnatory
+Clauses of the Creed commonly
+called Athanasian is unscriptural.
+Small crown 8vo. Cloth, price 4<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>PRICE (Prof. Bonamy).</p>
+
+<div class="blockquot"><p><b>Currency and Banking.</b>
+Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Chapters on Practical Political
+Economy.</b> Being the Substance
+of Lectures delivered before
+the University of Oxford. Large
+post 8vo. Cloth, price 12<i>s.</i></p></div>
+
+
+<p>PROCTOR (Richard A.), B.A.</p>
+
+<div class="blockquot"><p><b>Our Place among Infinities.</b>
+A Series of Essays contrasting our
+little abode in space and time with
+the Infinities around us. To which
+are added Essays on "Astrology,"
+and "The Jewish Sabbath." Third
+Edition. Crown 8vo. Cloth, price
+6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Expanse of Heaven.</b>
+A Series of Essays on the Wonders
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+Fourth Edition. Crown 8vo.
+Cloth, price 6<i>s.</i></p></div>
+
+
+<p class="i4"><b>Proteus and Amadeus.</b> A
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+
+
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+
+<div class="blockquot"><p><b>The Volunteer, the Militiaman,
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+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
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+<p class="i4"><b>Punjaub (The) and North
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+
+
+<p>RAM (James).</p>
+
+<div class="blockquot"><p><b>The Philosophy of War.</b>
+Small crown 8vo. Cloth, price 3<i>s</i>. 6<i>d</i>.</p></div>
+
+
+<p>RAVENSHAW (John Henry), B.C.S.</p>
+
+<div class="blockquot"><p><b>Gaur: Its Ruins and Inscriptions.</b>
+Edited with considerable
+additions and alterations by his
+Widow. With forty-four photographic
+illustrations and twenty-five
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+royal 4to. Cloth, 3<i>l</i>. 13<i>s</i>. 6<i>d</i>.</p></div><p><span class="pagenum"><a name="Page_24a" id="Page_24a">[Pg 24]</a></span></p>
+
+
+<p>READ (Carveth).</p>
+
+<div class="blockquot"><p><b>On the Theory of Logic</b>:
+An Essay. Crown 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+
+<p>REANEY (Mrs. G. S.).</p>
+
+<div class="blockquot"><p><b>Blessing and Blessed</b>; a
+Sketch of Girl Life. With a frontispiece.
+Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Waking and Working; or,
+from Girlhood to Womanhood.</b>
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+
+<div class="blockquot"><p><b>Just Anyone, and other
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+
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+16mo. Cloth, price 1<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>RHOADES (James).</p>
+
+<div class="blockquot"><p><b>Timoleon.</b> A Dramatic Poem.
+Fcap. 8vo. Cloth, price 5<i>s.</i></p></div>
+
+
+<p>RIBOT (Prof. Th.).</p>
+
+<div class="blockquot"><p><b>English Psychology.</b> Second
+Edition. A Revised and Corrected
+Translation from the latest
+French Edition. Large post 8vo.
+Cloth, price 9<i>s</i>.</p></div>
+
+<div class="blockquot"><p><b>Heredity</b>: A Psychological
+Study on its Phenomena, its Laws,
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+Large crown 8vo. Cloth, price 9<i>s.</i></p></div>
+
+
+<p>RINK (Chevalier Dr. Henry).</p>
+
+<div class="blockquot"><p><b>Greenland: Its People and
+its Products.</b> By the Chevalier
+Dr. <span class="smcap">Henry Rink</span>, President of the
+Greenland Board of Trade. With
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+<span class="smcap">Robert Brown</span>. Crown 8vo. Price
+10<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>ROBERTSON (The Late Rev. F. W.), M.A., of Brighton.</p>
+
+<div class="blockquot"><p><b>Notes on Genesis.</b> Third
+Edition. Crown 8vo., price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Sermons.</b> Four Series. Small
+crown 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i> each.</p></div>
+
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+A New Edition. Small
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+
+<div class="blockquot"><p><b>Lectures and Addresses</b>,
+with other literary remains. A New
+Edition. Crown 8vo. Cloth, price 5<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>An Analysis of Mr. Tennyson's
+"In Memoriam."</b> (Dedicated
+by Permission to the Poet-Laureate.)
+Fcap. 8vo. Cloth, price 2<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Education of the
+Human Race.</b> Translated from
+the German of Gotthold Ephraim
+Lessing. Fcap. 8vo. Cloth, price
+2<i>s</i>. 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Life and Letters.</b> Edited by
+the Rev. Stopford Brooke, M.A.,
+Chaplain in Ordinary to the Queen.</p>
+
+<p>I. 2 vols., uniform with the Sermons.
+With Steel Portrait. Crown
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+
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+
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+Crown 8vo. Cloth, price 6<i>s.</i></p>
+
+<p><i>The above Works can also be had
+half-bound in morocco.</i></p>
+
+<p>&#8258; A Portrait of the late Rev. F. W.
+Robertson, mounted for framing, can
+be had, price 2<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>ROBINSON (A. Mary F.).</p>
+
+<div class="blockquot"><p><b>A Handful of Honeysuckle.</b>
+Fcap. 8vo. Cloth, price
+3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>RODWELL (G. F.), F.R.A.S., F.C.S.</p>
+
+<div class="blockquot"><p><b>Etna: a History of the
+Mountain and its Eruptions.</b>
+With Maps and Illustrations. Square
+8vo. Cloth, price 9<i>s.</i></p></div>
+
+
+<p>ROSS (Mrs. E.), ("Nelsie Brook").</p>
+
+<div class="blockquot"><p><b>Daddy's Pet.</b> A Sketch
+from Humble Life. With Six Illustrations.
+Royal 16mo. Cloth, price
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+
+
+<p>RUSSELL (Major Frank S.).</p>
+
+<div class="blockquot"><p><b>Russian Wars with Turkey</b>,
+Past and Present. With Two Maps.
+Second Edition. Crown 8vo., price 6<i>s.</i></p></div><p><span class="pagenum"><a name="Page_25a" id="Page_25a">[Pg 25]</a></span></p>
+
+
+<p>RUTHERFORD (John).</p>
+
+<div class="blockquot"><p><b>The Secret History of the
+Fenian Conspiracy</b>; its Origin,
+Objects, and Ramifications. 2 vols.
+Post 8vo. Cloth, price 18<i>s.</i></p></div>
+
+
+<p>SADLER (S. W.), R.N.</p>
+
+<div class="blockquot"><p><b>The African Cruiser.</b> A
+Midshipman's Adventures on the
+West Coast. With Three Illustrations.
+Second Edition. Crown 8vo.
+Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>SAMAROW (G.).</p>
+
+<div class="blockquot"><p><b>For Sceptre and Crown.</b> A
+Romance of the Present Time.
+Translated by Fanny Wormald. 2
+vols. Crown 8vo. Cloth, price 15<i>s.</i></p></div>
+
+
+<p>SAUNDERS (Katherine).</p>
+
+<div class="blockquot"><p><b>Gideon's Rock,</b> and other
+Stories. Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Joan Merryweather,</b> and other
+Stories. Crown 8vo. Cloth, price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Margaret and Elizabeth.</b>
+A Story of the Sea. Crown 8vo.
+Cloth, price 6<i>s.</i></p></div>
+
+
+<p>SAUNDERS (John).</p>
+
+<div class="blockquot"><p><b>Israel Mort, Overman:</b>
+a Story of the Mine. Crown 8vo.
+Price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Hirell.</b> With Frontispiece.
+Crown 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
+<div class="blockquot"><p><b>Abel Drake's Wife.</b> With
+Frontispiece. Crown 8vo. Cloth,
+price 3<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>SCHELL (Maj. von).</p>
+
+<div class="blockquot"><p><b>The Operations of the
+First Army under Gen. von
+Goeben.</b> Translated by Col. C. H.
+von Wright. Four Maps. Demy
+8vo. Cloth, price 9<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>The Operations of the
+First Army under Gen. von
+Steinmetz.</b> Translated by Captain
+E. O. Hollist. Demy 8vo. Cloth,
+price 10<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>SCHELLENDORF (Maj.-Gen. B. von).</p>
+
+<div class="blockquot"><p><b>The Duties of the General
+Staff.</b> Translated from the German
+by Lieutenant Hare. Vol. I. Demy
+8vo. Cloth, 10<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>SCHERFF (Maj. W. von).</p>
+
+<div class="blockquot"><p><b>Studies in the New Infantry
+Tactics.</b> Parts I. and II.
+Translated from the German by
+Colonel Lumley Graham. Demy
+8vo. Cloth, price 7<i>s.</i> 6<i>d.</i></p></div>
+
+
+<p>SCHMIDT (Prof. Oscar).</p>
+
+<div class="blockquot"><p><b>The Doctrine of Descent
+and Darwinism.</b> With 26 Illustrations.
+Third Edition. Crown
+8vo. Cloth, price 5<i>s.</i></p>
+
+<p>Volume XII. of The International
+Scientific Series.</p></div>
+
+
+<p>SCH�TZENBERGER (Prof. F.).</p>
+
+<div class="blockquot"><p><b>Fermentation.</b> With Numerous
+Illustrations. Second Edition.
+Crown 8vo. Cloth, price 5<i>s.</i></p>
+
+<p>Volume XX. of The International
+Scientific Series.</p></div>
+
+
+<p>SCOTT (Patrick).</p>
+
+<div class="blockquot"><p><b>The Dream and the Deed</b>,
+and other Poems. Fcap. 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>SCOTT (W. T.).</p>
+
+<div class="blockquot"><p><b>Antiquities of an Essex
+Parish</b>; or, Pages from the History
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+Cloth, price 5<i>s.</i> Sewed, 4<i>s.</i></p></div>
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+
+<p>SCOTT (Robert H.).</p>
+
+<div class="blockquot"><p><b>Weather Charts and Storm
+Warnings.</b> Illustrated. Crown
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+
+
+<p>SENIOR (N. W.).</p>
+
+<div class="blockquot"><p><b>Alexis De Tocqueville.</b>
+Correspondence and Conversations
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+1859. Edited by M. C. M. Simpson.
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+
+<div class="blockquot"><p><b>Journals Kept in France
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+Cloth, price 24<i>s.</i></p></div>
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+<p class="i4"><b>Seven Autumn Leaves from
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+
+
+<p>SHADWELL (Maj.-Gen.), C.B.</p>
+
+<div class="blockquot"><p><b>Mountain Warfare.</b> Illustrated
+by the Campaign of 1799 in
+Switzerland. Being a Translation
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+the Works of the Archduke Charles,
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+Remarks. Demy 8vo. Cloth, price 16<i>s.</i></p></div><p><span class="pagenum"><a name="Page_26a" id="Page_26a">[Pg 26]</a></span></p>
+
+
+<p>SHAKSPEARE (Charles).</p>
+
+<div class="blockquot"><p><b>Saint Paul at Athens</b>:
+Spiritual Christianity in Relation to
+some Aspects of Modern Thought.
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+With Preface by the Rev. Canon
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+
+
+<p>SHAW (Flora L.).</p>
+
+<div class="blockquot"><p><b>Castle Blair</b>: a Story of
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+Cloth, gilt tops, price 12<i>s.</i> Also, an
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+
+
+<p>SHELLEY (Lady).</p>
+
+<div class="blockquot"><p><b>Shelley Memorials from
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+
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+<p>SHERMAN (Gen. W. T.).</p>
+
+<div class="blockquot"><p><b>Memoirs of General W.
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+<p>SHILLITO (Rev. Joseph).</p>
+
+<div class="blockquot"><p><b>Womanhood</b>: its Duties,
+Temptations, and Privileges. A Book
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+
+
+<p>SHIPLEY (Rev. Orby), M.A.</p>
+
+<div class="blockquot"><p><b>Principles of the Faith in
+Relation to Sin.</b> Topics for
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+
+<div class="blockquot"><p><b>A Discourse on Truth.</b>
+Large Post 8vo. Cloth, price 9<i>s.</i></p></div>
+
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+<div class="blockquot"><p><b>Boarding-out and Pauper
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+<p>SMITH (Edward), M.D., LL.B., F.R.S.</p>
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+
+<p>Volume III. of The International
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+<p>SMITH (Hubert).</p>
+
+<div class="blockquot"><p><b>Tent Life with English
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+<p class="i4"><b>Songs of Two Worlds.</b> By
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+<div class="blockquot"><p>Containing songs by Reginald A.
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+
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+<p>SPENCER (Herbert).</p>
+
+<div class="blockquot"><p><b>The Study of Sociology.</b>
+Seventh Edition. Crown 8vo. Cloth,
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+
+<p>Volume V. of The International
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+
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+<p>SPICER (H.).</p>
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+<div class="blockquot"><p><b>Otho's Death Wager.</b> A
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+
+<div class="blockquot"><p><b>The Thames</b>: A Poem.
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+
+
+<p>STEPHENS (Archibald John), LL.D.</p>
+
+<div class="blockquot"><p><b>The Folkestone Ritual
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+
+
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+
+<div class="blockquot"><p><b>An Inland Voyage.</b> With
+Frontispiece by Walter Crane.
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+
+
+<p>STEVENSON (Rev. W. F.).</p>
+
+<div class="blockquot"><p><b>Hymns for the Church and
+Home.</b> Selected and Edited by the
+Rev. W. Fleming Stevenson.</p>
+
+<p>The most complete Hymn Book
+published.</p>
+
+<p>The Hymn Book consists of Three
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+<p>STEWART (Prof. Balfour), M.A., LL.D., F.R.S.</p>
+
+<div class="blockquot"><p><b>On the Conservation of
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+
+<p>Volume VI. of The International
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+
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+<div class="blockquot"><p><b>Monacella</b>: A Legend of
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+
+
+<p>STUBBS (Lieut.-Colonel F. W.).</p>
+
+<div class="blockquot"><p><b>The Regiment of Bengal
+Artillery.</b> The History of its
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+
+
+<p>STUMM (Lieut. Hugo), German
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+
+<div class="blockquot"><p><b>Russia's advance Eastward.</b>
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+
+
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+
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+
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+
+
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+
+<p class="i4"><b>Sweet Silvery Sayings of
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+<p>SYME (David).</p>
+
+<div class="blockquot"><p><b>Outlines of an Industrial
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+
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+
+
+<p>TAYLOR (Rev. J. W. A.), M.A.</p>
+
+<div class="blockquot"><p><b>Poems.</b> Fcap. 8vo. Cloth,
+price 5<i>s.</i></p></div>
+
+
+<p>TAYLOR (Sir H.).</p>
+
+<div class="blockquot"><p><b>Works Complete.</b> Author's
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+
+<p>Vols. I. to III. containing the
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+
+
+<p>TAYLOR (Col. Meadows), C.S.I., M.R.I.A.</p>
+
+<div class="blockquot"><p><b>A Noble Queen</b>: a Romance
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+
+<div class="blockquot"><p><b>Seeta.</b> 3 vols. Crown 8vo.
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+
+<p>TELFER (J. Buchan), F.R.G.S., Commander, R.N.</p>
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+With numerous Illustrations
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+
+
+<p>TENNYSON (Alfred).</p>
+
+<div class="blockquot"><p><b>The Imperial Library Edition.</b>
+Complete in 7 vols. Demy 8vo.
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+
+<div class="blockquot"><p><b>Author's Edition.</b> Complete
+in 6 Volumes. Post 8vo. Cloth gilt;
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+
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+
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+
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+
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+
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+
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+
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+
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+
+<div class="blockquot"><p><b>The Royal Edition.</b> Complete
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+
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+
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+
+<div class="blockquot"><p><b>The Crown Edition.</b> Complete
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+half morocco, price 8<i>s.</i> 6<i>d.</i></p>
+
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+of other bindings.</p></div>
+
+<div class="blockquot"><p><b>Original Editions:</b></p></div>
+
+<div class="blockquot"><p><b>Poems.</b> Small 8vo. Cloth,
+price 6<i>s.</i></p></div>
+
+<div class="blockquot"><p><b>Maud</b>, and other Poems.
+Small 8vo. Cloth, price 3<i>s.</i> 6<i>d.</i></p></div>
+
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+
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+
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+
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+
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+
+<div class="blockquot"><p><b>In Memoriam.</b> Small 8vo.
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+
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+New Edition. Crown 8vo. Cloth,
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+
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+
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+
+
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+<pre>
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+The Project Gutenberg EBook of Dante, by Philip H. Wicksteed
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Dante
+       Six Sermons
+
+Author: Philip H. Wicksteed
+
+Release Date: June 22, 2011 [EBook #36479]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK DANTE ***
+
+
+
+
+Produced by Curtis Weyant, Diane Monico, and the Online
+Distributed Proofreading Team at http://www.pgdp.net (This
+book was produced from scanned images of public domain
+material from the Google Print project.)
+
+
+
+
+
+
+
+
+
+
+
+DANTE
+
+
+
+
+DANTE
+
+_SIX SERMONS_
+
+BY
+
+PHILIP H. WICKSTEED
+
+M.A.
+
+[Illustration]
+
+LONDON
+C. KEGAN PAUL & CO., 1 PATERNOSTER SQUARE
+1879
+
+
+(_The rights of translation and of reproduction are reserved_)
+
+
+
+
+_PREFACE._
+
+
+The five Sermons which form the body of this little book on Dante were
+delivered in the ordinary course of my ministry at Little Portland
+Street Chapel, in the autumn of 1878, and subsequently at the Free
+Christian Church, Croydon, in a slightly altered form.
+
+They are now printed, at the request of many of my hearers, almost
+exactly as delivered at Croydon.
+
+The substance of a sixth Sermon has been thrown into an Appendix.
+
+In allowing the publication of this little volume, my only thought is
+to let it take its chance with other fugitive productions of the Pulpit
+that appeal to the Press as a means of widening the possible area
+rather than extending the period over which the preacher's voice may
+extend; and my only justification is the hope that it may here and
+there reach hands to which no more adequate treatment of the subject
+was likely to find its way.
+
+The translations I have given are sometimes paraphrastic, and virtually
+contain glosses or interpretations which make it necessary to warn the
+reader against regarding them as in every case Dante's _ipsissima
+verba_. For the most part the renderings are substantially my own; but
+I have freely availed myself of numerous translations, without special
+acknowledgment, whenever they supplied me with suitable phrases.
+
+I have only to add the acknowledgment of my obligations to Fraticelli's
+edition of Dante's works (whose numbering of the minor poems and the
+letters I have adopted for reference), to the same writer's 'Life of
+Dante,' and to Mr. Symonds' 'Introduction to the Study of Dante.'
+
+                                                    P. H. W.
+
+_June 1879._
+
+
+
+
+_CONTENTS._
+
+                                              PAGE
+
+I. DANTE: AS A CITIZEN OF FLORENCE               1
+
+II. DANTE: IN EXILE                             29
+
+III. HELL                                       59
+
+IV. PURGATORY                                   89
+
+V. HEAVEN                                      119
+
+APPENDIX                                       145
+
+
+
+
+I
+
+DANTE'S LIFE AND PRINCIPLES
+
+_I. AS A CITIZEN OF FLORENCE_
+
+
+There are probably few competent judges who would hesitate to give
+Dante a place of honour in the triad of the world's greatest poets; and
+amongst these three Dante occupies a position wholly his own, peerless
+and unapproached in history.
+
+For Homer and Shakespeare reflect the ages in which they lived, in all
+their fullness and variety of life and motive, largely sinking their
+own individuality in the intensity and breadth of their sympathies.
+They are great teachers doubtless, and fail not to lash what they
+regard as the growing vices or follies of the day, and to impress upon
+their hearers the solemn lessons of those inevitable facts of life
+which they epitomise and vivify. But their teaching is chiefly
+incidental or indirect, it is largely unconscious, and is often almost
+as difficult to unravel from their works as it is from the life and
+nature they so faithfully reflect.
+
+With Dante it is far otherwise. Aglow with a prophet's passionate
+conviction, an apostle's undying zeal, he is guided by a philosopher's
+breadth and clearness of principle, a poet's unfailing sense of beauty
+and command of emotions, to a social reformer's definite and practical
+aims and a mystic's peace of religious communion. And though his works
+abound in dramatic touches of startling power and variety, and
+delineations of character unsurpassed in delicacy, yet with all the
+depth and scope of his sympathies he never for a moment loses himself
+or forgets his purpose.
+
+As a philosopher and statesman, he had analysed with keen precision the
+social institutions, the political forces, and the historical
+antecedents by which he found his time and country dominated; as a
+moralist, a theologian, and a man, he had grasped with a firmness that
+nothing could relax the essential conditions of human blessedness here
+and hereafter, and with an intensity and fixity of definite
+self-conscious purpose almost without parallel he threw the passionate
+energy of his nature into the task of preaching the eternal truth to
+his countrymen, and through them to the world, and thwarting and
+crushing the powers and institutions which he regarded as hostile to
+the well-being of mankind. He strove to teach his brothers that their
+true bliss lay in the exercise of virtue here, and the blessed vision
+of God hereafter. And as a step towards this, and an essential part of
+its realisation, he strove to make Italy one in heart and tongue, to
+raise her out of the sea of petty jealousies and intrigues in which she
+was plunged; in a word, to erect her into a free, united country, with
+a noble mother tongue. These two purposes were one; and, supported and
+supplemented by a never-dying zeal for truth, a never-failing sense of
+beauty, they inspired the life and works of Dante Alighieri.
+
+It is often held and taught, that a strong and definite didactic
+purpose must inevitably be fatal to the highest forms of art, must clip
+the wings of poetic imagination, distort the symmetry of poetic
+sympathy, and substitute hard and angular contrasts for the melting
+grace of those curved lines of beauty which pass one into the other.
+Had Dante never lived, I know not where we should turn for the decisive
+refutation of this thought; but in Dante it is the very combination
+said to be impossible that inspires and enthrals us. A perfect artist,
+guided in the exercise of his art by an unflagging intensity of moral
+purpose; a prophet, submitting his inspirations to the keenest
+philosophical analysis, pouring them into the most finished artistic
+moulds, yet bringing them into ever fresher and fuller contact with
+their living source; a moralist and philosopher whose thoughts are fed
+by a prophet's directness of vision and a poet's tender grace of love,
+a poet's might and subtlety of imagination--Philosopher, Prophet, Poet,
+supreme as each, unique as a combination of them all--such was Dante
+Alighieri! And his voice will never be drowned or forgotten as long as
+man is dragged downward by passion and struggles upward towards God, as
+long as he that sows to the flesh shall of the flesh reap corruption,
+and he that sows to the spirit reaps of the spirit life everlasting, as
+long as the heart of man can glow responsive to a holy indignation
+with wrong, or can feel the sweetness of the harmonies of peace.
+
+It is little that I can hope to do, and yet I would fain do something,
+towards opening to one here and there some glimpse into that mighty
+temple, instinct with the very presence of the Eternal, raised by the
+master hand, nay rather wrought out of the mighty heart of Dante; but
+before we can even attempt to gather up a few fragments of the 'Divine
+Comedy,' as landmarks to guide us, in our turn, through Hell and
+Purgatory up to Heaven, it is needful for us to have some conception
+who Dante Alighieri was, and what were his fortunes in this mortal
+life.
+
+And here I must once for all utter a warning, and thereby discharge
+myself of a special duty. The Old Testament itself has not been more
+ruthlessly allegorised than have Dante's works and even his very life.
+The lack of trustworthy materials, in any great abundance, for an
+account of the poet's outward lot, the difficulty of fixing with
+certainty when he is himself relating actual events and when his
+apparent narratives are merely allegorical, the obscurity,
+incompleteness, and even apparent inconsistency of some of the data he
+supplies, the uncertainty as to the exact time at which his different
+works were composed and the precise relation in which they stand to
+each other, and the doubts which have been thrown upon the authenticity
+of some of the minor documents upon which the poet's biographers
+generally rely, have all combined to involve almost every step of his
+life in deep obscurity. Here, then, is a field upon which laborious
+research, ingenious conjecture, and wild speculation can find unending
+employment, and consequently every branch of the study has quite a
+literature of its own.
+
+Now into this mass of controversial and speculative writings on Dante,
+I do not make the smallest pretensions to have penetrated a single
+step. I am far from wishing to disparage such studies, or to put
+forward in my own defence that stale and foolish plea, the refuge of
+pretentious ignorance in every region of inquiry, that a mind coming
+fresh to the study has the advantage over those that are already well
+versed in it; but surely the students who are making the elucidation of
+Dante their life work would not ask or wish, that until their endless
+task is completed all those whose souls have been touched by the direct
+utterance of the great poet should hold their peace until qualified to
+speak by half a life of study.
+
+With no further apology, then, for seeming to venture too rashly on the
+task, we may go on to a brief sketch of Dante's life and principles.
+The main lines which I shall follow are in most cases traced distinctly
+enough by Dante's own hand, and to the best of my belief they represent
+a fair average of the present or recent conclusions of scholars; but,
+on the other hand, there have always been some who would unhesitatingly
+treat as allegory much of what I shall present to you as fact, who for
+instance would treat all Dante's love for Beatrice, and indeed
+Beatrice's very existence, as purely allegorical; and, again, where the
+allegory is admitted on all hands, there is a ceaseless shifting and
+endless variety in the special interpretations adopted and rejected by
+the experts.
+
+       *       *       *       *       *
+
+Dante, or properly Durante, Alighieri was born in Florence of an
+ancient and noble family, in the year 1265. We may note that his life
+falls in a period which we used to be taught to regard as an age of
+intellectual stagnation and social barbarism, in which Christianity had
+degenerated into a jumbled chaos of puerile and immoral superstitions!
+We may note also that in the early years of his life the poet was a
+contemporary of some of the noblest representatives of the
+feudo-Catholic civilisation, that is to say of mediaeval philosophy,
+theology, and chivalry, while his manhood was joined in loving
+friendship with the first supremely great mediaeval artist, and before
+he died one of the great precursors and heralds of the revival of
+learning was growing up to manhood and another had already left his
+cradle. To speak of Roger Bacon, Thomas Aquinas, and St. Louis, as
+living when Dante was born, of Giotto as his companion and friend, of
+Petrarch and Boccaccio as already living when he died, is to indicate
+more clearly than could be done by any more elaborate statement, the
+position he occupies at the very turning point of the Middle Ages when
+the forces of modern life had begun to rise, but the supremacy of
+mediaeval faith and discipline was as yet unbroken. Accordingly Dante,
+in whom the truest spirit of his age is, as it were, 'made flesh,' may
+be variously regarded as the great morning star of modern
+enlightenment, freedom, and culture, or as the very type of mediaeval
+discipline, faith, and chivalry. To me, I confess, this latter aspect
+of Dante's life is altogether predominant. To me he is the very
+incarnation of Catholicism, not in its shame, but in its glory. Yet the
+future is always contained in the present when rightly understood, and
+just because Dante was the perfect representative of his own age, he
+became the herald and the prophecy of the ages to come, not, as we
+often vainly imagine them, rebelling against and escaping from the
+overshadowing solemnity of the ages past, but growing out of them as
+their natural and necessary result.
+
+In the year 1265, then, Dante was born in Florence, then one of the
+most powerful and flourishing, but also, alas! one of the most factious
+and turbulent of the cities of Europe. He was but nine years old when
+he first met that Beatrice Portinari who became thenceforth the
+loadstar of his life. As to this lady we have little to say. The
+details which Dante's early biographers give us add but little to our
+knowledge of her, and so far as they are not drawn from the poet's own
+words, are merely such graceful commonplaces of laudatory description
+as any imagination of ordinary capacity would spontaneously supply for
+itself. When we have said that Beatrice was a beautiful, sweet, and
+virtuous girl, we have said all that we know, and all that we need care
+to know, of the daughter of Folco Portinari, who lived, was married,
+and died in Florence at the end of the thirteenth century. All that she
+is to us more than other Florentine maidens, she is to us through that
+poet who, as he wept her untimely death, hoped with no vain hope 'to
+write of her, what ne'er was writ of woman.'[1]
+
+       *       *       *       *       *
+
+It puts no great strain on our powers of credence, to accept Dante's
+own statement of the rush of almost stupefying emotions which
+overwhelmed his childish heart when at the age of nine he went with his
+father to Portinari's house, and was sent to play with other children,
+amongst them the little Beatrice, a child of eight years old. The 'New
+Life' waked within him from that moment, and its strength and purity
+made him strong and pure.[2]
+
+       *       *       *       *       *
+
+Nine more years have passed. Dante is now eighteen. He has made rapid
+progress in all the intellectual and personal accomplishments which are
+held to adorn the position of a Florentine gentleman. His teachers have
+in some cases already discerned the greatness of his powers, and he has
+become aware, probably by essays which never saw the light, that he has
+not only a poet's passions and aspirations, but a poet's power of
+moulding language into oneness with his thought. He and Beatrice know
+each other by sight, as neighbours or fellow-citizens, but Dante has
+never heard her voice address a word to him. Yet she is still the
+centre of all his thoughts. She has never ceased to be to him the
+perfect ideal of growing womanhood, and to his devout and fervid
+imagination, just because she is the very flower of womanly courtesy,
+grace, and virtue, she is an angel upon earth. Not in the hackneyed
+phrase of complimentary commonplace, not in the exaggerated cant of
+would-be poetical metaphor, but in the deep verity of his inmost life,
+Dante Alighieri believes that Beatrice Portinari, the maiden whose
+purity keeps him pure, whose grace and beauty are as guardian angels
+watching over his life, has more of heaven than of earth about her and
+claims kindred with God's more perfect family.
+
+Beatrice is now seventeen, she is walking with two companions in a
+public place, she meets Dante and allows herself to utter a few words
+of graceful greeting. It is the first time she has spoken to him, and
+Dante's soul is thrilled and fired to its very depths. Not many hours
+afterwards, the poet began the first of his sonnets that we still
+possess, perhaps the first he ever wrote.[3]
+
+       *       *       *       *       *
+
+Let us pass over eight or nine years more. Dante, now about twenty-six,
+is the very flower of chivalry and poetry. The foremost men of his own
+and other cities--artists, musicians, poets, scholars, and
+statesmen--are his friends. Somewhat hard of access and reserved, but
+the most fascinating of companions and the faithfulest of friends to
+those who have found a real place in his heart, Dante takes a rank of
+acknowledged eminence amongst the poets of his day. His verses, chiefly
+in praise of Beatrice, are written in a strain of tender sentiment,
+that gives little sign of what is ultimately to come out of him, but
+there is a nervous and concentrated power of diction, a purity and
+elevation of conception in them, which may not have been obvious to his
+companions as separating him from them, but which to eyes instructed by
+the result is full of deepest meaning.
+
+And what of Beatrice? She is dead. It was never given to Dante to call
+her his. We know not so much as whether he even aspired to more than
+that gracious salutation in which, to use his own expression, he seemed
+to touch 'the very limits of beatitude.'[4]
+
+Be this as it may, it is certain that Beatrice married a powerful
+citizen of Florence several years before her death. But she was still
+the guardian angel of the poet's life, she was still the very type of
+womanhood to him; and there was not a word or thought of his towards
+her but was full of utter courtesy and purity. And now, in the flower
+of her loveliness she is cut down by death, and to Dante life has
+become a wilderness.[5]
+
+       *       *       *       *       *
+
+Yet eight or nine years more. Dante is now in what his philosophical
+system regards as the very prime of life.[6] He is thirty-five. The
+date is 1300. Since we left him weeping for the death of Beatrice, the
+unity of his life has been shattered and he has lost his way, but only
+for a time. Now his powers and purposes are richer, stronger, more
+concentrated than ever.
+
+In his first passion of grief for Beatrice's death he had been
+profoundly touched by the pity of a gentle-eyed damsel whom a far from
+groundless conjecture identifies with Gemma Donati, the lady whom he
+married not long afterwards. With this Gemma he lived till his
+banishment, and they had a numerous family. The internal evidence of
+Dante's works, and the few circumstances really known to us, give
+little support to the tradition that their marriage was an unhappy one.
+
+Dante's friends had hoped that domestic peace might console him for his
+irreparable loss, but he himself had rather sought for consolation in
+the study of philosophy and theology; and it befell him, he tells us,
+as one who in seeking silver strikes on gold--not, haply, without
+guidance from on high;--for he began to see many things as in a dream,
+and deemed that Dame Philosophy must needs be supreme![7]
+
+But neither domestic nor literary cares and duties absorbed his
+energies. In late years he had begun to take an active part in the
+politics of his city, and was now fast rising to his true position as
+the foremost man of Florence and of Italy.
+
+Thus, we see new interests and new powers rising in his life, but for a
+time the unity of that life was gone. While Beatrice lived Dante's
+whole being was centred in her, and she was to him the visible token of
+God's presence upon earth, the living proof of the reality and the
+beauty of things Divine, born to fill the world with faith and
+gentleness. But when she was gone, when other passions and pursuits
+disputed with her memory the foremost place in Dante's heart, it was as
+though he had lost the secret and the meaning of life, as though he had
+lost the guidance of Heaven, and was whirled helplessly in the vortex
+of moral, social, and political disorder which swept over his country.
+For Italian politics at this period form a veritable chaos of shifting
+combinations and entanglements, of plots and counterplots, of intrigue
+and treachery and vacillation, though lightened ever and again by
+gleams of noblest patriotism and devotion.
+
+Yet Dante's soul was far too strong to be permanently overwhelmed.
+Gradually his philosophical reflections began to take definite shape.
+He felt the wants of his own life and of his country's life. He pierced
+down to the fundamental conditions of political and social welfare; and
+when human philosophy had begun to restore unity and concentration to
+his powers, then the sweet image of the pure maiden who had first waked
+his soul to love returned glorified and transfigured to guide him into
+the very presence of God. She was the symbol of Divine philosophy. She,
+and she only, could restore his shattered life to unity and strength,
+and the love she never gave him as a woman, she could give him as the
+protecting guardian of his life, as the vehicle of God's highest
+revelation.[8]
+
+       *       *       *       *       *
+
+With his life thus strengthened and enriched, with a firm heart and a
+steady purpose, Dante Alighieri stood in the year 1300 at the helm of
+the State of Florence. And here accordingly it becomes necessary for us
+to dwell for a moment on some of the chief political forces with which
+he had to deal.
+
+The two great factions of the Guelfs and Ghibellines were tearing the
+very heart of Italy; and without going into any detail, we must try to
+point out the central ideas of each party. The Ghibellines, then,
+appear to have represented an aristocratic principle of order,
+constantly in danger of becoming oppressive, while the Guelfs
+represented a democratic principle of progress, ever verging upon
+chaotic and unbridled licence. The Ghibellines longed for a national
+unity, resting on centralisation; the Guelfs aimed at a local
+independence which tended to national disintegration. The Ghibellines,
+regarding the German Empire as the heir and representative of the
+Empire of Rome, and as the symbol of Italian unity, espoused the
+Emperor's cause against the Pope, declared the temporal power
+independent of the spiritual, and limited the sphere of the priests
+entirely to the latter. The Guelfs found in the political action of the
+Pope a counterpoise to the influence of the Emperor; the petty and
+intriguing spirit of the politics of the Vatican made its ruler the
+natural ally of the disintegrating Guelfs rather than the centralising
+Ghibellines, and accordingly the Guelfs ardently espoused the cause of
+the Pope's temporal power, and often sought in the royal house of
+France a further support against Germany.
+
+These broad lines, however, were constantly blurred and crossed by
+personal intrigue or ambition, by family jealousies, feuds, and
+rivalries, by unnatural alliances or by corruption and treachery.
+
+Now Dante was by family tradition a Guelf. Florence too was nominally
+the head quarters of Guelfism, and Dante had fought bravely in her
+battles against the Ghibellines. But the more he reflected upon the
+sources of the evils by which Italy was torn, the more profoundly he
+came to distrust the unprincipled meddling of the greedy princes of the
+house of France in Italian politics, and the more jealously did he
+watch the temporal power of the Pope. Perhaps the political opinions he
+afterwards held were not as yet fully consolidated, but his votes and
+proposals--which we read with a strange interest in the city archives
+of Florence nearly six hundred years after the ink has dried--show that
+in 1300 he was at any rate on the highway to the conclusions he
+ultimately reached. And we may therefore take this occasion of stating
+what they were.
+
+It appeared to Dante that Italy was sunk in moral, social, and
+political chaos, for want of a firm hand to repress the turbulent
+factions that rent her bosom; and that no hand except an Emperor's
+could be firm enough. The Empire of Rome was to him the most imposing
+and glorious spectacle offered by human history. God had guided Rome by
+miracles and signs to the dominion of the world that the world might be
+at peace.
+
+And parallel with this temporal Empire founded by Julius Caesar, was the
+spiritual Empire of the Church, founded by Jesus Christ. Both alike
+were established by God for the guidance of mankind: to rebel against
+either was to rebel against God. Brutus and Cassius, who slew Julius
+Caesar, the embodiment of the Empire, are placed by Dante in the same
+depth of Hell as Judas Iscariot, who betrayed Jesus Christ, the
+incarnation of the Church.[9] These three had done what in them lay to
+reduce the world to civil and religious chaos, for they had compassed
+the death of the ideal representatives of civil and religious order.
+But both powers alike laid a mighty trust upon the human agents who
+administered them; and as the Empire and the Church were the sublimest
+and the holiest of ideal institutions, so a tyrannical Emperor and a
+corrupt or recreant Pope were amongst the foulest of sinners, to be
+rebuked and resisted with every power of body and soul.
+
+Dante could no more conceive of the spiritual life without the
+authoritative guidance of the all-present, all-pervading Church, than
+he could conceive of a well-ordered polity without the all-penetrating
+force of law. But it appeared to him as monstrous for the Pope to seek
+political influence and to use his spiritual powers for political ends
+as he would have judged it for the Emperor to exercise spiritual
+tyranny over the faith of Christians.[10]
+
+There can have been little in the political life of Florence at this
+time to attract one who held such views. But Dante of all men hated and
+despised weak shrinking from responsibility. If there is one feature in
+his stern character more awful than any other, it is his unutterable,
+withering contempt for those who lived without praise or blame, those
+wretches who never were alive. He saw them afterwards in the outer
+circle of Hell, mingled with that caitiff herd of angels who were not
+for God and yet were not for the rebels, but were only for themselves.
+
+    Heaven drove them forth, Heaven's beauty not to stain,
+    Nor would the deep Hell deign to have them there
+    For any glory that the damned might gain!
+
+No fame of them survives upon the earth, Pity and Justice hold them in
+disdain, their cries of passion and of woe are ever whirled through the
+starless air, and their forgotten lot appears to them so base that they
+envy the very torments of the damned. 'Let us not speak of them,' says
+Virgil to Dante, 'but gaze and pass them by.'[11]
+
+So Dante shrank not from his task when called to public office, but
+laid his strong hand upon the helm of Florence. During a part of this
+year 1300, he filled the supreme magistracy, and at that very time the
+old disputes of Guelf and Ghibelline broke out in the city afresh under
+a thin disguise. We have seen that Dante's sympathies were now almost
+completely Ghibelline, but as the first Prior of Florence his duty was
+firmly to suppress all factious attempts to disturb the city's peace
+and introduce intestine discord. It was not by party broils that Italy
+would be restored to peace and harmony. He behaved with a more than
+Roman fortitude, for it is easier for a father to chastise a rebellious
+son than for a true friend to override the claims of friendship.
+Dante's dearest friend, Guido Cavalcanti, bound to him by every tie of
+sympathy and fellowship which could unite two men in common purposes
+and common hopes, was one of the leaders of the party with which Dante
+himself sympathised; and yet, for the good of his country and in
+obedience to his magisterial duty, he tore this friend from his side
+though not from his heart, and pronounced on him the sentence of
+banishment, the weight of which he must even then have known so well.
+It speaks to the eternal honour of Guido, as well as Dante, that this
+deed appears not to have thrown so much as a shadow upon the friendship
+of the two men.[12]
+
+Had Dante's successors in office dealt with firmness and integrity
+equal to his own, all might have been well; but a vacillating and
+equivocal policy soon opened the door to suspicions and recriminations,
+Florence ceased to steer her own course and permitted foreign
+interference with her affairs, while the Pope, with intentions that may
+have been good but with a policy which proved utterly disastrous,
+furthered the intervention of the French Prince Charles of Valois. It
+was a critical moment. An embassy to the Papal Court was essential, and
+a firm hand must meanwhile hold the reins at Florence. 'If I go, who
+shall stay? If I stay, who shall go?' Dante is reported to have said;
+and though the saying is probably apocryphal, yet it points out happily
+enough the true position of affairs. Dante was now no longer the chief
+magistrate of his city, but he was in fact, though not in name, the one
+man of Florence, the one man of Italy.
+
+Finally he resolved to go to Rome. But the blindness or corruption of
+the Papal Court was invincible; and while Dante was still toiling at
+his hopeless task, Charles of Valois entered Florence with his troops,
+soon to realise the worst suspicions of those who had opposed his
+intervention. Nominally a restorer of tranquillity, he stirred up all
+the worst and most lawless passions of the Florentines; and while Dante
+was serving his country at Rome, the unjust and cruel sentence of
+banishment was launched against him, his property was confiscated and
+seized, a few months afterwards he was sentenced to be burned to death
+should he ever fall into the power of the Florentines, and, not content
+with all this, his enemies heaped upon his name the foulest calumnies
+of embezzlement and malversation--calumnies which I suppose no creature
+from that hour to this has ever for one moment believed, but which
+could not fail to make the envenomed wound strike deeper into Dante's
+heart.
+
+So now he must leave 'all things most dear--this the first arrow shot
+from exile's bow,' in poverty and dependence his proud spirit must
+learn 'how salt a taste cleaves to a patron's bread, how hard a path to
+tread a patron's stair;' and, above all, his unsullied purity and
+patriotism must find itself forced into constant association or even
+alliance with selfish and personal ambition, or with tyranny,
+meanness, and duplicity.[13] How that great soul bore itself amid all
+these miseries, what it learnt from them, where it sought and found a
+refuge from them, we shall see when we take up again the broken thread
+which we must drop to-day.
+
+
+FOOTNOTES:
+
+[Footnote 1: _Vita Nuova_, xliii.]
+
+[Footnote 2: _Vita Nuova_, i, ii.]
+
+[Footnote 3: _Vita Nuova_, iii.; _Inferno_, xv. 55 sqq. &c.]
+
+[Footnote 4: _Vita Nuova_, iii.]
+
+[Footnote 5: _Vita Nuova_, iv-xxx.]
+
+[Footnote 6: _Convito_, iv. 23.]
+
+[Footnote 7: _Convito_, ii. 13.]
+
+[Footnote 8: _Vita Nuova_, xxxi-xliii.; _Convito_, ii.; _Purgatorio_,
+xxx, xxxi.]
+
+[Footnote 9: _Inferno_, xxxiv. 55-67.]
+
+[Footnote 10: See the _De Monarchia_. Compare _Purgatorio_, xvi.
+103-112; _Paradiso_, xviii. 124-136.]
+
+[Footnote 11: _Inferno_, iii. 22-51.]
+
+[Footnote 12: Compare _Inferno_, x. 52-72, 109-111.]
+
+[Footnote 13: _Paradiso_, xvii. 55-63.]
+
+
+
+
+II
+
+DANTE'S LIFE AND PRINCIPLES
+
+_II. IN EXILE_
+
+
+A rapid sketch of the most decisive events and the leading motives of
+the life of Dante Alighieri has brought us to the eventful period of
+his Priorate in 1300 and his banishment in 1302. His unsuccessful
+efforts to carry out a firm and statesmanlike policy in Florence, with
+the wreck of his own fortunes consequent upon their failure, may be
+regarded as the occasion if not the cause of his conceiving his
+greatest work, the 'Divine Comedy.'
+
+Nineteen years elapsed between Dante's exile and his death, and both
+tradition and internal evidence indicate that the main strength of his
+life was poured during the whole of this period into the channels
+already laid down in its opening years. 'Forging on the anvil of
+incessant toil' the several parts of his great work, and 'welding them
+into imperishable symmetry,'[14] the might of his intellect and the
+passion of his heart grappled for nineteen years with the task of
+giving worthy utterance to his vast idea. Line by line, canto by canto,
+the victory was won. Dante had shown that his mother tongue could rise
+to loftier themes than Greek or Roman had ever touched, and had wrought
+out the fitting garb of a poem that stands alone in the literature of
+the world in the scope and sublimity of its conception.
+
+Barely to realise what it was that Dante attempted, wakes feelings in
+our hearts akin to awe. When we think of that work and of the man who,
+knowing what it was, deliberately set himself to do it, an appalling
+sense of the presence of overwhelming grandeur falls upon us, as when a
+great wall of rocky precipice rises sheer at our side, a thousand and
+yet a thousand feet towards heaven. Our heads swim as we gaze up to the
+sky-line of such a precipice, the ground seems to drop from beneath our
+feet, all our past and present becomes a dream, and our very hold of
+life seems to slip away from us. But the next moment a great exultation
+comes rushing upon our hearts, with quickened pulses and drawing
+deeper breath we rise to the sublimity of the scene around us, and our
+whole being is expanded and exalted by it. After holding converse with
+such grandeur our lives can never be so small again. And so it is when
+the meaning of Dante's Comedy breaks upon us. When we follow the poet
+step by step as he beats or pours his thought into language, when we
+note the firmness of his pace, the mastery with which he handles and
+commands his infinite theme, the unflinching directness, the godlike
+self-reliance, with which he lays bare the hearts of his fellow-men and
+makes himself the mouthpiece of the Eternal, when we gaze upon his
+finished work and the despair of Hell, the yearning of Purgatory, the
+peace of Heaven, sweep over our hearts, we are ready to whisper in
+awe-struck exultation:
+
+    What immortal hand or eye
+    Dared form thy fearful symmetry?
+
+The allegory with which the 'Divine Comedy' opens, shadows forth the
+meaning and the purpose of the whole poem. In interpreting it we may
+at first give prominence to its political signification, not because
+its main intention is certainly or probably political, but because we
+shall thus be enabled to pass in due order from the outer to the inner
+circle of the poet's beliefs and purposes.
+
+In the year 1300, then, Dante Alighieri found that he had wandered, he
+knew not how, from the true path of life, and was plunged into the
+deadly forest of political, social, and moral disorder which darkened
+with terrific shade the fair soil of Italy. Deep horror settled upon
+the recesses of his heart during the awful night, but at last he saw
+the fair light of the morning sun brightening the shoulders of a hill
+that stretched above: this was the peaceful land of moral and political
+order, which seemed to offer an escape from the bitterness of that
+ghastly forest. Gathering heart at this sweet sight, Dante set himself
+manfully to work, with the nether foot ever planted firmly on the soil,
+to scale that glorious height. But full soon his toilsome path would be
+disputed with him. The dire powers of Guelfism would not allow the
+restoration of peace and order to Italy. His first foe was the
+incurable factiousness and lightness of his own fair Florence. Like a
+lithe and speckled panther it glided before him to oppose his upward
+progress, and forced him once and again to turn back upon his steps
+towards that dread forest he had left. But though forced back, Dante
+could not lose hope. Might he not tame this wild but beauteous beast?
+Yes; he might have coped with the fickle, lustful, factious, envious
+but lovely Florence, had not haughty France rushed on him like a lion,
+at whose voice the air must tremble, had not lean and hungry Rome,
+laden with insatiable greed, skulked wolf-like in his path. It was the
+wolf above all that forced him back into the sunless depths of that
+forest of dismay, and dashed to the ground his hopes of gaining the
+fair height. When could he, when could his Italy, rise from this chaos
+and be at peace? Not till some great political Messiah should draw his
+sword. With no base love of pelf or thirst for land, but fed with
+wisdom, love, and virtue, he should exalt the humbled Italy and drive
+away her foes. Like a noble hound, he should chase the insatiable wolf
+of Roman greed from city to city back to the Hell from which it
+came.[15]
+
+Dante's hope in this political Messiah rose and fell, but never died in
+his heart. Now with the gospel of Messianic peace, now with the
+denunciation of Messianic judgment on his lips, he poured out his lofty
+enthusiasm in those apostolic and prophetic letters, some few of which
+survive amidst the wrecks of time as records of his changing moods and
+his unchanging purposes.
+
+Now one and now another of the Ghibelline leaders may have seemed to
+Dante from time to time to be the hero, the Messiah, for whom he
+waited. But again and yet again his hopes were crushed and blighted,
+and the panther, the lion, and the wolf still cut off the approach to
+that fair land.
+
+More than once the poet's hopes must have hung upon the fortunes of the
+mighty warrior Uguccione, whose prodigies of valour rivalled the fabled
+deeds of the knights of story. To this man Dante was bound by ties of
+closest friendship; to him he dedicated the Inferno, the first cantica
+of his Comedy, and he may possibly have been that hero ''twixt the two
+Feltros born'[16] to whom Dante first looked to slay the wolf of Rome.
+
+Far higher probably, and certainly far better grounded, were the poet's
+hopes when Henry VII. of Germany descended into Italy to bring order
+into her troubled states. To Dante, as we have seen, the Emperor was
+Emperor of Rome and not of Germany. He was Caesar's successor, the
+natural representative of Italian unity, the Divinely appointed
+guardian of civil order. With what passionate yearning Dante looked
+across the Alps for a deliverer, how large a part of the woes of Italy
+he laid at the feet of Imperial neglect, may be gathered from many
+passages in his several works; but nowhere do these thoughts find
+stronger utterance than in the sixth canto of the Purgatory. The poet
+sees the shades of Virgil and the troubadour Sordello join in a loving
+embrace at the bare mention of the name of Mantua, where both of them
+were born. 'O Italy!' he cries, 'thou slave! thou hostelry of woe! Ship
+without helmsman, in the tempest rude! No queen of provinces, but
+house of shame! See how that gentle soul, e'en at the sweet sound of
+his country's name, was prompt to greet his fellow-citizen. Then see
+thy living sons, how one with other ever is at war, and whom the
+self-same wall and moat begird, gnaw at each other's lives. Search,
+wretched one, along thy sea-bound coasts, then inward turn to thine own
+breast, and see if any part of thee rejoice in peace. Of what avail
+Justinian's curb of law, with none to stride the saddle of command,
+except to shame thee more? Alas! ye priests, who should be at your
+prayers, leaving to Caesar the high seat of rule, did ye read well the
+word of God to you, see ye not how the steed grows wild and fell by
+long exemption from the chastening spur, since that ye placed your
+hands upon the rein? O German Albert! who abandonest, wild and untamed,
+the steed thou should'st bestride, may the just sentence from the stars
+above fall on thy race in dire and open guise, that he who follows thee
+may see and fear. For, drawn by lust of conquest otherwhere, thou and
+thy sire, the garden of the empire have ye left a prey to desolation.
+Come, thou insensate one, and see the Montagues and Capulets, Monaldi,
+Philippeschi, for all whom the past has sadness or the future fear.
+Come, come, thou cruel one, and see oppression trampling on thy
+faithful ones, and heal their ills.... Come thou, and see thy Rome, who
+weeps for thee, a lonely widow crying day and night, "My Caesar,
+wherefore hast thou left me thus?" Come, see how love here governs
+every heart! Or if our sorrows move thee not at all, blush for thine
+own fair fame.--Nay, let me say it: O Thou God Most High, Thou Who wast
+crucified for us on earth, are Thy just eyes turned otherwhither now?
+Or in the depth of counsel dost Thou work for some good end, clean cut
+off from our ken? For all Italia's lands are full of tyrants, and every
+hind--so he be factious--grows Marcellus-high.'[17]
+
+Such was the cry for deliverance which went up from Dante's heart to
+the Emperor. Picture his hopes when Henry VII. came with the blessing
+of the Pope, who had had more than his fill of French influence at
+last, to bring peace and order into Italy; picture the exultation with
+which he learnt alike from Henry's deeds and words that he was just,
+impartial, generous, and came not as a tyrant, not as a party leader,
+but as a firm and upright ruler to restore prosperity and peace;
+picture his indignation when the incurable factiousness and jealousies
+of the Italian cities, and of Florence most of all, thwarted the
+Emperor at every step; picture the bitterness of his grief when, after
+struggling nigh three years in vain, Henry fell sick, and died at
+Buonconvento. In Paradise the poet saw the place assigned to 'Henry's
+lofty soul--his who should come to make the crooked straight, ere Italy
+was ready for his hand;' but the dream of his throne on earth was
+broken for ever.[18]
+
+Henry died in 1313. This blow was followed by the fall of Uguccione
+when he seemed almost on the point of realising some of Dante's dearest
+hopes. The poet and the warrior alike found refuge at Verona now, with
+Can Grande della Scala, to whom Dante dedicated the third cantica of
+his Comedy, the Paradise.[19] Did the exile's hopes revive again at
+the Court of Verona? Did the gallant and generous young soldier whose
+gracious and delicate hospitality called out such warm affection from
+his heart,[20] seem worthy to accomplish that great mission in which
+Uguccione and Henry had failed? It is more than probable that such
+thoughts found room in Dante's sorrow-laden heart. And yet we cannot
+but suppose that while his certainty remained unshaken that in God's
+good time the deliverer would come, yet the hopes which centred in any
+single man must have had less and less assurance in them as
+disappointment after disappointment came.
+
+Be this as it may, near the close of his life Dante was still able to
+make Beatrice testify of him in the courts of Heaven: 'Church militant
+has not a son stronger in hope than he. God knows it.'[21] Simple as
+these words are, yet by him who has scanned Dante's features and
+pondered on his life, they may well be numbered amongst those moving
+and strengthening human utterances that ring like a trumpet through the
+ages and call the soul to arms.
+
+But were Dante's hopes all concentrated on the advent of that political
+Messiah who was not to come in truth till our own day? Had it been so,
+the 'Divine Comedy' would never have been born.
+
+When Dante realised his own helplessness in the struggle against the
+panther of Florence, the lion of France, and the wolf of Rome, when he
+saw that to reorganise his country and remodel the social and political
+conditions of life would need the strong hand and the keen sword of
+some great hero raised by God, he also saw that for himself another way
+was opened, an escape from that wild forest into which his feet had
+strayed, an escape which it must be the task of his life to point out
+to others, without which the very work of the hero for whom he looked
+would be in vain.
+
+The deadly forest represented moral as well as political confusion; the
+sunlit mountain, moral as well as political order; and the beasts that
+cut off the ascent, moral as well as political foes to human progress.
+
+From this moral chaos there was deliverance for every faithful soul,
+despite the lion and the wolf; and though the noble hound came not to
+chase the foul beasts back to Hell, yet was Dante led from the forest
+gloom even to the light of Heaven.
+
+And how was he delivered? By Divine grace he saw Hell and Purgatory and
+Heaven--so was he delivered. He saw the souls of men stripped of every
+disguise, he saw their secret deeds of good or ill laid bare. He saw
+Popes and Emperors, ancient heroes and modern sages, the rich, the
+valiant, the noble, the fair of face, the sweet of voice; and no longer
+dazzled, no longer overawed, he saw them as they were, he saw their
+deeds, he saw the fruits of them. So was he delivered from the
+entanglements and perplexities, from the delusions and seductions of
+the world, so were his feet set upon the rock, so did he learn to sift
+the true from the false, to rise above all things base, and set his
+soul at peace, even when sorrow was gnawing his heart to death. He,
+while yet clothed in flesh and blood, went amongst the souls of the
+departed, 'heard the despairing shrieks of spirits long immersed in
+woe, who wept each one the second death; saw suffering souls contented
+in the flames, for each one looked to reach the realms of bliss, though
+long should be the time,' and lastly he saw the souls in Heaven, and
+gazed upon the very light of God.[22]
+
+All this he saw and heard under the guidance of human and Divine
+philosophy, symbolised, or rather concentrated and personified, in
+Virgil and Beatrice.
+
+Of Virgil, and the unique position assigned to him in the Middle Ages,
+it is impossible here to speak at length. Almost from the first
+publication of the AEneid, and down to the time when the revival of
+learning reopened the treasures of Greek literature to Western Europe,
+Virgil reigned in the Latin countries supreme and unchallenged over the
+domain of poetry and scholarship. Within two generations of his own
+lifetime, altars were raised to him, by enthusiastic disciples, as to a
+deity. When Christianity spread, his supposed prediction of Christ in
+one of the Eclogues endowed him with the character of a prophet; and a
+magic efficacy had already been attributed to verses taken from his
+works. Throughout the Middle Ages, his fame still grew as the supreme
+arbiter in every field of literature, and as the repositary of more
+than human knowledge, while fantastic legends clustered round his name
+as the great magician and necromancer. To Dante there must also have
+been a special fascination in the Imperial scope and sympathies of the
+AEneid; for Virgil is pre-eminently the poet of the Roman Empire. But we
+must not pause to follow out this subject here. Suffice it that Dante
+felt for Virgil a reverence so deep, an admiration so boundless, and an
+affection so glowing, that he became to him the very type of human
+wisdom and excellence, the first agent of his rescue from the maze of
+passion and error in which his life had been entangled.
+
+But Beatrice, the loved and lost, was the symbol and the channel of a
+higher wisdom, a diviner grace. She it was round whose sweet memory
+gathered the noblest purposes and truest wisdom of the poet's life. If
+ever he suffered the intensity of his devotion to truth and virtue for
+a moment to relax; if ever, as he passed amongst luxurious courts, some
+siren voice soothed his cares with a moment of unworthy forgetfulness
+and ignoble ease; if ever he suffered meaner cares or projects to draw
+him aside so much as in thought from his great mission, then it was
+Beatrice's glorified image that recalled him in tears of bitter shame
+and penitence to the path of pain, of effort, and of glory. It was her
+love that had rescued him from the fatal path; Virgil was but her agent
+and emissary, and his mission was complete when he had led him to her.
+Human wisdom and virtue could guide him through Hell and Purgatory,
+could show him the misery of sin, and the need of purifying pain and
+fire, but it was only in Beatrice's presence that he could _feel_ the
+utter hatefulness and shame of an unworthy life, could _feel_ the
+blessedness of Heaven.[23]
+
+Under the guidance of Virgil and Beatrice, then, Dante had seen Hell
+and Purgatory and Heaven. This had snatched his soul from death, had
+taught him, even in the midst of the moral and political chaos of his
+age, how to live and after what to strive. Could he show others what
+he himself had seen? Could he save them, as he was saved, from the
+meanness, from the blindness, from the delusions of the life they led?
+He could. Though it should be the toil of long and painful years, yet
+in the passionate conviction of his own experience he felt the power in
+him of making real to others what was so intensely real to him. But
+what did this involve? The truth if wholesome was yet hard. He had dear
+and honoured friends whose lives had been stained by unrepented sin,
+and whose souls he had seen in Hell. Was he to cry aloud to all the
+world that these loved ones were amongst the damned, instead of
+tenderly hiding their infirmities? Again, he was poor and an exile, he
+had lost 'all things most dear,' and was dependent for his very bread
+on the grace and favour of the great; yet if he told the world what he
+had seen, a storm of resentful hatred would crash upon him from every
+region of Italy. How would proud dames and lords brook to be told of
+their dead associates in sin and shame cursing their names from the
+very depths of Hell, and looking for their speedy advent there? How
+would pope and cardinal and monarch brook to be told by the powerless
+exile what he had heard from souls in Heaven, in Purgatory, and in
+Hell? E'en let them brook it as they might. His cry should be like the
+tempest that sweeps down upon the loftiest forest trees, but leaves the
+brushwood undisturbed. The mightiest in the land should hear his voice,
+and henceforth none should think that loftiness of place or birth could
+shield the criminal. He would tell in utter truth what he had seen. He
+knew that power was in him to brand the infamous with infamy that none
+could wash away, to rescue the fair memory of those the world had
+wrongfully condemned, to say what none but he dare say, in verse which
+none but he could forge, and bring all those who hearkened through Hell
+and Purgatory into Heaven.[24]
+
+To deliver this message was the work of his life, the end to which all
+his studies were directed, from the time of his exile to that of his
+death. Hence his studious labours came to have a representative and
+vicarious character in his mind. He was proudly conscious that he
+lived and worked for mankind, and that his toil deserved the grateful
+recognition of his city and his country.
+
+This trait of his character comes out with striking force in the noble
+letter which he wrote in answer to the proffered permission to return
+to his beloved Florence, but upon disgraceful conditions which he could
+not accept. The offer came when his fortunes were at their lowest ebb.
+Henry VII. was dead, Uguccione had lost his power. All hope of the
+exile's returning in triumph seemed at an end. Then came the offer of a
+pardon and recall, for which he had longed with all the passionate
+intensity of his nature. And yet it was but a mockery. It was a custom
+in Florence upon the Day of St. John the Baptist, the patron saint of
+the city, to release certain malefactors from the public gaols on their
+performing set acts of contrition; and a decree was passed that all the
+political exiles might return to their home on St. John's Day in 1317
+if they would pay a sum of money, walk in procession, with tapers in
+their hands and with other tokens of guilt and penitence, to the
+church, and there offer themselves as ransomed malefactors to the
+saint.
+
+Many of the exiles accepted the terms, but Dante's proud and indignant
+refusal shows us a spirit unbroken by disappointment and disaster,
+scorning to purchase ease by degradation. 'Is this,' he cries to the
+friend who communicated to him the conditions upon which he might
+return, 'is this the glorious recall by which Dante Alighieri is
+summoned back to his country after well-nigh fifteen years of exile? Is
+this what innocence well known to all, is this what the heavy toil of
+unbroken study, has deserved? Far be it from him who walks as her
+familiar with Philosophy to stoop to the base grovelling of a soul of
+clay and suffer himself thus to be treated like a vile malefactor. Far
+be it from the preacher of justice, when suffering outrage, to pay the
+acknowledgment of fair desert to the outrageous.
+
+'Not by this path can I return. But let a way be found that hurts not
+Dante's honour and fair fame, and I will tread it with no tardy feet.
+If no such road leads back to Florence, then will I never enter
+Florence more. What! can I not gaze, wherever I may be, upon the
+spectacle of sun and stars? Can I not ponder on the sweetest truths in
+any region under heaven, but I must first make myself base and vile
+before the people of the State of Florence?'[25]
+
+Such was the answer of Dante Alighieri to that cruel insult which makes
+our cheeks glow even now with indignation. Such was the temper of the
+man who had seen Hell and Purgatory and Heaven, and who shrank not from
+the utterance of all that he had seen.
+
+       *       *       *       *       *
+
+Dante must now have been engaged in writing the Paradise. Amongst the
+sufferings and burdens which were fast drawing him to the grave,
+amongst the agonies of indignation, of regret, of hope, of
+disappointment which still wracked his soul, the deep peace of God had
+come upon him; beneath a storm of passion at which our hearts quail was
+a calm of trustful self-surrender which no earthly power could disturb;
+for the harmonies of Paradise swelled in the poet's heart and sought
+for utterance in these last years.
+
+But though his spirit was thus rapt to Heaven, he never lost his hold
+upon the earth; never disdained to toil as best he might for the
+immediate instruction or well-being of his kind. More than once his
+eloquence and skill enabled him to render signal service to his
+protectors in conducting delicate negotiations, and at the same time to
+further that cause of Italian unity which was ever near his heart. Nor
+did the progress of his great work, the Comedy, withhold him from a
+varied subsidiary activity as a poet, a moralist, and a student of
+language and science.
+
+One characteristic example of this by-work must suffice. In the last
+year but one of his life when he must have been meditating the last,
+perhaps the sublimest, cantos of the Paradise, when he might well have
+been excused if he had ceased to concern himself with any of the lower
+grades of truth, he heard a certain question of physics discussed and
+re-discussed, and never decided because of the specious but sophistical
+arguments which were allowed to veil it in doubt. The question was
+whether some portions of the sea are or are not at a higher level than
+some portions of the land; and Dante, 'nursed from his boyhood in the
+love of truth,' as he says, 'could not endure to leave the question
+unresolved, and determined to demonstrate the facts and to refute the
+arguments alleged against them.'[26] Accordingly he defended his thesis
+on a Sunday in one of the churches of Verona under the presidency of
+Can Grande.
+
+This essay is a model of close reasoning and sound scientific method,
+and the average nineteenth century reader, with the average contempt
+for fourteenth century science, would find much to reflect upon should
+he read and understand it. The vague and inconclusive style of
+reasoning against which Dante contends is still rampant everywhere,
+though its forms have changed; while the firm grasp of scientific
+method and the incisive reasoning of Dante himself are still the
+exception in spite of all our modern training in research.
+
+Thus Dante was engaged to the last upon the whole field of human
+thought. Such was the scope and power of his mind that he could embrace
+at the same moment the very opposite poles of speculation; and such
+was his passion for truth that, when gazing upon the very presence of
+God, he could not bear to leave men in error when he could set them
+right, though it were but as to the level of the land and sea.
+
+       *       *       *       *       *
+
+But we must hasten to a close. Let us turn from the consideration of
+Dante's work to a picture of personal character drawn by his own hand.
+It is his ideal of a life inspired by that 'gentleness' for which,
+since the days of chivalry, we have had no precise equivalent in
+language, and which is itself too rare in every age.
+
+    The soul that this celestial grace adorns
+      In secret holds it not;
+      For from the first, when she the body weds,
+      She shows it, until death:
+      Gentle, obedient, and alive to shame,
+      Is seen in her first age,
+      Adding a comely beauty to the frame,
+      With all accomplishments:
+      In youth is temperate and resolute,
+      Replete with love and praise of courtesy,
+      Placing in loyalty her sole delight:
+      And in declining age
+      Is prudent, just, and for her bounty known;
+      And joys within herself
+      To listen and discourse for others' good:
+      Then in the fourth remaining part of life
+      To God is re-espoused,
+      Contemplating the end that draws a-nigh,
+      And blesseth all the seasons that are past:
+      --Reflect now, how the many are deceived![27]
+
+Cherishing such an ideal, Dante wandered from court to court of Italy,
+finding here and there a heart of gold, but for the most part moving
+amongst those to whom grace and purity and justice were but names. Can
+we wonder that sometimes the lonely exile felt as if his own
+sorrow-laden heart were the sole refuge upon earth of love and
+temperance?
+
+Three noble dames, he tells us--noble in themselves but in nought else,
+for their garments were tattered, their feet unshod, their hair
+dishevelled, and their faces stained with tears--came and flung
+themselves at the portal of his heart, for they knew that Love was
+there. Moved with deep pity, Love came forth to ask them of their
+state. They were Rectitude, Temperance, and Generosity, once honoured
+by the world, now driven out in want and shame, and they came there for
+refuge in their woe. Then Love, with moistened eyes, bade them lift up
+their heads. If they were driven begging through the world, it was for
+men to weep and wail whose lives had fallen in such evil times; but not
+for them, hewn from the eternal rock--it was not for them to grieve. A
+race of men would surely rise at last whose hearts would turn to them
+again. And hearing thus how exiles great as these were grieved and
+comforted, the lonely poet thought his banishment his glory.
+
+Yet when he looked for his sweet home and found it not, the agony that
+could not break his spirit fast destroyed his flesh, and he knew that
+death had laid the key upon his bosom.[28]
+
+When this sublime and touching poem was composed we have no means of
+knowing, but it can hardly have been long before the end. When that end
+came, Dante can barely have completed his great life work, he can
+barely have written the last lines of the 'Divine Comedy.' He had been
+on an unsuccessful mission in the service of his last protector, Guido
+da Polenta of Ravenna. On his return he was seized with a fatal
+illness, and died at Ravenna in 1321, at the age of fifty-six.
+
+Who can grudge him his rest? As we read the four tracts of the
+'Convito,' which were to have been the first of fourteen, but must now
+remain alone, as we are brought to a sudden stand at the abrupt
+termination of his unfinished work on the dialects and poetry of
+Italy,[29] as we ponder on the unexhausted treasures that still lay in
+the soul of him who could write as Dante wrote even to the end, we can
+hardly suppress a sigh to think that our loss purchased his rest so
+soon. But his great work was done; he had told his vision, that men
+might go with him to Hell, to Purgatory, and to Heaven, and be saved
+from all things base. Then his weary head was laid down in peace, and
+his exile was at an end. 'That fair fold in which, a lamb, he lay'[30]
+was never opened to him again, but he went home, and the blessings of
+the pure in heart and strong in love go with him.
+
+       *       *       *       *       *
+
+The thoughts with which we turn from the contemplation of Dante's life
+and work find utterance in the lines of Michael Angelo. 'The works of
+Dante were unrecognised, and his high purpose, by the ungrateful folk
+whose blessing rests on all--except the just. Yet would his fate were
+mine! For his drear exile, with his virtue linked, glad would I change
+the fairest state on earth.'
+
+
+FOOTNOTES:
+
+[Footnote 14: See Symonds, p. 186.]
+
+[Footnote 15: See _Inferno_, i. 1-111.]
+
+[Footnote 16: _Inferno_, i. 105.]
+
+[Footnote 17: _Purgatorio_, vi. 76-126.]
+
+[Footnote 18: See especially Epistolae v-vii.; _Paradiso_, xxx.
+133-138.]
+
+[Footnote 19: See Epistola xi.]
+
+[Footnote 20: _Paradiso_, xvii. 70-93.]
+
+[Footnote 21: _Ibid._ xxv. 52-54.]
+
+[Footnote 22: _Inferno_, i. 112-129.]
+
+[Footnote 23: _Inferno_, i. 121-123, ii. 52-142; _Purgatorio_, xxx.
+sqq.; _Paradiso_, passim.]
+
+[Footnote 24: _Paradiso_, xvii. 103-142.]
+
+[Footnote 25: Epistola x.]
+
+[Footnote 26: _Quaestio de Aqua et Terra_, Sec. 1.]
+
+[Footnote 27: Canzone xvi., 'Le dolci rime,' st. vii. See _Convito_,
+trat. iv. Translation slightly altered from Lyell.]
+
+[Footnote 28: Canzone xix., 'Tre donne.']
+
+[Footnote 29: _De Vulgari Eloquio._]
+
+[Footnote 30: _Paradiso_, xxv. 5.]
+
+
+
+
+III
+
+HELL
+
+
+The first cantica of the 'Divine Comedy'--the Inferno or Hell--is the
+best known of all Dante's works in prose or verse, in Latin or Italian;
+and though students of Dante may sometimes regret this fact, yet no one
+can be at a moment's loss to understand it.
+
+For the attributes of heart and brain requisite for some kind of
+appreciation of the Inferno are by many degrees more common than those
+to which the other works of Dante appeal. It is easy to imagine a
+reader who has not even begun truly to understand either the poet or
+the poem nevertheless rendering a sincere tribute of admiration to the
+colossal force of the Inferno, and feeling the weird spell of
+fascination and horror ever tightening its grasp on him as he descends
+from circle to circle of that starless realm.
+
+There is no mystery in the inveterate tendency to regard Dante as
+pre-eminently the poet of Hell. Nor is it a new phenomenon. Tradition
+tells of the women who shrank aside as Dante passed them by, and said
+one to another, shuddering as they spoke, 'See how his black hair
+crisped in the fire as he passed through Hell!' But no tradition tells
+of awe-struck passers-by who noted that the stains had been wiped from
+that clear brow in Purgatory, that the gleam of that pure and dauntless
+eye had been kindled in Heaven.
+
+The machinery of the Inferno, then, is moderately familiar to almost
+all. Dante, lost in the darksome forest, scared from the sunlit heights
+by the wild beasts that guard the mountain side, meets the shade of
+Virgil, sent to rescue him by Beatrice, and suffered by Omnipotence to
+leave for a time his abode in the limbo of the unbaptised, on this
+mission of redeeming love. Virgil guides Dante through the open gate of
+Hell, down through circle after circle of contracting span and
+increasing misery and sin, down to the central depth where the
+arch-rebel Satan champs in his triple jaws the arch-traitors against
+Church and State, Judas Iscariot, and Brutus and Cassius.[31]
+
+Through all these circles Dante passes under Virgil's guidance. He sees
+and minutely describes the varying tortures apportioned to the varying
+guilt of the damned, and converses with the souls of many illustrious
+dead in torment.
+
+And is this the poem that has enthralled and still enthrals so many a
+heart? Are we to look for the strengthening, purifying, and uplifting
+of our lives, are we to look for the very soul of poetry in an almost
+unbroken series of descriptions, unequalled in their terrible
+vividness, of ghastly tortures, interspersed with tales of shame, of
+guilt, of misery? Even so. And we shall not look in vain.
+
+But let us listen first to Dante's own account of the subject-matter of
+his poem. Five words of his are better than a volume of the
+commentators. 'The subject of the whole work, literally accepted,' he
+says, 'is the state of souls after death.... But if the work is taken
+allegorically the subject is MAN, as rendering himself liable, by good
+or ill desert in the exercise of his free will, to rewarding or
+punishing justice.'[32]
+
+According to Dante, then, the real subject of the Inferno is 'Man, as
+rendered liable, by ill desert in the exercise of his free will, to
+punishing justice.' Surely a subject fraught with unutterable sadness,
+compassed by impenetrable mystery, but one which in the hands of a
+prophet may well be made to yield the bread of life; a subject fitly
+introduced by those few pregnant words, 'The day was going, and the
+dusky air gave respite to the animals that are on earth from all their
+toils; and I alone girt me in solitude to bear the strain both of the
+journey and the piteous sight, which memory that errs not shall
+retrace.'[33]
+
+       *       *       *       *       *
+
+Now if this be the true subject of the poem, it follows that all those
+physical horrors of which it seems almost to consist must be strictly
+subordinate to something else, must be part of the machinery or means
+by which the end of the poet is reached, but in no way the end itself.
+
+If the subject of the poem is a moral one, then the descriptions of
+physical torment and horror must never even for a moment overbalance or
+overwhelm the true 'motive' of the work, must never even for a moment
+so crush or deaden the feelings as to render them incapable of moral
+impressions, must never in a single instance leave a prevailingly
+physical impression upon the mind.
+
+And it is just herein that the transcendent power of the Inferno is
+displayed. Horrors which rise and ever rise in intensity till they
+culminate in some of the ghastliest scenes ever conceived by mortal
+brain are from first to last held under absolute control, are forced to
+support and intensify moral conceptions which in less mighty hands they
+would have numbed and deadened.
+
+Oh, the pity of this sin, the unutterable, indelible pity of it! Its
+wail can never be stilled in our hearts while thought and memory
+remain. The misery of some forms of sin, the foul shame of others, the
+vileness, the hatefulness, the hideous deformity of others yet--this,
+and not horror at the punishment of sin, is what Dante stamps and
+brands upon our hearts as we descend with him towards the central
+depths, stamps and brands upon our hearts till the pity, the loathing,
+the horror can endure no more;--then in the very depth of Hell, at the
+core of the Universe, with one mighty strain that leaves us well-nigh
+spent, we turn upon that central point, and, leaving Hell beneath our
+feet, ascend by the narrow path at the antipodes.
+
+With the horror and the burden of the starless land far off, we lift up
+our eyes again to see the stars, and our souls are ready for the
+purifying sufferings of Purgatory.
+
+       *       *       *       *       *
+
+Sometimes the tortures of the damned are a mere physical translation,
+so to speak, of their crimes. Thus the ruthless disseminators of strife
+and dissension who have torn asunder those who belonged one to another,
+those who had no proper existence apart from one another, are in their
+turn hewn and cleft by the avenging sword; and ever as their bodies
+reunite and their wounds are healed, the fierce blow falls again.
+Amongst them Dante sees the great troubadour Bertram de Born, who
+fostered the rebellion of the sons of our own king Henry II. In that
+he made father and son each other's enemy, his head is severed from his
+trunk, his brain from its own root.[34]
+
+In other cases a transparent metaphor or allegory dictates the form of
+punishment; as when the hypocrites crawl in utter weariness under the
+crushing weight of leaden garments, shaped like monkish cloaks and
+cowls, and all covered with shining gold outside.[35] Or when the
+flatterers and sycophants wallow in filth which fitly symbolises their
+foul life on earth.[36]
+
+It is probable that some special significance and appropriateness might
+be traced in almost all the forms of punishment in Dante's Hell, though
+it is not always obvious. But one thing at least is obvious: the
+uniform congruousness of the impression which the physical and moral
+factors of each description combine to produce. In fact, the Inferno is
+an account of 'man, as deserving ill by the exercise of his free will,'
+in which all the external surroundings are brought into precise accord
+with the central conception. The tortures are only the background; and
+as in the picture of a great artist, whether we can trace any special
+significance and appropriateness in the background or not, we always
+feel that it supports the true subject of the picture and never
+overpowers it, so it is here. Man as misusing his free will. This is
+the real subject of the Inferno. All else is accessory and subordinate.
+
+But if this be so, we should expect to find an endless variety and
+gradation, alike of guilt and punishment, as we pass through the
+circles of Hell. And so we do. At one moment indignation and reproof
+are all swallowed up in pity, and the suffering of the exiled soul only
+serves to quicken an infinite compassion in our hearts, a compassion
+not so much for the punishment of sin as for sin itself with its woeful
+loss and waste of the blessings and the holiness of life. At another
+moment we are brought face to face with a wretch whose tortures only
+serve to throw his vileness into sharper relief; and when we think of
+him and of his deeds, of him and of his victims, we can understand
+those awful words of Virgil's when Dante weeps, 'Art thou too like the
+other fools? The death of pity is true pity here.'[37] Infinite pity
+would indeed embrace the most abandoned, but it is only weak and
+misdirected pity that wakes or slumbers at the dictate of mere
+suffering.
+
+And as there is infinite variety of guilt and woe, so is there infinite
+variety of character in Dante's Hell. Though the poet condemns with
+sternest impartiality all who have died in unrepented sin, yet he
+recognises and honours the moral distinctions amongst them. What a
+difference, for instance, between the wild blaspheming robber Vanni
+Fucci,[38] and the defiant Capaneus,[39] a prototype of Milton's Satan,
+the one incited by the bestial rage of reckless self-abandonment, the
+other by the proud self-reliance of a spirit that eternity cannot
+break--alike in their defiance of the Almighty, but how widely severed
+in the sources whence it springs.
+
+Look again where Jason strides. The wrongs he did Medea and Hypsipyle
+have condemned him to the fierce lash under which his base companions
+shriek and fly; but he, still kingly in his mien, without a tear or cry
+bears his eternal pain.[40]
+
+See Farinata, the great Florentine--in his ever burning tomb he stands
+erect and proud, 'as holding Hell in great disdain;' tortured less by
+the flames than by the thought that the faction he opposed is now
+triumphant in his city; proud, even in Hell, to remember how once he
+stood alone between his country and destruction.[41]
+
+See again where Pietro delle Vigne, in the ghastly forest of suicides,
+longs with a passionate longing that his fidelity at that time when he
+'held both the keys of the great Frederick's heart' should be
+vindicated upon earth from the unjust calumnies that drove him to
+self-slaughter.[42]
+
+And see where statesmen and soldiers of Florence, themselves condemned
+for foul and unrepented sin, still love the city in which they lived,
+still long to hear some good of her. As the flakes of fire fall 'like
+snow upon a windless day' on their defenceless bodies, see with what
+dismay they gaze into one another's eyes when Dante brings ill news to
+them of Florence.[43]
+
+In a word, the souls in Hell are what they were on earth, no better and
+no worse. This is the key-note to the comprehension of the poem. No
+change has taken place; none are made rebels to God's will, and none
+are brought into submission to it, by their punishment; but all are as
+they were. Even amongst the vilest there is only the rejection of a
+thin disguise, no real increase of shamelessness. Many souls desire to
+escape notice and to conceal their crimes, just as they would have done
+on earth; many condemn their evil deeds and are ashamed of them, just
+as they would have been on earth; but there is no change of character,
+no infusion of a new spirit either for good or ill; with all their
+variety and complexity of character, the unrepentant sinners wake in
+Hell as they would wake on earth our mingled pity and horror, our
+mingled loathing and admiration. Man as misusing his free will, in all
+the scope and variety of the infinite theme, is the subject of the
+poem.
+
+And this brings us to another consideration: the eternity of Dante's
+Hell. Those who know no other line of Dante, know the last verse of the
+inscription upon the gate of Hell: 'All hope relinquish, ye that enter
+here.' The whole inscription is as follows: 'Through me the way lies to
+the doleful city; through me the way lies to eternal pain; through me
+the way lies 'mongst the people lost. 'Twas justice moved my Lofty
+Maker; Divine Power made me, Wisdom Supreme and Primal Love. Before me
+were no things created, save things eternal; and I, too, last eternal.
+All hope relinquish, ye that enter here.'[44]
+
+The gates of Hell reared by the Primal Love! If we believe in the
+eternity of sin and evil, the eternity of suffering and punishment
+follows of necessity. To be able to acquiesce in the one, but to shrink
+from the thought of the other, is sheer weakness. The eternity and
+hopelessness of Dante's Hell are the necessary corollaries of the
+impenitence of his sinners. To his mind wisdom and love cannot exist
+without justice, and justice demands that eternal ill-desert shall reap
+eternal woe.
+
+But how could one who so well knew what an eternal Hell of sin and
+suffering meant, believe it to be founded on eternal love? Why did not
+Dante's heart in the very strength of that eternal love rebel against
+the hideous belief in eternal sin and punishment? I cannot answer the
+question I have asked. Dante believed in the Church, believed in the
+theology she taught, and could not have been what he was had he not
+done so. Had he rejected any of the cardinal beliefs of the
+Christianity of his age and rebelled against the Church, he might have
+been the herald of future reformations, but he could never have been
+the index and interpreter to remotest generations of that mediaeval
+Catholic religion of which his poem is the very soul.
+
+Meanwhile note this, that if ever man realised the awful mystery and
+contradiction involved in the conception of a good God condemning the
+virtuous heathen to eternal exile, that man was Dante. If ever heart
+of man was weighed down beneath the load of pity for the damned, that
+heart was Dante's. The virtuous heathen he places in the first round of
+Hell; here 'no plaint is to be heard except of sighs, which make the
+eternal air to tremble;' here, with no other torture than the death of
+hope without the death of longing, they live in neither joy nor sorrow,
+eternal exiles from the realms of bliss.[45]
+
+Dante, as we shall see hereafter, longed with a passionate thirsty
+longing to know how the Divine justice could thus condemn the innocent.
+But his thirst was never slaked. It was and remained an utter mystery
+to him; and there are few passages of deeper pathos than those in which
+he remembers that his beloved and honoured guide and master, even
+Virgil, the very type of human wisdom and excellence, was himself
+amongst these outcasts.[46]
+
+Again and again, as we pass with Dante through the circles of Hell, we
+feel that his yearning pity for the lost, racking his very soul and
+flinging him senseless to the ground for misery, shows an awakening
+spirit which could not long exist in human hearts without teaching them
+that God's redeeming pity is greater and more patient than their own.
+So, too, when Francesca and Paolo, touched by Dante's pitying sympathy,
+exclaim, 'Oh, thou gracious being, if we were dear to God, how would we
+pray for thee!'[47] who can help feeling that Dante was not far from
+the thought that all souls are dear to God?
+
+Meanwhile, how strong that faith which could lift up all this weight of
+mystery and woe, and still believe in the Highest Wisdom and the Primal
+Love! Only the man who knew the holiness of human life to the full as
+well as he knew its infamy, only the man who had seen Purgatory and
+Heaven, and who had actually felt the love of God, could know that with
+all its mystery and misery the universe was made not only by the Divine
+Power, but by the Supreme Wisdom and the Primal Love, could weave this
+Trinity of Power, Wisdom, Love, into the Unity of the all-sustaining
+God, who made both Heaven and Hell.
+
+And we still have to face the same insoluble mystery. The darker shade
+is indeed lifted from the picture upon which we gaze; we have no
+eternal Hell, no eternity of sin, to reckon with; but to us too comes
+the question, 'Can the world with all its sin and misery be built
+indeed upon the Primal Love?' And our answer too must be the answer not
+of knowledge but of faith. Only by making ourselves God's fellow
+workers till we _feel_ that the Divine Power and the Primal Love are
+one, can we gain a faith that will sustain the mystery it cannot solve.
+Alas! how often our weaker faith fails in its lighter task, how often
+do we speak of sin and misery as though they were discoveries of
+yesterday that had brought new trials to our faith, unknown before; how
+often do we feel it hard to say even of earth what Dante in the might
+of his unshaken faith could say of Hell itself--that it is made by
+Power, Wisdom, Love!
+
+       *       *       *       *       *
+
+But perhaps we have dwelt too long already on this topic, and in any
+case we must now hasten on. Dante's Hell, as we have seen, represents
+sinful and impenitent humanity with all its fitting surroundings and
+accessories, cut off from everything that can distract the attention,
+confuse the moral impression, or alleviate its appalling strength. And
+as the magic power of his words, with the absolute sincerity and
+clearness of his own conceptions, forces us to realise the details of
+his vision as if we had trodden every step of the way with him, this
+result follows amongst others: that we realise, with a vividness that
+can never again grow dim, an existence without any one of those sweet
+surroundings and embellishments of human life which seem the fit
+support and reflection of purity and love.
+
+We have been in a land where none of the fair sounds or sights of
+nature have access, no flowers, no stars, no light, and if there are
+streams and hills there they are hideously transformed into instruments
+and emblems not of beauty but of horror. We are made to realise all
+this, and to feel that it is absolutely and eternally fitting as the
+abode of sin and of impenitence. And when once this association has
+been stamped upon our minds, the beauty and the sweetness of the world
+in which we live gain a new meaning for us. They become the standing
+protest of all that is round us against every selfish, every sinful
+thought or deed; the standing appeal to us to bring our souls into
+sweet harmony with their surroundings, since God in His mercy brings
+not their surroundings into ghastly harmony with them.
+
+When we have been with the poor wretch, deep down in Hell, who gasps in
+his burning fever for 'the rivulets that from the green slopes of
+Casentino drop down into the Arno, freshening the soft, cool channels,
+where they glide,'[48] and have realised that in that land there are
+not and ought not to be the cooling streams and verdant slopes of
+earth; we can never again enjoy the sweetness and the peace of nature
+without our hearts being consciously or unconsciously purified, without
+every evil thing in our lives feeling the rebuke.
+
+When we have known what it is to be in a starless land, and have felt
+how strange and incongruous the fair sights of Heaven would be, have
+felt that they would have no place or meaning there, have felt that
+cheerless gloom alone befits the souls enveloped there, then when we
+leave the dreary realms, and once more gaze upon the heavens by night
+and day, they are more to us than they have ever been before, they are
+indeed what Dante so often calls them, using the language of the
+falconers, the _lure_ by which God summons back our wayward souls from
+vain and mean pursuits.
+
+Look, again, upon this fearful picture. Dante and Virgil come to a
+black and muddy lake in which the passionate tear and smite one another
+in bestial rage; and all over its surface are bubbles rising up. They
+come from the cries of the morose and sullen ones 'who are fixed in the
+slime at the bottom of the lake. They cry: "Gloomy we were in the sweet
+air that the sun gladdens, bearing in our hearts the smoke of
+sullenness; now we are gloomy here in the black slime"--such is the
+strain that gurgles in their throats, but cannot find full
+utterance.'[49] Who that has seen those bubbles rise upon the lake can
+ever suffer himself again to cherish sullenness within his heart
+without feeling at the very instant the rebuke of the 'sweet air that
+the sun gladdens,' and thinking of that gurgling strain of misery?
+
+       *       *       *       *       *
+
+Another of the lessons taught by the Inferno is, that no plea, however
+moving, can avail the sinner, or take away the sinfulness of sin, that
+no position can place him above punishment, that no authority can
+shield him from it.
+
+The guilty love of Francesca and Paolo, so strong, so deathless in that
+it was love, has sunk them to Hell instead of raising them to Heaven in
+that it was guilty. Stronger to make them one than Hell to sever them,
+it is powerless to redeem the sin to which it has allied itself, and
+its tenderness has but swelled the eternal anguish of those whom it
+still joins together, because it has suffered the sanctuary of life,
+which love is set to guard, to be polluted and betrayed. Sung in those
+strains of deathless tenderness and pity where 'tears seem to drop from
+the very words,' the story of this guilty love reveals the fatalest of
+all mischoice, and tells us that no passion, however wild in its
+intensity, however innocent in its beginnings, however unpremeditated
+in its lawless outburst, however overmastering in its pleas, however
+loyal to itself in time and in eternity, may dare to raise itself above
+the laws of God and man, or claim immunity from its wretched
+consequences for those who are its slaves. How infinite the pity and
+the waste, how irreparable the loss, when the love that might have been
+an ornament to Heaven, adds to the unmeasured guilt and anguish of Hell
+a wail of more piercing sorrow than rings through all its lower depths!
+
+Nor could any height of place claim exemption from the moral law. Dante
+was a Catholic, and his reverence for the Papal Chair was deep. But
+against the faithless Popes he cherished a fiery indignation
+proportioned to his high estimate of the sacred office they abused. In
+one of the most fearful passages of the Inferno he describes, in terms
+that gain a terrible significance from one of the forms of criminal
+execution practised in his day, how he stood by a round hole in one of
+the circles of Hell, in which Pope Nicholas III. was thrust head
+foremost--stood like the confessor hearing the assassin's final words,
+and heard the guilty story of Pope Nicholas.[50]
+
+It is characteristic of Dante that he tells us here, as if quite
+incidentally, that these holes were about the size of the baptising
+stands or fonts in the Church of San Giovanni, 'one of which,' says he,
+'I broke not many years ago to save one who was drowning in it. Let
+this suffice to disabuse all men.' Evidently he had been taxed with
+sacrilege for saving the life of the drowning child at the expense of
+the sacred vessel, and it can hardly be an accident that he recalls
+this circumstance in the Hell of the sacrilegious Popes and Churchmen.
+These men, who had despised their sacred trust and turned it to basest
+trafficking, were the representatives of that hard system of soulless
+officialism that would pollute the holiest functions of the Church,
+while reverencing with superstitious scruple their outward symbols and
+instruments.
+
+And if the Papal office could not rescue the sinner that held it,
+neither could the Papal authority shield the sins of others. It is said
+that Catholics have not the keeping of their own consciences. Dante at
+least thought they had. In the Hell of fraudulent counsellors, wrapped
+in a sheet of eternal flame one comes to him and cries, 'Grudge not to
+stay and speak with me a while. Behold, I grudge it not, although I
+burn.' It is Guido da Montefeltro, whose fame in council and in war had
+gone forth to the ends of the earth. All wiles and covert ways he knew,
+and there had ever been more of the fox than of the lion in him. But
+when he saw himself arriving at that age when every man should lower
+sails and gather in his ropes, then did he repent of all that once had
+pleased him, and girding him with the cord of St. Francis he became a
+monk. Alas! his penitence would have availed him well but for the
+Prince of the new Pharisees, Pope Boniface VIII., who was waging war
+with Christians that should have been his friends, hard by the Lateran.
+'He demanded counsel of me,' continues Guido, 'but I kept silence, for
+his words seemed drunken. Then he said to me, "Let not thy heart
+misdoubt: henceforth do I absolve thee, but do thou teach me so to act
+that I may cast Prenestina to the ground. Heaven I can shut and open,
+as thou knowest." ... Then the weighty arguments impelled me to think
+silence worse than speech; and so I said, "Father, since thou dost
+cleanse me from that guilt wherein I now must fall, long promise and
+performance short will make thee triumph in thy lofty seat." Then when
+I died St. Francis came for me, but one of the black cherubim said to
+him: "Do me no wrong, nor take thou him away. He must come down amongst
+my menials, e'en for the fraudulent advice he gave, since when I have
+kept close upon his hair. He who repents not cannot be absolved, nor
+can one will the same thing he repents, the contradiction not
+permitting it." Ah wretched me! how did I shudder then, for he laid
+hold of me, and with the cry, "Haply thou knew'st not I was a
+logician?" bore me to judgment.'[51]
+
+Who can fail to recognise the utter truth of Dante's teaching here?
+What can stand between a man's own conscience and his duty? Though the
+very symbol and mouthpiece of the collective wisdom and piety of
+Christendom should hold the shield of authority before the culprit, yet
+it cannot ward off the judgment for one single deed done in violation
+of personal moral conviction. When once we have realised the meaning of
+this awful passage, how can we ever urge again as an excuse for
+unfaithfulness to our own consciences, that the assurance of those we
+loved and reverenced overcame our scruples? Here as everywhere Dante
+strips sin of every specious and distracting circumstance, and shows it
+to us where it ought to be--in Hell.
+
+Contrast with the scene we have just looked upon the companion picture
+from the Purgatory; where Buonconte di Montefeltro tells how he fled on
+foot from the battle-field of Campaldino, his throat pierced with a
+mortal wound ensanguining the earth. Where Archiano falls into the Arno
+there darkness came upon him, and he fell crossing his arms upon his
+breast and calling on the name of Mary with his last breath. 'Then,' he
+continues, 'God's angel came and took me, and Hell's angel shrieked, "O
+thou of Heaven, wherefore dost thou rob me? Thou bear'st with thee the
+eternal part of him, all for one wretched tear which saves it from me.
+But with the other part of him I'll deal in other fashion."' Upon which
+the infuriated demon swells the torrent with rain, sweeps the
+warrior's body from the bank, dashes away the hateful cross into which
+its arms are folded, and in impotent rage rolls it along the river bed
+and buries it in slime so that men never see it more; but the soul is
+meanwhile saved.[52]
+
+       *       *       *       *       *
+
+Here we must pause. I have made no attempt to give a systematic account
+of the Inferno, still less to select the finest passages from it. I
+have only tried to interpret some of the leading thoughts which run
+through it, some of the deep lessons which it can hardly fail to teach
+the reader.
+
+Like all great works, the Inferno should be studied both in detail and
+as a whole in order to be rightly understood; and when we understand
+it, even partially, when we have been with Dante down through all the
+circles to that central lake of ice in which all humanity seems frozen
+out of the base traitors who showed no humanity on earth, when we have
+faced the icy breath of the eternal air winnowed by Satan's wings, and
+have been numbed to every thought and feeling except one--one which
+has been burned and frozen into our hearts through all those rounds of
+shame and woe--the thought of the pity, the misery, the hatefulness of
+sin; then, but then only, we shall be ready to understand the
+Purgatory, shall know something of what the last lines of the Inferno
+meant to Dante: 'We mounted up, he first and second I, until through a
+round opening I saw some of those beauteous things that Heaven bears;
+and thence we issued forth again to see the stars.'[53]
+
+
+FOOTNOTES:
+
+[Footnote 31: Compare pp. 21-23.]
+
+[Footnote 32: Epistola xi. Sec. 8.]
+
+[Footnote 33: _Inferno_, ii. 1-6.]
+
+[Footnote 34: _Inferno_, xxviii.]
+
+[Footnote 35: _Ibid._ xxiii. 58 sqq.]
+
+[Footnote 36: _Ibid._ xviii. 103-136.]
+
+[Footnote 37: _Inferno_, xx. 27, 28: 'Qui vive la pieta quand' e ben
+morta.' The double force of pieta, 'pi[e]ty,' is lost in the
+translation.]
+
+[Footnote 38: _Ibid._ xxiv. 112-xxv. 9 &c.]
+
+[Footnote 39: _Ibid._ xiv. 43-66.]
+
+[Footnote 40: _Inferno_, xviii. 82-96.]
+
+[Footnote 41: _Ibid._ x. 22-93.]
+
+[Footnote 42: _Ibid._ xiii. 55-78.]
+
+[Footnote 43: _Inferno_, xvi. 64-85.]
+
+[Footnote 44: _Inferno_, iii. 1-9.]
+
+[Footnote 45: _Inferno_, iv. 23-45, 84.]
+
+[Footnote 46: Compare e.g. _Purgatorio_, iii. 34-45, xxii. 67-73.]
+
+[Footnote 47: _Inferno_, v. 88, 91, 92.]
+
+[Footnote 48: _Inferno_, xxx. 64-67.]
+
+[Footnote 49: _Inferno_, vii. 117-126.]
+
+[Footnote 50: _Inferno_, xix.]
+
+[Footnote 51: _Inferno_, xxvii.]
+
+[Footnote 52: _Purgatorio_, v. 85-129.]
+
+[Footnote 53: _Inferno_, xxxiv. 136-139.]
+
+
+
+
+IV
+
+PURGATORY
+
+
+'Leaving behind her that so cruel sea, the bark of poesy now spreads
+her sails to speed o'er happier waters; and I sing of that mid kingdom
+where the soul of man is freed from stain, till worthy to ascend to
+Heaven.'[54] Such are the opening words of Dante's Purgatory, and they
+drop like balm upon our seared and wounded hearts when we have escaped
+from the dread abode of eternal ill-desert.
+
+'Man, atoning for the misuse of his free will,' may be regarded as the
+subject of this poem. And it brings it in a sense nearer to us than
+either the Hell or the Paradise. Perhaps it ought not to surprise us
+that the Purgatory has not by any means taken such a hold of the
+general imagination as the Hell, and that its machinery and incidents
+are therefore far less widely known; for the power of the Purgatory
+does not overwhelm us like that of the Inferno whether we understand or
+no. There are passages indeed in the poem which take the reader by
+storm and force themselves upon his memory, but as a whole it must be
+felt in its deeper spiritual meaning to be felt at all. Its gentleness
+is ultimately as strong as the relentless might of the Hell, but it
+works more slowly and takes time to sink into our hearts and diffuse
+its influence there. Nor again need we be surprised that the inner
+circle of Dante students often concentrate their fullest attention and
+admiration upon the Paradise, for it is the Paradise in which the poet
+is most absolutely unique and unapproached, and in it his admirers
+rightly find the supreme expression of his spirit.
+
+And yet there is much in the Purgatory that seems to render it
+peculiarly fitted to support our spiritual life and help us in our
+daily conflict, much which we might reasonably have expected would give
+its images and allegories a permanent place in the devout heart of
+Christendom; for, as already hinted, it is nearer to us in our
+struggles and imperfections, in our aspirations and our conscious
+unworthiness, nearer to us in our love of purity and our knowledge that
+our own hearts are stained with sin, in our desire for the fullness of
+God's light, and our knowledge that we are not yet worthy or ready to
+receive it; it is nearer to us in its piercing appeals, driven home to
+the moral experience of every day and hour, nearer to us in its mingled
+longing and resignation, in its mingled consolations and sufferings,
+nearer to us in its deep unrest of unattained but unrelinquished
+ideals, than either the Hell in its ghastly harmony of impenitence and
+suffering, or the Paradise in its ineffable fruition.
+
+Moreover, the allegorical appropriateness of the various punishments is
+far more obvious and simple, and the spiritual significance of the
+whole machinery clearer and more direct, in the Purgatory than in the
+Hell. In a word, the Purgatory is more obviously though not more truly,
+more directly though not more profoundly, moral and spiritual in its
+purport than the Hell.
+
+Dante addresses some of the sufferers on the fifth circle of Purgatory
+as 'chosen ones of God whose pains are soothed by justice and by
+hope.'[55] And in truth the spirits in Purgatory are already utterly
+separated from their sins in heart and purpose, are already chosen ones
+of God. They are deeply sensible of the justice of their punishment,
+and they are fed by the certain hope that at last, when purifying pain
+has done its work, their past sins will no longer separate them from
+God, they will not only be parted in sympathy and emotion from their
+own sinful past, but will be so cut off from it as no longer to feel it
+as their own, no longer to recognise it as a part of themselves, no
+longer to be weighed down by it. Then they will rise away from it into
+God's presence. 'Repenting and forgiving,' says one of them, 'we passed
+from life, at peace with God, who pierces our hearts with longing to
+see Him.'[56]
+
+The souls in Purgatory, then, are already transformed by the thirst for
+the living water, already filled with the longing to see God, already
+at one with Him in will, already gladdened by the hope of entering into
+full communion with Him. But they do not wish to go into His presence
+yet. The sense of shame and the sense of justice forbid it. They feel
+that the unexpiated stains of former sin still cleave to them, making
+them unfit for Heaven, and they love the purifying torments which are
+burning those stains away. In the topmost circle of Purgatory, amongst
+the fierce flames from which Dante would have hurled himself into
+molten glass for coolness, he sees souls whose cheeks flush at the
+memory of their sin with a shame that adds a burning to the burning
+flame; whilst others, clustering at the edge that they may speak with
+him, yet take good heed to keep within the flame, lest for one moment
+they should have respite from the fierce pain which is purging away
+their sins and drawing them nearer to their desire.[57]
+
+Sweet hymns of praise and supplication are the fitting solace of this
+purifying pain; and as Dante passes through the first of the narrow
+ascents that lead from circle to circle of Purgatory, he may well
+contrast this place of torment with the one that he has left, may well
+exclaim, 'Ah me! how diverse are these straits from those of Hell!'[58]
+
+Penitence, humility, and peace--though not the highest or the fullest
+peace--are the key-notes of the Purgatory.
+
+       *       *       *       *       *
+
+When Dante issued from the deadly shades of Hell, his cheeks all
+stained with tears, his eyes and heart heavy with woe, his whole frame
+spent with weariness and agony, the sweet blue heavens stretched above
+him, and his eyes, that for so long had gazed on nought but horror,
+rested in their peaceful depths; Venus, the morning star, brightened
+the east, and the Southern Cross poured its splendour over the heavens;
+daybreak was at hand, and the poets were at the foot of the mount of
+Purgatory.
+
+The sea rippled against the mountain, and reeds, the emblems of
+humility, ever yielding to the wave that swept them, clustered round
+the shore. Dante and Virgil went down to the margin, and there the
+living poet bathed away the stains and tears of Hell.
+
+Ere long the waves were skimmed by a light bark, a radiant angel
+standing in the prow, bearing the souls of the redeemed, who must yet
+be purified, singing the psalm, 'When Israel came out of Egypt.'
+Amongst the shades thus borne to the mount of purification was Dante's
+friend Casella, the singer and musician. How often had his voice lulled
+all Dante's cares to sleep, and 'quieted all his desires,' and now it
+seemed as though he were come to bring his troubled heart to peace, to
+rest him in his utter weariness of body and of soul.
+
+So, at his entreaty, Casella raised his voice, and all the shades
+gathered entranced around him as he sang a noble canzone composed by
+Dante himself in years gone by.[59] The sweet sound never ceased to
+echo in the poet's memory--not even the ineffable harmonies of Paradise
+drowned those first strains of peace that soothed him after his awful
+toil.
+
+But Purgatory is no place of rest, and Casella's song was rudely
+interrupted by the guardian of the place, who cried aloud, 'How now, ye
+sluggard souls! What negligence and what delay is here? Speed to the
+mountain! Rid you of the crust that lets not God be manifest to you!'
+To purge away our sins is not to rest; and no longing for repose must
+tempt us to delay even for a moment.[60]
+
+Dante draws no flattering picture of the ease of self-purification;
+Hell itself hardly gives us such a sense of utter weariness as the
+first ascent of the mount of Purgatory. Virgil is on in front, and
+Dante cries out, altogether spent, 'Oh, my sweet father, turn thou and
+behold how I am left alone unless thou stay;' but Virgil still urges
+him on, and after a time comforts him with the assurance that though
+the mountain is so hard to scale at first, yet the higher a man climbs
+the easier the ascent becomes, till at last it is so sweet and easy to
+him that he rises without effort as a boat drops down the stream: then
+he may know that the end of his long journey has come, that the weight
+of sin is cast off, that his soul obeys its own pure nature, and rises
+unencumbered to its God.[61]
+
+The lower portion of the mountain forms a kind of ante-Purgatory,
+where the souls in weary exile wait for admission to the purifying pain
+for which they long. Here those who have delayed their penitence till
+the end of life atone for their wilful alienation by an equal term of
+forced delay ere they may enter the blessed suffering of Purgatory.
+Here those who have lived in contumacy against the Church expiate their
+offences by a thirty-fold exile in the ante-Purgatory; but as we saw in
+Hell that Papal absolution will not shield the sinful soul, so we find
+in Purgatory that the Papal malediction, the thunders of
+excommunication itself, cannot permanently part the repentant soul from
+the forgiving God.[62]
+
+When this first exile is at an end, and the lower mountain scaled, the
+gate of the true Purgatory is reached. Three steps lead up to it, 'the
+first of marble white, so polished and so smooth that in it man beholds
+him as he is.' This represents that transparent simplicity and
+sincerity of purpose that, throwing off all self-delusion, sees itself
+as it is, and is the first step towards true penitence. 'The second
+step, darker than purpled black, of rough and calcined stone, all rent
+through length and breadth,' represents the contrite heart of true
+affliction for past sin. 'The third and crowning mass methought was
+porphyry, and flamed like the red blood fresh spouting from the vein.'
+This is the glowing love which crowns the work of penitence, and gives
+the earnest of a new and purer life. Above these steps an angel stands
+to whom Peter gave the keys--the silver key of knowledge and the golden
+key of authority--bidding him open to the penitent, and err rather
+towards freedom than towards over-sternness.[63]
+
+Within the gate of Purgatory rise the seven terraces where sin is
+purged. On the three lower ledges man atones for that perverse and
+ill-directed love which seeks another's ill--for love of some sort is
+the one sole motive of all action, good or bad.[64] In the lowest
+circle the pride that rejoices in its own superiority, and therefore in
+the inferiority of others, is purged and expiated. 'As to support a
+ceiling or a roof,' says Dante, 'one sees a figure bracket-wise with
+knees bent up against it bosom, till the imaged strain begets real
+misery in him who sees, so I beheld these shades when close I scanned
+them. True it is that less or greater burdens cramped each one or less
+or more, yet he whose mien had most of patience, wailing seemed to say,
+"I can no more!"'[65]
+
+In the second circle the blind sin of envy is expiated. Here the
+eyelids of the envious are ruthlessly pierced and closed by the stitch
+of an iron wire, and through the horrid suture gush forth tears of
+penitence that bathe the sinner's cheeks. 'Here shall my eyes be
+closed,' says Dante, half in shame at seeing those who saw him not,
+'here shall my eyes be closed, though open now--but not for long. Far
+more I dread the pain of those below; for even now methinks I bend
+beneath the load.'[66]
+
+In the third circle the passionate wend their way through a blinding,
+stinging smoke, darker than Hell; but all are one in heart, and join
+in sweet accord of strain and measure singing the 'Agnus Dei.'
+
+In these three lower circles is expiated the perverse love that, in
+pride, in envy, or in passion, seeks another's ill.
+
+Round the fourth or central ledge hurry in ceaseless flight the
+laggards whose feeble love of God, though not perverse, was yet
+inadequate.
+
+Then on the succeeding circles are punished those whose sin was
+excessive and ill-regulated love of earthly things.
+
+There in the fifth round the avaricious and the prodigal, who bent
+their thoughts alike to the gross things of earth and lost all power of
+good, lie with their faces in the dust and their backs turned to
+heaven, pinioned and helpless.
+
+In the sixth circle the gluttonous in lean and ghastly hunger gaze from
+hollow eyes 'like rings without the gems,' upon the fruit they may not
+taste.[67]
+
+And lastly, in the seventh circle the sin of inchastity is purged, in
+flames as fierce as its own reckless passion.
+
+Through all of these circles to which its life on earth has rendered
+it liable, the soul must pass, in pain but not in misery; at perfect
+peace with God, loving the pain that makes it fit to rise into His
+presence, longing for that more perfect union, but not desiring it as
+yet because still knowing itself unworthy.
+
+At last the moment comes when this shrinking from God's presence, this
+clinging to the pain of Purgatory, has its end. The desire to rise up
+surprises the repentant soul, and that desire is itself the proof that
+the punishment is over, that the soul is ripe for Heaven. Then, as it
+ascends, the whole mountain shakes from base to summit with the mighty
+cry of 'Gloria in excelsis!' raised by every soul in Purgatory as the
+ransomed and emancipated spirit seeks its home.[68]
+
+Through all these circles Dante is led by Virgil, and here as in Hell
+he meets and converses with spirits of the departed. He displays the
+same unrivalled power and the same relentless use of it, the same
+passionate indignation, the same yearning pity, which take the soul
+captive in the earlier poem. In the description of Corso Donati's
+charger dragging his mangled body towards the gorge of Hell in ever
+fiercer flight; in the indignant protest against the factious spirit of
+Italy and the passionate appeal to the Empire; in the description of
+the impotent rage of the fiend who is cheated by 'one wretched tear' of
+the soul of Buonconte; in the scathing denunciations of the cities of
+the Arno;[69] in these and in many another passage the poet of the
+Purgatory shows that he is still the poet of the Hell; but it is rather
+to the richness of the new thoughts and feelings than to the unabated
+vigour and passion of the old ones, that we naturally direct our
+attention in speaking of the Purgatory. And these we have by no means
+exhausted.
+
+When Dante first entered the gate of Purgatory he heard 'voices mingled
+with sweet strains' chanting the Te Deum, and they raised in his heart
+such images as when we hear voices singing to the organ and 'partly
+catch and partly miss the words.'[70] And this sweet music, only to
+find its fullest and distinctest utterance in the Paradise, pervades
+almost the whole of the Purgatory, filling it with a reposeful longing
+that prepares for the fruition it does not give.
+
+There is a tender and touching simplicity in the records of their
+earthly lives which the gentle souls in Purgatory give to our poet.
+Take as an example, the story of Pope Adrian V., whom Dante finds
+amongst the avaricious: 'A month and little more I felt the weight with
+which the Papal mantle presses on his shoulders who would keep it from
+the mire. All other burdens seem like feathers to it. Ah me! but late
+was my conversion; yet when I became Rome's Shepherd then I saw the
+hollow cozenage of life; for my heart found no repose in that high
+dignity, and yonder life on earth gave it no room to aim yet higher;
+wherefore the love of this life rose within me. Till then was I a
+wretched soul severed from God, enslaved to avarice, for which, thou
+seest, I now bear the pain.'[71]
+
+Most touching too are the entreaties of the souls in Purgatory for the
+prayers of those on earth, or their confession that they have already
+been lifted up by them. 'Tell my Giovanna to cry for me where the
+innocent are heard,' says Nino to Dante;[72] and when the poet meets
+his friend Forese, who had been dead but five years, in the highest
+circle but one of Purgatory, whereas he would have expected him still
+to be in exile at the mountain's base, he asks him to explain the
+reason why he is there, and Forese answers, 'It is my Nella's broken
+sobs that have brought me so soon to drink the sweet wormwood of
+torment. Her devout prayers and sighs have drawn me from the place of
+lingering, and freed me from the lower circles. My little widow, whom I
+greatly loved, is all the dearer and more pleasing to God because her
+goodness stands alone amid surrounding vice.'[73]
+
+Surely it is a deep and holy truth, under whatever varying forms
+succeeding ages may embody it, that the faithful love of a pure soul
+does more than any other earthly power to hasten the passage of the
+penitent through Purgatory. When under the load of self-reproach and
+shame that weighs down our souls, we dare not look up to Heaven, dare
+not look into our own hearts, dare not meet God, then the faithful
+love of a pure soul can raise us up and teach us not to despair of
+ourselves, can lift us on the wings of its prayer, can waft us on the
+breath of its sobs, swiftly through the purifying anguish into the
+blissful presence of God.
+
+       *       *       *       *       *
+
+A feature of special beauty in the Purgatory is formed by the
+allegorical or typical sculptures on the wall and floor of some of the
+terraces, by the voices of warning or encouragement that sweep round
+the mountain, and by the visions that from time to time visit the poet
+himself. Let one of these visions suffice. Dante is about to enter the
+circles in which the inordinate love of earthly things, with all vain
+and vicious indulgence, is punished. 'In dream there came to me,' he
+says, 'a woman with a stuttering tongue, and with distorted eyes, all
+twisted on her feet, maimed in her hands, and sallow in her hue. I
+gazed at her, and as the sun comforts the chilled limbs by the night
+oppressed, so did my look give ease unto her speech, and straightway
+righted her in every limb, and with love's colours touched her haggard
+face. And when her speech was liberated thus, she sang so sweetly it
+were dire pain to wrest attention from her. "I," she sang, "am that
+sweet siren who lead astray the sailors in mid sea, so full am I of
+sweetness to the ear. 'Twas I that drew Ulysses from his way with
+longing for my song; and he on whom the custom of my voice has grown,
+full rarely leaves me, so do I content him."' In the end this false
+siren is exposed in all her foulness, and Dante turns from her in
+loathing.[74]
+
+Throughout Purgatory Dante is still led and instructed by Virgil. I
+think there is nothing in the whole Comedy so pathetic as the passages
+in which the fate of Virgil, to be cut off for ever from the light of
+God, is contrasted with the hope of the souls in Purgatory. The
+sweetness and beauty of Virgil's character as conceived by Dante grow
+steadily upon us throughout this poem, until they make the
+contemplation of his fate and the patient sadness with which he speaks
+of it more heartrending than anything that we have heard or seen in
+Hell. After this we hardly need to hear from Dante the direct
+expression he subsequently gives of his passionate thirst to know the
+meaning of so mysterious a decree as that which barred Heaven against
+the unbaptised.
+
+In Purgatory, Virgil and Dante meet the emancipated soul of the Roman
+poet Statius, freed at last after many centuries of purifying pain, and
+ready now to ascend to Heaven. Virgil asks him how he became a
+Christian, and Statius refers him to his own words in one of the
+Eclogues, regarded in those days as containing a prophecy of Christ.
+'Thou,' says Statius, 'didst first guide me to Parnassus to drink in
+its grottoes, and afterwards thou first didst light me unto God. When
+thou didst sing, "The season is renewed, justice returns, and the first
+age of man, and a new progeny descends from Heaven," thou wast as one
+who, marching through the darkness of the night, carries the light
+behind him, aiding not himself, but teaching those who follow him the
+way. Through thee was I a poet, and through thee a Christian.' Not a
+shade of envy, not a thought of resentment or rebellion, passes over
+Virgil's heart as he hears that while saving others he could not save
+himself.[75]
+
+But now, without dwelling further on the episodes of the poem, we must
+hasten to consider the most beautiful and profoundest of its closing
+scenes.
+
+Under Virgil's guidance Dante had traversed all the successive circles
+of the mount of Purgatory. He stood at its summit, in the earthly
+Paradise, the Garden of Eden which Eve had lost. There amid fairest
+sights and sounds he was to meet the glorified Beatrice, and she was to
+be his guide in Heaven as Virgil had been his guide in Hell and
+Purgatory.
+
+In any degree to understand what follows we must try to realise the
+intimate blending of lofty abstract conceptions and passionate personal
+emotions and reminiscences in Dante's thoughts of Beatrice.
+
+This sweet and gentle type of womanhood, round whose earthly life the
+genius and devotion of Dante have twined a wreath of the tenderest
+poetry, the most romantic love, that ever rose from heart of man, had
+been to him in life and death the vehicle and messenger of God's
+highest grace. Round her memory clustered all the noblest purposes and
+purest motives of his life, and in her spirit seemed to be reflected
+the divinest truth, the loftiest wisdom, that the human soul could
+comprehend. And so, making her objectively and in the scheme of the
+universe what she had really been and was to him subjectively, he came
+to regard her as the symbol of Divine philosophy as Virgil was the
+symbol of human virtue and wisdom.
+
+Touched by the glow of an ideal love, Dante had reached a deeper
+knowledge, a fuller grace, than the wisdom of this world could teach or
+gain. The doctors of the Church, the sweet singers, the mighty heroes,
+the profound philosophers, who had instructed and supported him, had
+none of them touched his life so deeply, had none of them led him so
+far into the secret place of truth, had none of them brought him so
+near to God, as that sweet child, that lovely maid, that pure woman,
+who had given him his first and noblest ideal.
+
+Now to Dante and to his age it was far from unnatural to erect concrete
+human beings into abstract types or personifications. Leah and Rachel
+are the active and the contemplative life respectively. Virgil, we have
+seen, is human philosophy. Cato of Utica represents the triumph over
+the carnal nature and the passions. And it is not only the Old
+Testament and classical antiquity that furnish these types. The
+celebrated Countess Matilda, who lived only about two centuries before
+Dante himself, becomes in his poem, according to the generally received
+interpretation, one of the attributes of God personified. And so
+Beatrice became the personification of that heavenly wisdom, that true
+knowledge of God, of which she had been the vehicle to Dante.
+
+But to the poet and to the age in which he lived, it was impossible to
+separate this heavenly wisdom in its simple, spiritual essence, from
+the form which its exposition had received at the hands of the great
+teachers of the Church. To them true spiritual wisdom, personal
+experience and knowledge of God, were inseparable from _theology_. The
+two united in the conception of Divine philosophy. Thus by a strange
+but intelligible gradation Dante blended in his conception of Beatrice
+two elements which seem to us the very extreme of incompatibility. She
+is in the first place the personification of scholastic theology, with
+all its subtle intricacy of pedantic method; she is in the second place
+the maiden to whom Dante sang his songs of love in Florence, and whose
+early death he wept disconsolate. And in the closing scenes of the
+Purgatory these two conceptions are more intimately blended, perhaps,
+than anywhere else in Dante's writings.
+
+After wandering, as it were, in the forest of a bewildered life, the
+poet is led through Hell and Purgatory until he stands face to face at
+last with his own purest and loftiest ideal; and the fierceness of his
+own self-accusation when thus confronted with Beatrice he expresses
+under the form of reproaches which he lays upon _her_ lips, but which
+we must retranslate into the reproachful utterances of his own tortured
+heart, if we are to retain our gentle thoughts of Beatrice.
+
+We need not dwell even for a moment on the gorgeous pageantry with
+which Dante introduces and surrounds Beatrice. Suffice it to say that
+she comes in a mystic car, which represents the Church, surrounded by
+saints and angels.
+
+No sooner does Dante see her, although closely veiled, than the might
+of the old passion sweeps upon him, and like a child that flees in
+terror to its mother, so does he turn to Virgil with the cry: 'Not one
+drop of blood but trembles in my veins! I recognise the tokens of the
+ancient flame.' But Virgil is gone. Dante has no refuge from his own
+offended and reproachful ideal. As he bursts into lamentations at the
+loss of Virgil's companionship, Beatrice sternly calls him back:
+'Dante! weep not that Virgil has gone from thee. Thou hast a deeper
+wound for which to weep.'
+
+As one who speaks, but holds back words more burning than he utters, so
+she stood. A clear stream flowed between her and Dante, and as she
+began to renew her reproaches he cast down his eyes in shame upon the
+water;--but there he saw himself! The angels sang a plaintive psalm,
+and Dante knew that they were pleading for him more clearly than if
+they had used directer words. Then the agony of shame and penitence
+that Beatrice's reproof had frozen in his bosom, as when the icy north
+wind freezes the snow amid the forests of the Apennine, was melted by
+the angels' plea for him as snow by the breezes of the south, and
+burst from him in a convulsion of sobs and tears.
+
+How was it possible that he should have gone so far astray, have been
+so false to the promise and the purpose of his early life, have abused
+his own natural gifts and the superadded grace of heaven? How was it
+possible that he should have let all the richness of his life run wild?
+That after Beatrice had for a time sustained him and led him in the
+true path with her sweet eyes, he should have turned away from her in
+Heaven whom he had so loved on earth? How could he have followed the
+false semblances of good that never hold their word? His visions and
+his dreams of the ideal he was deserting had not sufficed, and so deep
+had he sunk that nothing short of visiting the region of the damned
+could save him from perdition. Why had he deserted his first purposes?
+What obstacle had baffled or appalled him? What new charm had those
+lower things of earth obtained to draw him to them? 'The false
+enticements of the present things,' he sobbed, 'had led his feet aside,
+soon as her countenance was hid.' But should not the decay of that
+fair form have been itself the means of weaning him from things of
+earth, that he might ne'er again be cheated by their beauty or drawn
+aside by them from the pursuit of heavenly wisdom and of heavenly love?
+When the fairest of all earthly things was mouldering in the dust,
+should he not have freed himself from the entanglements of the less
+beauteous things remaining?
+
+To all these reproaches, urged by Beatrice, Dante had no reply. With
+eyes rooted to the ground, filled with unutterable shame, like a child
+repentant and confessing, longing to throw himself at his mother's
+feet, but afraid to meet her glance while her lips still utter the
+reproof, so Dante stood. From time to time a few broken words, which
+needed the eye more than the ear to interpret them, dropped from his
+lips like shafts from a bow that breaks with excess of strain as the
+arrow is delivered.
+
+At last Beatrice commanded him to look up. The wind uproots the oak
+tree with less resistance than Dante felt ere he could turn his
+downcast face to hers; but when he saw her, transcending her former
+self more than her former self transcended others, his agony of
+self-reproach and penitence was more than he could bear, and he fell
+senseless to the ground.[76]
+
+When he awoke he was already plunged in the waters of Lethe, which with
+the companion stream of Eunoe would wash from his memory the shame and
+misery of past unfaithfulness, would enable him, no longer crushed by
+self-reproach, to ascend with the divine wisdom and purity of his own
+ideal into the higher realms.
+
+And here the Purgatory ends, the Paradise begins.
+
+
+FOOTNOTES:
+
+[Footnote 54: _Purgatorio_, i. 1-6.]
+
+[Footnote 55: _Purgatorio_, xix. 76, 77.]
+
+[Footnote 56: _Ibid._ v. 55-57.]
+
+[Footnote 57: _Purgatorio_, xxvi. 13-15, 81; xxvii. 49-51.]
+
+[Footnote 58: _Purgatorio_, xii. 112, 113.]
+
+[Footnote 59: Canzone xv. 'Amor, che nella mente.' See also _Convito_,
+trat. iii.]
+
+[Footnote 60: _Purgatorio_, i. ii.]
+
+[Footnote 61: _Ibid._ iv. 37-95.]
+
+[Footnote 62: _Purgatorio_, iii. 112-145, iv. 127-135.]
+
+[Footnote 63: _Purgatorio_, ix. 76-129.]
+
+[Footnote 64: For the general scheme of Purgatory, see _Purgatorio_,
+xvii. 91-139.]
+
+[Footnote 65: _Purgatorio_, x. 130-139.]
+
+[Footnote 66: _Ibid._ xiii. 73, 74, 133-138.]
+
+[Footnote 67: _Purgatorio_, xxiii. 31.]
+
+[Footnote 68: _Purgatorio_, xx. 124-151, xxi. 34-78.]
+
+[Footnote 69: _Purgatorio_, v. 85-129, vi. 76-151, xiv. 16-72, xxiv.
+82-87.]
+
+[Footnote 70: _Ibid._ ix. 139-145.]
+
+[Footnote 71: _Purgatorio_, xix. 103-114.]
+
+[Footnote 72: _Purgatorio_, viii. 71, 72.]
+
+[Footnote 73: _Ibid._ xxiii. 85-93.]
+
+[Footnote 74: _Purgatorio_, xix. 7-33.]
+
+[Footnote 75: _Purgatorio_, xxii. 55-73.]
+
+[Footnote 76: _Purgatorio_, xxx. 22--xxxi. 90.]
+
+
+
+
+V
+
+HEAVEN
+
+
+When Dante wrote the Paradise, he well knew that he was engaged in the
+supreme effort of his life, to which all else had led up. He well knew
+that he was engaged in no pastime, but with intensest concentration of
+matured power was delivering such a message from God to man as few
+indeed had ever been privileged or burdened to receive. He well knew
+that the words in which through long years of toil he had distilled the
+sweetness and the might of his vision were immortal, that to latest
+ages they would bear strength and purity of life, would teach the keen
+eye of the spirit to gaze into the uncreated light, and would flood the
+soul with a joy deeper than all unrest or sorrow, with a glory that no
+gloom could ever dispel. He knew moreover that this his last and
+greatest poem would speak to a few only in any generation, though
+speaking to those few with a voice of transforming power and grace.
+
+'Oh, ye,' he cries almost at the beginning of the Paradise, 'who,
+desirous to hear, have followed in slight bark behind my keel, which
+sings upon its course, now turn you back and make for your own shores,
+trust not the open wave lest, losing me, ye should be left bewildered.
+As yet all untracked is the wave I sail. Minerva breathes, Apollo leads
+me on, and the nine Muses point me to the pole. Ye other few, who
+timely have lift up your heads for bread of angels fed by which man
+liveth but can never surfeit know, well may ye launch upon the ocean
+deep, keeping my furrow as ye cut your way through waters that return
+and equal lie.'[77]
+
+In these last words, comparing the track he leaves to the watery furrow
+that at once subsides, Dante seems to indicate that he was well aware
+how easily the soul might drop out of his verses, how the things he had
+to say were essentially unutterable, so that his words could at best be
+only a suggestion of his meaning dependent for their effect upon the
+subtlest spiritual influences and adjustments, as well as upon the
+receptive sympathy of those to whom they were addressed. And if there
+are so many that fail to catch the spirit and feel the heavenly harmony
+of the music when it is Dante's own hand that touches the strings, how
+hopeless seems the task of transferring even its echo, by translated
+extracts, or descriptions, from which the soul has fled.
+
+There is indeed much that is beautiful, much that is profound, in the
+Paradise which is capable of easy reproduction, but the divine aroma of
+the whole could only be translated or transferred by another Dante.
+Petal after petal of the rose of Paradise may be described or copied,
+but the heavenly perfume that they breathed is gone.
+
+'His glory that moves all things,' so Dante begins the Paradise,
+'pierces the universe; and is here more, here less resplendent. In that
+Heaven which of His light has most, was I. There I saw things which he
+who thence descends has not the knowledge or power to retell. For as it
+draws anigh to its desire, our intellect pierces so deep that memory
+cannot follow in its track. But of that sacred empire so much as I had
+power in my mind to store, shall now be matter of my poesy.'[78]
+
+And again, almost at the close he sings, 'As is he who dreams, and when
+the dream is broke still feels the emotion stamped upon his heart
+though all he saw is fled beyond recall, e'en such am I; for, all the
+vision gone well-nigh without a trace, yet does the sweetness that was
+born of it still drop within my heart.'[79]
+
+If so much as an echo of that echo, if so much as a dream of that
+dream, falls upon our ears and sinks into our hearts, then we are
+amongst those few for whom Dante wrote his last and his divinest poem.
+
+       *       *       *       *       *
+
+Through the successive heavens of Paradise Dante is conducted by
+Beatrice; and here again the intimate blending in the divine guide of
+two distinct almost contradictory conceptions forms one of the great
+obstacles towards giving an intelligible account of the poem. This
+obstacle can only disappear when patient study guided by receptive
+sympathy has led us truly into the poet's thought.
+
+In the Paradise, however, the allegorical and abstract element in the
+conception of Beatrice is generally the ruling one. She is the
+impersonation of Divine Philosophy, under whose guidance the spiritual
+discernment is so quickened and the moral perceptions so purified, that
+the intellect can thread its way through subtlest intricacies of
+casuistry and theology, and where the intellect fails the eye of faith
+still sees.
+
+Even in this allegorical character Beatrice is a veritable personality,
+as are Lucia, the Divine Grace, and the other attributes or agents of
+the Deity, who appear in the Comedy as personal beings with personal
+affections and feelings, though at the same time representing abstract
+ideas. Thus Beatrice, as Divine Philosophy impersonated, is at once an
+abstraction and a personality. 'The eyes of Philosophy,' says Dante
+elsewhere, 'are her demonstrations, the smile of Philosophy her
+persuasions.'[80] And this mystic significance must never be lost sight
+of when we read of Beatrice's eyes kindling with an ever brighter glow
+and her smile beaming through them with a diviner sweetness as she
+ascends through heaven after heaven ever nearer to the presence of God.
+The demonstrations of Divine Philosophy become more piercing, more
+joyous, more triumphant, her persuasions more soul-subduing and
+entrancing, as the spirit draws nearer to its source.
+
+But though we shall never understand the Paradise unless we perceive
+the allegorical significance and appropriateness not only of the
+general conception of Beatrice, but also of many details in Dante's
+descriptions of her, yet we should be equally far from the truth if we
+imagined her a mere allegory. She is a glorified and as it were divine
+_personality_, and watches over and guides her pupil with the
+tenderness and love of a gentle and patient mother. The poet constantly
+likens himself to a wayward, a delirious, or a frightened child, as he
+flies for refuge to his blessed guide's maternal care.[81]
+
+Again, they are in the eighth heaven, and Beatrice knows that a
+glorious manifestation of saints and angels is soon to be vouchsafed
+to Dante. Listen to his description of her as she stands waiting:
+'E'en as a bird amongst the leaves she loves, brooding upon the nest of
+her sweet young throughout the night wherein all things are hid,
+foreruns the time to see their loved aspect and find them food, wherein
+her heavy toil is sweet to her, there on the open spray, waiting with
+yearning longing for the sun, fixedly gazing till the morn shall rise;
+so did she stand erect, her eyes intent on the meridian. And seeing her
+suspended in such longing I became as one who yearns for what he knows
+not, and who rests in hope.'[82]
+
+       *       *       *       *       *
+
+Under Beatrice's guidance, then, Dante ascends through the nine heavens
+into the empyrean heights of Paradise. Here in reality are the souls of
+all the blessed, rejoicing in the immediate presence and light of
+God,[83] and here Dante sees them in the glorified forms which they
+will wear after the resurrection. But in order to bring home to his
+human understanding the varied grades of merit and beatitude in
+Paradise, he meets or appears to meet the souls of the departed in the
+successive heavens through which he passes, sweeping with the spheres
+in wider and ever wider arc, as he rises towards the eternal rest by
+which all other things are moved.
+
+It is in these successive heavens that Dante converses with the souls
+of the blessed. In the lower spheres they appear to him in a kind of
+faint bodily form like the reflections cast by glass unsilvered; but in
+the higher spheres they are like gems of glowing light, like stars that
+blaze into sight or fade away in the depths of the sky; and these
+living topaz and ruby lights, like the morning stars that sing together
+in Job, break into strains of ineffable praise and joy as they glow
+upon their way in rhythmic measure both of voice and movement.
+
+Thus in the fourth Heaven, the Heaven of the Sun, Dante meets the souls
+of the great doctors of the Church. Thomas Aquinas is there, and
+Albertus Magnus and the Venerable Bede and many more. A circle of these
+glorious lights is shining round Dante and Beatrice as Aquinas tells
+the poet who they were on earth. 'Then like the horologue, that summons
+us, what hour the spouse of God rises to sing her matins to her
+spouse, to win his love, wherein each part urges and draws its fellow,
+making a tinkling sound of so sweet note that the well-ordered spirit
+swells with love: so did I see the glorious wheel revolve, and render
+voice to voice in melody and sweetness such as ne'er could noted be
+save where joy stretches to eternity.
+
+'Oh, senseless care of mortals! Ah, how false the thoughts that urge
+thee in thy downward flight! One was pursuing law, and medicine one,
+another hunting after priesthood, and a fourth would rule by force or
+fraud; one toiled in robbery, and one in civil business, and a third
+was moiling in the pleasures of the flesh all surfeit-weary, and a
+fourth surrendered him to sloth. And I the while, released from all
+these things, thus gloriously with Beatrice was received in
+Heaven.'[84]
+
+When Beatrice fixes her eyes--remember their allegorical significance
+as the demonstrations of Divine philosophy--upon the light of God, and
+Dante gazes upon them, then quick as thought and without sense of
+motion, the two arise into a higher heaven, like the arrow that finds
+its mark while yet the bow-string trembles; and Dante knows by the
+kindling beauty that glows in his guardian's eyes that they are nearer
+to the presence of God and are sweeping Heaven in a wider arc.
+
+The spirits in the higher heavens see God with clearer vision, and
+therefore love Him with more burning love, and rejoice with a fuller
+joy in His presence than those in the lower spheres. Yet these too rest
+in perfect peace and oneness with God's will.
+
+In the Heaven of the Moon, for instance, the lowest of all, Dante meets
+Piccarda. She was the sister of Forese, whom we saw in the highest
+circle but one of Purgatory, raised so far by his widowed Nella's
+prayers. When Dante recognises her amongst her companions, in her
+transfigured beauty, he says, '"But tell me, ye whose blessedness is
+here, do ye desire a more lofty place, to see more and to be more loved
+by God?" She with those other shades first gently smiled, then answered
+me so joyous that she seemed to glow with love's first flame, "Brother,
+the power of love so lulls our will, it makes us long for nought but
+what we have, and feel no other thirst. If we should wish to be exalted
+more, our wish would be discordant with His will who here assigned us;
+and that may not be within these spheres, as thou thyself mayst see,
+knowing that here we needs must dwell in love, and thinking what love
+is. Nay, 'tis inherent in this blessedness to hold ourselves within the
+will Divine, whereby our wills are one. That we should be thus rank by
+rank throughout this realm ordained, rejoices all the realm e'en as its
+King, who draws our wills in His. And His decree is our peace. It is
+that sea to which all things are moved which it creates and all that
+nature forges." Then was it clear to me how every where in Heaven is
+Paradise, e'en though the grace distil not in one mode from that Chief
+Good.'[85]
+
+So again in the second heaven, the Heaven of Mercury, the soul of
+Justinian tells the poet how that sphere is assigned to them whose
+lofty aims on earth were in some measure fed by love of fame and glory
+rather than inspired by the true love of God. Hence they are in this
+lower sphere. Yet part of their very joy consists in measuring the
+exact accord between the merits and the blessedness of the beatified.
+'As diverse voices make sweet melody,' he continues, 'so do the diverse
+ranks of our life render sweet harmony amidst these spheres.'[86]
+
+Indeed, one of the marvels of this marvellous poem is the extreme
+variety of character and even of incident which we find in Heaven as
+well as in Hell and Purgatory. In each of the three poems there is one
+key-note to which we are ever brought back, but in each there is
+infinite variety and delicacy of individual delineation too. The saints
+are no more uniform and characterless in their blessedness than are the
+unrepentant sinners in their tortures or the repentant in their
+contented pain.
+
+Nor must we suppose that the Paradise is an unbroken succession of
+descriptions of heavenly bliss. Here too, as in Hell and Purgatory, the
+things of earth are from time to time discussed by Dante and the
+spirits that he meets. Here too the glow of a lofty indignation flushes
+the very spheres of Heaven. Thus Peter cries against Pope Boniface
+VIII: 'He who usurps upon the earth my place, _my place_, MY PLACE,
+which in the presence of the Son of God is vacant now, has made the
+city of my sepulture a sink of blood and filth, at which the rebel
+Satan, who erst fell from Heaven, rejoices down in Hell.' And at this
+the whole Heaven glows with red, and Beatrice's cheek flushes as at a
+tale of shame.[87]
+
+Dante is still the same. The sluggish self-indulgence of the monks, the
+reckless and selfish ambition of the factious nobles and rulers, the
+venal infamy of the Court of Rome, cannot be banished from his mind
+even by the beatific visions of Heaven. Nay, the very contrast gives a
+depth of indignant sadness to the denunciations of the Paradise which
+makes them almost more terrible than those of Hell itself.
+
+Interwoven too with the descriptions of the bliss of Heaven, is the
+discussion of so wide a range of moral and theological topics that the
+Paradise has been described as having 'summed up, as it were, and
+embodied for perpetuity ... the quintessence, the living substance, the
+ultimate conclusions of the scholastic theology;'[88] and it may well
+be true that to master the last cantica of the 'Divine Comedy' is to
+pierce more deeply into the heart of mediaeval religion and theology
+than any of the schoolmen and doctors of the Church can take us. At the
+touch of Dante's staff, the flintiest rock of metaphysical dogma yields
+the water of life, and in his mouth the subtlest discussion of
+casuistry becomes a lamp to our feet.
+
+And beyond all this, such is the marvellous concentration of Dante's
+poetry, there is room in the Paradise for long digressions,
+biographical, antiquarian, and personal; whilst all these parts,
+apparently so heterogeneous, are welded into perfect symmetry in this
+one poem.
+
+       *       *       *       *       *
+
+Amongst the most important of the episodes is the account of ancient
+Florence given to Dante by his ancestor Cacciaguida, who also predicts
+the poet's exile and wanderings, and in a strain of lofty enthusiasm
+urges him to pour out all the heart of his vision and brave the hatred
+and the persecution that it will surely bring upon him.
+
+This Cacciaguida was a Crusader who fell in the Holy Land, and Dante
+meets him in the burning planet of Mars, amongst the mighty warriors of
+the Lord whose souls blaze there in a ruddy glow of glory. There is
+Joshua, there Judas Maccabaeus, and Charlemagne and Orlando and Godfrey
+and many more.
+
+A red cross glows athwart the planet's orb, and from it beams in mystic
+guise the Christ; but how, the poet cannot say, for words and images
+are wanting to portray it. Yet he who takes his cross and follows
+Christ, will one day forgive the tongue that failed to tell what he
+shall see when to him also Christ shall flash through that glowing dawn
+of light.
+
+Here the souls, like rubies that glow redder from the red-glowing cross
+as stars shine forth out of the Milky Way, pass and repass from horn to
+horn, from base to summit, and burst into a brighter radiance as they
+join and cross, while strains of lofty and victorious praise, unknown
+to mortal ears, gather upon the cross as though it were a harp of many
+strings, touched by the hand of God, and take captive the entranced,
+adoring soul.
+
+There Cacciaguida hailed his descendant Dante, and long they conversed
+of the past, the present, and the future. Alas for our poor pride of
+birth! What wonder if men glory in it here? For even there in Heaven,
+where no base appetite distorts the will and judgment, even there did
+Dante glow with pride to call this man his ancestor.
+
+At last their converse ended; Cacciaguida's soul again was sweeping the
+unseen strings of that heavenly harp, and Dante turned again to look
+for guidance from his guardian. Beatrice's eyes were fixed above; and
+quick as the blush passes from a fair cheek, so quick the ruddy glow of
+Mars was gone, and the white light of Jupiter shone clear and calm in
+the sixth heaven--the Heaven of the Just.
+
+What a storm of passions and emotions swept through Dante's soul when
+he learnt where he was! 'O chivalry of Heaven!' he exclaimed in agony,
+'pray for those who are led all astray on earth by foul example.' When
+would the Righteous One again be wroth, and purge His temple of the
+traffickers--His temple walled by miracles and martyrdoms? How long
+should the Pope be suffered to degrade his holy office by making the
+penalties of Church discipline the tools of selfish politics--how long
+should his devotion to St. John the Baptist, whose head was stamped
+upon the coins of Florence, make him neglect the fisherman and Paul?
+
+Such were the first thoughts that rose in Dante's mind in the Heaven of
+the Just; but they soon gave way to others. Here surely, here if
+anywhere, God's justice must be manifest. Reflected in all Heaven, here
+must it shine without a veil. The spirits of the just could surely
+solve his torturing doubt. How long had his soul hungered and found no
+food on earth, and now how eagerly did he await the answer to his
+doubt! They knew his doubt, he need not tell it them; oh, let them
+solve it!
+
+Yes, they knew what he would say: 'A man is born upon the bank of
+Indus, and there there is none to speak of Christ, or read or write of
+him. All this man's desires and acts are good, and without sin, as far
+as human eye can see, in deed or word. He dies unbaptised, without the
+faith. Where is that justice which condemns him? Where is his fault in
+not believing?' Yes, they knew his doubt, but could not solve it. Their
+answer is essentially the same as Paul's: 'Nay, but, O man, who art
+thou that repliest against God?'
+
+The Word of God, say the spirits of the just, could not be so expressed
+in all the universe but what it still remained in infinite excess. Nay,
+Lucifer, the highest of created beings, could not at once see all the
+light of God, and fell through his impatience. How then could a poor
+mortal hope to scan the ways of God? His ken was lost in His deep
+justice as the eye is lost in the ocean. We can see the shallow bottom
+of the shore, but we cannot see the bottom of the deep, which none the
+less is there. So God's unfathomable justice is too deep, too just, for
+us to comprehend. The Primal Will, all goodness in itself, moves not
+aside from justice and from good. Never indeed did man ascend to heaven
+who believed not in Christ, yet are there many who cry, Lord, Lord,
+and in the day of judgment shall be far more remote from Christ than
+many a one that knew him not.[89]
+
+With this answer Dante must be content. He must return from Heaven with
+this thirst unslaked, this long hunger still unsatisfied. Ay, and with
+this answer must we too rest content. And yet not with this answer, for
+we do not ask this question. That awful load of doubt under which Dante
+bent is lifted from our souls, and for us there is no eternal Hell,
+there are no virtuous but rejected Heathen. Yet to us too the ocean of
+God's justice is too deep to pierce. And when we ask why every
+blessing, every chance of good, is taken from one child, while another
+is bathed from infancy in the light of love, and is taught sooner than
+it can walk to choose the good and to reject the evil, what answer can
+we have but Dante's? Rest in faith. You know God's justice, for you
+feel it with you in your heart when you are fighting for the cause of
+justice; you know God's justice, for you feel it in your heart like an
+avenging angel when you sin; you know God's justice--but you do not
+know it all.
+
+       *       *       *       *       *
+
+There in the Heaven of the Just was David; now he knew how precious
+were his songs, since his reward was such. There too was Trajan, who by
+experience of the bliss of Heaven and pain of Hell knew how dear the
+cost of not obeying Christ. There were Constantine, and William of
+Sicily, and Ripheus, that just man of Troy. 'What things are these?'
+was the cry that dropped by its own weight from Dante's lips. The
+heathens Trajan and Ripheus here! No, not heathens. Ripheus had so
+given himself to justice when on earth, that God in His grace revealed
+to him the coming Christ, and he believed. Faith, Hope, and Charity
+were his baptism more than a thousand years ere baptism was known. And
+for Trajan, Gregory had wrestled in prayer for him, had taken the
+Kingdom of Heaven by storm with his warm love and living hope; and
+since no man repents in Hell, God at the prayer of Gregory had recalled
+the imperial soul back for a moment to its mouldering clay. There it
+believed in Christ, and once more dying, entered on his joy.[90]
+
+Thus did Dante wrestle with his faith, and in the passion of his love
+of virtue and thirst for justice seek to escape the problem which he
+could not solve.
+
+       *       *       *       *       *
+
+But we must hasten to the close. Dante and Beatrice have passed through
+all the heavens. The poet's sight is gradually strengthened and
+prepared for the supreme vision. He has already seen a kind of symbol
+of the Uncreated, surrounded by the angelic ministers. It was in the
+ninth heaven, the Heaven of the Primum Mobile, that he saw a single
+point of intensest light surrounded by iris rings, upon which point,
+said Beatrice, all Heaven and all nature hung.[91]
+
+But now they have passed beyond all nine revolving heavens into the
+region of 'pure light, light intellectual full of love, love of the
+truth all full of joy, joy that transcends all sweetness.'[92] And here
+the poet sees that for which all else had been mere preparation.
+
+But I will not strive to reproduce his imagery, with the mighty river
+of light inexhaustible, with the mystic flowers of heavenly perfume,
+with the sparks like rubies set in gold ever passing between the
+flowers and the river. Of this river Dante drank, and then the true
+forms of what had hitherto been shadowed forth in emblems only, rose
+before his eyes. Rank upon rank the petals of the mystic rose of
+Paradise stretched far away around and above him. There were the
+blessed souls of the holy ones, bathed in the light of God that
+streamed upon them from above, while the angels ever passed between it
+and them ministering peace and love.
+
+There high up, far, far beyond the reach of mortal eye, had it been on
+earth, sat Beatrice, who had left the poet's side. But in Heaven, with
+no destroying medium to intervene, distance is no let to perfect sight.
+He spoke to her. He poured out his gratitude to her, for it was she who
+had made him a free man from a slave, she who had made him sane, she
+who had left her footprints in Hell for him, when she went to summon
+Virgil to his aid. Oh, that his life hereafter might be worthy of the
+grace and power that had so worked for him! Then from her distant
+place in Heaven, Beatrice looked at him and smiled, then turned her
+eyes upon the Uncreated Light.[93]
+
+St. Bernard was at Dante's side, and prayed that the seer's vision
+might be strengthened to look on God. Then Dante turned his eyes to the
+light above. The unutterable glory of that light dazzled not his
+intent, love-guided gaze. Nay, rather did it draw it to itself and
+every moment strengthen it with keener sight and feed it with intenser
+love.
+
+Deeper and deeper into that Divine Light the seer saw. Had he turned
+his eyes aside, then indeed he knew the piercing glory would have
+blinded them; but that could never be, for he who gazes on that light
+feels all desire centred there--in it are all things else. So for a
+time with kindling gaze the poet looked into the light of God,
+unchanging, yet to the strengthening sight revealing ever more.
+Mysteries that no human tongue can tell, no human mind conceive, were
+flashed upon him in the supreme moment, and then all was over--'The
+power of the lofty vision failed.'
+
+       *       *       *       *       *
+
+Dante does not tell us where he found himself when the vision broke. He
+only tells us this: that as a wheel moves equally in all its parts, so
+his desire and will were, without strain or jar, revolved henceforth by
+that same Love that moves the sun and all the other stars.[94]
+
+This was the end of all that Dante had thought and felt and lived
+through--a will that rolled in perfect oneness with the will of God.
+This was the end to which he would bring his readers, this was the
+purpose of his sacred poem, this was the meaning of his life.[95]
+
+
+FOOTNOTES:
+
+[Footnote 77: _Paradiso_, ii. 1-15.]
+
+[Footnote 78: _Paradiso_, i. 1-12.]
+
+[Footnote 79: _Ibid._ xxxiii. 58-63.]
+
+[Footnote 80: _Convito_, III. xv.]
+
+[Footnote 81: _Purgatorio_, xxx. 79-81, xxxi. 64-67; _Paradiso_, i.
+100-102, xxii. 1 sqq.]
+
+[Footnote 82: _Paradiso_, xxiii. 1-15.]
+
+[Footnote 83: _Ibid._ iv. 28-48.]
+
+[Footnote 84: _Paradiso_, x. 139--xi. 12.]
+
+[Footnote 85: _Paradiso_, iii. 64-90.]
+
+[Footnote 86: _Paradiso_, vi. 112-126.]
+
+[Footnote 87: _Paradiso_, xxvii, 22-34.]
+
+[Footnote 88: Milman.]
+
+[Footnote 89: _Paradiso_, xiv. 85--xix. 148.]
+
+[Footnote 90: _Paradiso_, xx.]
+
+[Footnote 91: _Ibid._ xxviii. 41, 42.]
+
+[Footnote 92: _Ibid._ xxx. 40-42.]
+
+[Footnote 93: _Paradiso_, xxxi. 52-93.]
+
+[Footnote 94: _Paradiso_, xxxiii. 143-145.]
+
+[Footnote 95: Compare Symonds, p. 183.]
+
+
+
+
+APPENDIX
+
+AN ATTEMPT TO STATE THE CENTRAL
+THOUGHT OF THE COMEDY
+
+
+
+
+APPENDIX.
+
+
+Dante's poem--the true reflection of his mind--is a compact and rounded
+_whole_ in which all the parts are mutually interdependent. Its
+digressions are never excrescences, its episodes are never detached
+from its main purpose, its form is never arbitrary and accidental, but
+is always the systematic and deliberate expression of its substance.
+Moreover it is profoundly mediaeval and Catholic in conception and
+spirit. The scholastic theology and science of the Middle Ages and the
+spiritual institutions of the Catholic Church were no trammels to
+Dante's thought and aspiration. Under them and amidst them he moved
+with a perfect sense of freedom, in them he found the embodiment of his
+loftiest conceptions. Against their abuses his impetuous spirit poured
+out its lava-stream of burning indignation, but his very passion
+against those who laid impure hands upon the sacred things of God is
+the measure of his reverence for their sanctity.
+
+If the Catholic poet of the fourteenth century speaks with a voice that
+can reach the ears and stir the hearts of the Protestant and heretic
+of the nineteenth, it is not so much because he rose above the special
+forms and conditions of the faith of his own age as because he went
+below them and touched the eternal rock upon which they rested. Not by
+neglecting or making light of the dogmas and institutions of his day,
+but by piercing to their very heart and revealing their deepest
+foundations, did he become a poet for all time.
+
+The distinction, then, which we are about to draw between the permanent
+realities of Dante's religion and the passing forms, the temporary
+conditions of belief, under which it was manifested, is a distinction
+which did not exist for him. His faith was a garment woven without
+seam, or, to use his own metaphor, a coin so true in weight and metal,
+so bright and round, that there was no 'perhaps' to him in its
+impression.[96]
+
+This unwavering certainty alike in principle and in detail, this
+unfaltering loyalty to the beliefs of his day alike in form and
+substance, is one of the secrets of Dante's strength.
+
+But, again, such compactness and cohesion of belief could not have been
+attained except by the strict subordination of every article of
+concrete faith to the great central conceptions of religion, rising out
+of the very nature and constitution of the devout human soul. And
+therefore, paradox as it may seem, the very intensity with which Dante
+embraced beliefs that we have definitely and utterly rejected, is the
+pledge that we shall find in his teaching the essence of our own
+religion; and we may turn to the Comedy with the certainty that we
+shall not only discover here and there passages which will wake an echo
+in our bosoms, but shall also find at the very heart of it some guiding
+thought that will be to us as it was to him absolutely true.
+
+Now Dante himself, as we have seen, tells us what is the subject of his
+Comedy. Literally it is 'The state of souls after death,' and
+allegorically 'Man, as rendering himself liable to rewarding or
+punishing justice, by good or ill desert in the exercise of his free
+will.' The ideal requirements of Divine Justice, then, form the central
+subject of this poem, the one theme to which, amidst infinite diversity
+of application, the poet remains ever true; and these requirements he
+works out in detail and enforces with all the might, the penetration,
+the sweetness of his song, under the conditions of mediaeval belief as
+to the future life.
+
+But these conditions of belief are utterly foreign to our own
+conceptions. I say nothing of the rejection of the virtuous heathen,
+because Dante himself could really find no room for it in his own
+system of conceptions. It lay in his mind as a belief accepted from
+tradition, but never really assimilated by faith. Apart from this,
+however, we find ourselves severed from Dante by his fundamental dogma
+that the hour of death ends all possibility of repentance or
+amendment. With him there is no repentance in Hell, no progress in
+Heaven; and it is therefore only in Purgatory that we find anything at
+all fundamentally analogous to the modern conception of a progressive
+approximation to ideal perfection and oneness with God throughout the
+cycles of a future life. And even here the transition of Purgatory is
+but temporal, nor is there any fundamental or progressive change of
+heart in its circles, for unless the heart be changed before death it
+cannot change at all.
+
+In its literal acceptation, then, dealing with 'the state of souls
+after death,' the 'Divine Comedy' has little to teach us, except
+indirectly.
+
+But allegorically it deals with 'man,' first as impenitently sinful;
+second, as penitent; last, as purified and holy. It shows us the
+requirements of Divine Justice with regard to these three states; and
+whether we regard them as permanent or transitory, as severed by sharp
+lines one from the other or as melting imperceptibly into each other,
+as existing on earth or beyond the grave, in any case Dante teaches us
+what sentence justice must pronounce on impenitence, on penitence, and
+on sanctity. Nay, independently of any belief in future retribution at
+all, independently of any belief in what our actions will receive,
+Dante burns or flashes into our souls the indelible conviction of what
+they deserve.
+
+Now to Dante's mind, as to most others, the conceptions of _justice_
+and _desert_ implied the conception of _free will_. And accordingly we
+find the reality of the choice exercised by man, and attended by such
+eternal issues, maintained with intense conviction throughout the poem.
+The free will is the supreme gift of God, and that by which the
+creature most closely partakes of the nature of the Creator. The free
+gift of God's love must be seized by an act of man's free will, in
+opposition to the temptations and difficulties that interpose
+themselves. There is justice as well as love in Heaven; justice as well
+as mercy in Purgatory. The award of God rests upon the free choice of
+man, and registers his merit or demerit. It is true, and Dante fully
+recognises it, that one man has a harder task than another. The
+original constitution and the special circumstances of one man make the
+struggle far harder for him than for another; but God never suffers the
+hostile influence of the stars to be so strong that the human will may
+not resist it. Diversity of character and constitution is the necessary
+condition of social life, and we can see why God did not make us all
+alike; but when we seek to pierce yet deeper into the mystery of His
+government, and ask why this man is selected for this task, why another
+is burdened with this toil, why one finds the path of virtue plain for
+his feet to tread, while one finds it beset with obstacles before which
+his heart stands still--when we ask these questions we trench close
+upon one of those doubts which Dante brought back unsolved from
+Heaven. Not the seraph whose sight pierces deepest into the light of
+God could have told him this, so utterly is it veiled from all created
+sight.[97]
+
+But amidst all these perplexities one supreme fact stands out to
+Dante's mind: that, placed as we are on earth amidst the mysterious
+possibilities of good and evil, we are endowed with a genuine power of
+self-directed choice between them. The fullness of God's grace is
+freely offered to us all, the life eternal of obedience, of
+self-surrender, of love, tending ever to the fuller and yet fuller
+harmony of united will and purpose, of mutually blessed and blessing
+offices of affection, of growing joy in all the supporting and
+surrounding creation, of growing repose in the might and love of God.
+
+But if we shut our eyes against the light of God's countenance and turn
+our backs upon His love, if we rebel against the limitations of mutual
+self-sacrifice to one another and common obedience to God, then an
+alternative is also offered us in the fierce and weltering chaos of
+wild passions and disordered desires, recognising no law and evoking no
+harmony, striking at the root of all common purpose and cut off from
+all helpful love.
+
+Our inmost hearts recognise the reality of this choice, and the justice
+and necessity of the award that gives us what we have chosen. That the
+hard, bitter, self-seeking, impure, mutinous, and treacherous heart
+should drive away love and peace and joy is the natural, the necessary
+result of the inmost nature and constitution of things, and our hearts
+accept it. That self-discipline, gentleness, self-surrender, devotion,
+generosity, self-denying love, should gather round them light and
+sweetness, should infuse a fullness of joy into every personal and
+domestic relation, should give a glory to every material surrounding,
+and should gain an ever closer access to God, is no artificial
+arrangement which might with propriety be reversed, it is a part of the
+eternal and necessary constitution of the universe, and we feel that it
+ought so to be.
+
+There is no joy or blessedness without harmony, there is no harmony
+without the concurrence of independent forces, there is no such
+concurrence without self-discipline and self-surrender.
+
+But these natural consequences of our moral action are here on earth
+constantly interfered with and qualified, constantly baulked of their
+full and legitimate effect. Here we do not get our deserts. The actions
+of others affect us almost as much as our own, and artificially
+interpose themselves to screen us from the results of what we are and
+do ourselves. Hence we constantly fail to perceive the true nature of
+our choice. Its consequences fall on others; we partially at least
+evade the Divine Justice, and forget or know not what we are doing, and
+what are the demands of justice with regard to us.
+
+Now Dante, in his three poems, with an incisive keenness of vision and
+a relentless firmness of touch, that stand alone, strips our life and
+our principles of action of all these distracting and confusing
+surroundings, isolates them from all qualifying and artificial
+palliatives, and shows us what our choice is and where it leads to.
+
+In Hell we see the natural and righteous results of sin, recognise the
+direct consequences, the fitting surroundings of a sinful life, and
+understand what the sinful choice in its inmost nature is. As surely as
+our consciences accuse us of the sins that are here punished, so surely
+do we feel with a start of self-accusing horror, 'This is what I am
+trying to make the world. This is where we should be lodged if I
+received what I have given. This is what justice demands that I should
+have. This is what I deserve. It is what I have chosen.'
+
+The tortures of Hell are not artificial inflictions, they are simply
+the reflection and application of the sinner's own ways and principles.
+He has made his choice, and he is given that which he has chosen. He
+has found at last a world in which his principles of action are not
+checked and qualified at every turn by those of others, in which he is
+not screened from any of the consequences of his deeds, in which his
+own life and action has consolidated, so to speak, about him, and has
+made his surroundings correspond with his heart.
+
+In the Hell, Dante shows us the nature and the deserts of impenitent
+sin; and though we may well shrink from the ghastly conception of an
+eternal state of impenitence and hatred, yet surely there is nothing
+from which we ought to shrink in the conception of impenitent sin as
+long as it lasts, whether in us or in others, concentrating its results
+upon itself, making its own place and therefore receiving its deserts.
+
+When we turn from Hell to Purgatory, we turn from unrepentant and
+therefore constantly cherished, renewed, and reiterated sin, to
+repentant sin, already banished from the heart. What does justice
+demand with regard to such sin? Will it have it washed out? Will it, in
+virtue of the sinner's penitence, interpose between him and the
+wretched results and consequences of his deeds? Who that has ever
+sinned and repented will accept for a moment such a thought? The
+repentant sinner does not _wish_ to escape the consequences and results
+of his sin. His evil deeds or passions must bring and ought to bring a
+long trail of wretched suffering for himself. This suffering is not
+corrective, it is expiatory. His heart is already corrected, it is
+already turned in shame and penitence to God; but if he had no
+punishment, if his evil deed brought no suffering upon himself, he
+would feel that the Divine Justice had been outraged. He shrinks from
+the thought with a hurt sense of moral unfitness. He wishes to suffer,
+he would not escape into the peace of Heaven if he might.
+
+Never did Dante pierce more deeply into the truth of things, never did
+he bring home the _justice_ of punishment more closely to the heart,
+than when he told how the souls in Purgatory do not wish to rise to
+Heaven till they have worked out the consequences of their sins. The
+sin long since repented and renounced still haunts us with its shame
+and its remorse, still holds us from the fullness of the joy of God's
+love, still smites us with a keener pain the closer we press into the
+forgiving Father's presence; and we would have it so. The deepest
+longing of our heart, which is now set right, is for full, untroubled
+communion with God, yet it is just when nearest to Him that we feel the
+wretched penalty of our sin most keenly and that we least desire to
+escape it.
+
+But if the sinful disposition be gone, then the source of our suffering
+is dried up with it, and the sense of oneness with God, of harmony and
+trust, gradually overpowers the self-reproach, until from the state of
+penitence and suffering the soul rises to holiness and peace.
+
+It is in giving us glimpses of this final state that Dante wields his
+most transforming power over our lives. He shows us what God offers us,
+what it is that we have hitherto refused, what it is that we may still
+aspire to, that here or hereafter we may hope to reach. Sin-stained and
+sorrow-laden as we are, it is only on wings as strong as his that we
+can be raised even for a moment into that Divine blessedness in which
+sin has been so purged by suffering, so dried up by the sinner's love
+of God, so blotted out by God's love of him, that it has vanished as a
+dream, and the soul can say, 'Here we repent not.'[98] How mighty the
+spirit that can raise us even for a moment from the desolate weariness
+of Hell, and the long suffering of Purgatory, to the joy and peace of
+Heaven!
+
+And here too there is justice. Here too the deserts of the soul are the
+gauge of its condition. For, as we have seen, in the very blessedness
+of Heaven there are grades, and the soul which has once been stained
+with sin or tainted with selfish and worldly passion, can never be as
+though it had been always pure. Yet the torturing sense of unworthiness
+is gone, the unrest of a past that thwarts the present is no more; the
+souls have cast off the burden of their sin, and are at perfect peace
+with God and with themselves.
+
+Sin, repentance, holiness, confronted with the Eternal Justice--what
+they are and what they deserve--such is the subject of Dante
+Alighieri's Comedy.
+
+Have five and a half centuries of progress outgrown the poem, or are
+Dante's still the mightiest and most living words in which man has ever
+painted in detail the true deserts of sin, of penitence, of sanctity?
+The growing mind of man has burst the shell of Dante's mediaeval creed.
+Is his portrayal of the true conditions of blessedness as antiquated as
+his philosophy, his religion as strange to modern thought as his
+theology? Or has he still a power, wielded by no other poet, of taking
+us into the very presence of God and tuning our hearts to the harmonies
+of Heaven? Those who have been with him on his mystic journey, and have
+heard and seen, can answer these questions with a declaration as clear
+and ringing as the poet's own confession of faith in the courts of
+Heaven. If those who have but caught some feeble echoes of his song can
+partly guess what the true answer is, then those echoes have not been
+waked in vain.
+
+
+LONDON: PRINTED BY SPOTTISWOODE AND CO., NEW-STREET SQUARE AND
+PARLIAMENT STREET
+
+
+FOOTNOTES:
+
+[Footnote 96: _Paradiso_, xxiv. 86, 87.]
+
+[Footnote 97: Compare _Purgatorio_, xvi. 67-84; _Paradiso_, iv. 73-114,
+v. 13 sqq., viii. 115-129, xxi. 76-102, xxxii. 49-75.]
+
+[Footnote 98: _Paradiso_, ix. 103.]
+
+
+
+
+       *       *       *       *       *
+
+                   _A LIST OF
+            C. KEGAN PAUL AND CO.'S
+                 PUBLICATIONS._
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+       *       *       *       *       *
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+
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+
+                                 _1, Paternoster Square, London._
+
+A LIST OF
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+ABBEY (Henry).
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+     =Ballads of Good Deeds, and Other Verses.= Fcap. 8vo. Cloth
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+ABDULLA (Hakayit).
+
+     =Autobiography of a Malay Munshi.= Translated by J. T.
+     Thomson, F.R.G.S With Photo-lithograph Page of Abdulla's MS.
+     Post 8vo. Cloth, price 12_s._
+
+
+ADAMS (A. L.), M.A., M.B., F.R.S., F.G.S.
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+     Eastern Canada. Illustrated. 8vo. Cloth, price 14_s._
+
+
+ADAMS (F. O.), F.R.G.S.
+
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+
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+
+     =St. Malo's Quest, and other Poems.= Fcap. 8vo. Cloth, 5_s._
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+
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+     Volume X. of The International Scientific Series.
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+Army of the North German Confederation.
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+COOKE (Prof. J. P.)
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+
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+
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+
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+
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+
+     =Theology and Morality.= Essays on Questions of Belief and
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+
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+
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+     Edition. Crown 8vo. Cloth, price 6_s._
+
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+DE L'HOSTE (Col. E. P.).
+
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+     Fcap. 8vo. Cloth, price 3_s._ 6_d._
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+DENNIS (J.).
+
+     =English Sonnets.= Collected and Arranged. Elegantly bound.
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+
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+DE REDCLIFFE (Viscount Stratford), P.C., K.G., G.C.B.
+
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+
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+
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+DE TOCQUEVILLE (A.).
+
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+
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+
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+
+     =Proverbs in Porcelain.= By the Author of "Vignettes in
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+
+     =Shakspere=: a Critical Study of his Mind and Art. Third
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+
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+DRAPER (J. W.), M.D., LL.D.
+
+     =History of the Conflict between Religion and Science.=
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+
+     Volume XIII. of The International Scientific Series.
+
+
+DREW (Rev. Q. S.), M.A.
+
+     =Scripture Lands in connection with their History.= Second
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+
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+
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+
+
+DU VERNOIS (Col. von Verdy).
+
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+     Parts I. and II. Demy 8vo. Cloth, price 7_s._
+
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+EDEN (Frederick).
+
+     =The Nile without a Dragoman.= Second Edition. Crown 8vo.
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+EDMONDS (Herbert).
+
+     =Well Spent Lives=: a Series of Modern Biographies. Crown
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+
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+     =Medusa and other Poems.= Crown 8vo. Cloth, price 6_s._
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+
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+
+
+ELSDALE (Henry).
+
+     =Studies in Tennyson's Idylls.= Crown 8vo. Cloth, price
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+
+
+=Epic of Hades (The).=
+
+     By the author of "Songs of Two Worlds." Seventh and finally
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+
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+
+     Poems. By E. B. D. Fcap. 8vo. Cloth, price 3_s._ 6_d._
+
+
+=Essays on the Endowment of Research.=
+
+     By Various Writers. Square crown 8vo. Cloth, price 10_s._
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+EVANS (Mark).
+
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+FARQUHARSON (M.).
+
+     =I. Elsie Dinsmore.= Crown 8vo. Cloth, price 3_s._ 6_d._
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+FERRIS (Henry Weybridge).
+
+     =Poems.= Fcap. 8vo. Cloth, price 5_s._
+
+
+FINN (the late James), M.R.A.S.
+
+     =Stirring Times=; or, Records from Jerusalem Consular
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+
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+     Cloth, price 3_s._ 6_d._
+
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+
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+FOOTMAN (Rev. H.), M.A.
+
+     =From Home and Back=; or, Some Aspects of Sin as seen in the
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+     price 5_s._
+
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+FOWLE (Rev. Edmund).
+
+     =Latin Primer Rules made Easy.= Crown 8vo. Cloth, price
+     3_s._
+
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+FOWLE (Rev. T. W.), M.A.
+
+     =The Reconciliation of Religion and Science.= Being Essays
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+
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+
+     =The Life of John Locke=, 1632-1704. 2 vols. Demy 8vo.
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+
+FRASER (Donald).
+
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+
+
+FRISWELL (J. Hain).
+
+     =The Better Self.= Essays for Home Life. Crown 8vo. Cloth,
+     price 6_s._
+
+     =One of Two; or, A Left-Handed Bride.= With a Frontispiece.
+     Crown 8vo. Cloth, price 3_s._ 6_d._
+
+
+FYTCHE (Lieut.-Gen. Albert), C.S.I., late Chief Commissioner of British
+Burma.
+
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+     Country. With Steel Portraits, Chromo-lithographs, Engravings
+     on Wood, and Map. 2 vols. Demy 8vo. Cloth, price 30_s._
+
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+GAMBIER (Capt. J. W.), R.N.
+
+     =Servia.= Crown 8vo. Cloth, price 5_s._
+
+
+GARDNER (H.).
+
+     =Sunflowers.= A Book of Verses. Fcap. 8vo. Cloth, price 5_s._
+
+
+GARDNER (J.), M.D.
+
+     =Longevity: The Means of Prolonging Life after Middle Age.=
+     Fourth Edition, Revised and Enlarged. Small crown 8vo.
+     Cloth, price 4_s._
+
+
+GARRETT (E.).
+
+     =By Still Waters.= A Story for Quiet Hours. With Seven
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+
+
+GEBLER (Karl Von).
+
+     =Galileo Galilei and the Roman Curia=, from Authentic
+     Sources. Translated with the sanction of the Author, by Mrs.
+     GEORGE STURGE. Demy 8vo. Cloth.
+
+
+G. H. T.
+
+     =Verses=, mostly written in India. Crown 8vo. Cloth, price
+     6_s._
+
+
+GILBERT (Mrs.).
+
+     =Autobiography and other Memorials.= Edited by Josiah
+     Gilbert. Third Edition. With Portrait and several Wood
+     Engravings. Crown 8vo. Cloth, price 7_s._ 6_d._
+
+
+GILL (Rev. W. W.), B.A.
+
+     =Myths and Songs from the South Pacific.= With a Preface by
+     F. Max Mueller, M.A., Professor of Comparative Philology at
+     Oxford. Post 8vo. Cloth, price 9_s._
+
+
+GODKIN (James).
+
+     =The Religious History of Ireland: Primitive, Papal, and
+     Protestant.= Including the Evangelical Missions, Catholic
+     Agitations, and Church Progress of the last half Century.
+     8vo. Cloth, price 12_s._
+
+
+GODWIN (William).
+
+     =William Godwin: His Friends and Contemporaries.= With
+     Portraits and Facsimiles of the handwriting of Godwin and
+     his Wife. By C. Kegan Paul. 2 vols. Demy 8vo. Cloth, price
+     28_s._
+
+     =The Genius of Christianity Unveiled.= Being Essays never
+     before published. Edited, with a Preface, by C. Kegan Paul.
+     Crown 8vo. Cloth, price 7_s._ 6_d._
+
+
+GOETZE (Capt. A. von).
+
+     =Operations of the German Engineers during the War of
+     1870-1871.= Published by Authority, and in accordance with
+     Official Documents. Translated from the German by Colonel G.
+     Graham, V.C., C.B., R.E. With 6 large Maps. Demy 8vo. Cloth,
+     price 21_s._
+
+
+GOLDIE (Lieut. M. H. G.)
+
+     =Hebe: a Tale.= Fcap. 8vo. Cloth, price 5_s._
+
+
+GOODENOUGH (Commodore J. G.), R.N., C.B., C.M.G.
+
+     =Memoir of, with Extracts from his Letters and Journals.=
+     Edited by his Widow. With Steel Engraved Portrait. Square
+     8vo. Cloth, 5_s._
+
+     * * * Also a Library Edition with Maps, Woodcuts, and Steel
+     Engraved Portrait. Square post 8vo. Cloth, price 14_s._
+
+
+GOODMAN (W.).
+
+     =Cuba, the Pearl of the Antilles.= Crown 8vo. Cloth, price
+     7_s._ 6_d._
+
+
+GOULD (Rev. S. Baring), M.A.
+
+     =The Vicar of Morwenstow: a Memoir of the Rev. R. S.
+     Hawker.= With Portrait. Third Edition, revised. Square post
+     8vo. Cloth, 10_s._ 6_d._
+
+
+GRANVILLE (A. B.), M.D., F.R.S., &c.
+
+     =Autobiography of A. B. Granville, F.R.S.=, &c. Edited, with
+     a brief Account of the concluding Years of his Life, by his
+     youngest Daughter, Paulina B. Granville. 2 vols. With a
+     Portrait. Second Edition. Demy 8vo. Cloth, price 32_s._
+
+
+GREY (John), of Dilston.
+
+     =John Grey (of Dilston): Memoirs.= By Josephine E. Butler.
+     New and Revised Edition. Crown 8vo. Cloth, price 3_s._ 6_d._
+
+
+GRIFFITH (Rev. T.), A.M.
+
+     =Studies of the Divine Master.= Demy 8vo. Cloth, price
+     12_s._
+
+
+GRIFFITHS (Capt. Arthur).
+
+     =Memorials of Millbank, and Chapters in Prison History.=
+     With Illustrations by R. Goff and the Author. 2 vols. Post
+     8vo. Cloth, price 21_s._
+
+
+GRIMLEY (Rev. H. N.), M.A.
+
+     =Tremadoc Sermons=, chiefly on the SPIRITUAL BODY, the UNSEEN
+     WORLD, and the DIVINE HUMANITY. Second Edition. Crown 8vo.
+     Cloth, price 6_s._
+
+
+GRUeNER (M. L.).
+
+     =Studies of Blast Furnace Phenomena.= Translated by L. D. B.
+     Gordon, F.R.S.E., F.G.S. Demy 8vo. Cloth, price 7_s._ 6_d._
+
+
+GURNEY (Rev. Archer).
+
+     =Words of Faith and Cheer.= A Mission of Instruction and
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+
+
+=Gwen: A Drama in Monologue.= By the Author of the "Epic of
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+
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+HAECKEL (Prof. Ernst).
+
+     =The History of Creation.= Translation revised by Professor
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+
+     =The History of the Evolution of Man.= With numerous
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+
+
+=Halleck's International Law;= or, Rules Regulating the
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+HARCOURT (Capt A. F. P.).
+
+     =The Shakespeare Argosy.= Containing much of the wealth of
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+
+
+HARDY (Thomas).
+
+     =A Pair of Blue Eyes.= New Edition. Crown 8vo. Cloth, price
+     6_s._
+
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+HARRISON (Lieut.-Col. R.).
+
+     =The Officer's Memorandum Book for Peace and War.= Second
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+     3_s._ 6_d._; russia, 5_s._
+
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+HAWEIS (Rev. H. R.), M.A.
+
+     =Arrows in the Air.= Crown 8vo. Second Edition. Cloth, price
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+
+     =Current Coin.= Materialism--The
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+     =Speech in Season.= Fourth Edition. Crown 8vo. Cloth, price
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+
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+HAWKER (Robert Stephen).
+
+     =The Poetical Works of.= Now first collected and arranged,
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+     Crown 8vo. Cloth, price 12_s._
+
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+HAYMAN (H.), D.D., late Head Master of Rugby School.
+
+     =Rugby School Sermons.= With an Introductory Essay on the
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+
+
+HELLWALD (Baron F. von).
+
+     =The Russians in Central Asia.= A Critical Examination, down
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+     Large post 8vo. With Map. Cloth, price 12_s._
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+
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+
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+
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+HERFORD (Brooke).
+
+     =The Story of Religion in England.= A Book for Young Folk.
+     Crown 8vo. Cloth, price 5_s._
+
+
+HEWLETT (Henry G.)
+
+     =A Sheaf of Verse.= Fcap. 8vo. Cloth, price 3_s._ 6_d._
+
+
+HINTON (James).
+
+     =Life and Letters of.= Edited by Ellice Hopkins, with an
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+     on Steel by C. H. Jeens. Second Edition. Crown 8vo. Cloth,
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+
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+
+     =An Atlas of Diseases of the Membrana Tympani.= With
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+H. J. C.
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+     price 3_s._ 6_d._
+
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+HOCKLEY (W. B.).
+
+     =Tales of the Zenana=; or, A Nuwab's Leisure Hours. By the
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+
+     =Pandurang Hari=; or, Memoirs of a Hindoo. A Tale of
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+     Crown 8vo. Cloth, price 6_s._
+
+
+HOFFBAUER (Capt.).
+
+     =The German Artillery in the Battles near Metz.= Based on
+     the official reports of the German Artillery. Translated by
+     Capt. E. O. Hollist. With Map and Plans. Demy 8vo. Cloth,
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+
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+HOLMES (E. G. A.).
+
+     =Poems.= First and Second Series. Fcap. 8vo. Cloth, price
+     5_s._ each.
+
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+HOLROYD (Major W. R. M.).
+
+     =Tas-hil ul Kalam=; or, Hindustani made Easy. Crown 8vo.
+     Cloth, price 5_s._
+
+
+HOOPER (Mary).
+
+     =Little Dinners: How to Serve them with Elegance and
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+
+     =Cookery for Invalids, Persons of Delicate Digestion, and
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+     =Every-Day Meals.= Being Economical and Wholesome Recipes
+     for Breakfast, Luncheon, and Supper. Second Edition. Crown
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+
+
+HOOPER (Mrs. G.).
+
+     =The House of Raby.= With a Frontispiece. Crown 8vo. Cloth,
+     price 3_s._ 6_d._
+
+
+HOPKINS (Ellice).
+
+     =Life and Letters of James Hinton=, with an Introduction by
+     Sir W. W. Gull, Bart., and Portrait engraved on Steel by C.
+     H. Jeens. Second Edition. Crown 8vo. Cloth, price 8_s._ 6_d._
+
+
+HOPKINS (M.).
+
+     =The Port of Refuge=; or, Counsel and Aid to Shipmasters in
+     Difficulty, Doubt, or Distress. Crown 8vo. Second and
+     Revised Edition. Cloth, price 6_s._
+
+
+HORNE (William), M.A.
+
+     =Reason and Revelation=: an Examination into the Nature and
+     Contents of Scripture Revelation, as compared with other
+     Forms of Truth. Demy 8vo. Cloth, price 12_s._
+
+
+HORNER (The Misses).
+
+     =Walks in Florence.= A New and thoroughly Revised Edition. 2
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+
+     Vol. I.--Churches, Streets, and Palaces. 10_s._ 6_d._ Vol.
+     II.--Public Galleries and Museums. 5_s._
+
+
+HOWARD (Mary M.).
+
+     =Beatrice Aylmer, and other Tales.= Crown 8vo. Cloth, price
+     6_s._
+
+
+HOWARD (Rev. G. B.).
+
+     =An Old Legend of St. Paul's.= Fcap. 8vo. Cloth, price 4_s._
+     6_d._
+
+
+HOWELL (James).
+
+     =A Tale of the Sea, Sonnets, and other Poems.= Fcap. 8vo.
+     Cloth, price 5_s._
+
+
+HUGHES (Allison).
+
+     =Penelope and other Poems.= Fcap. 8vo. Cloth, price 4_s._
+     6_d._
+
+
+HULL (Edmund C. P.).
+
+     =The European in India.= With a MEDICAL GUIDE FOR
+     ANGLO-INDIANS. By R. R. S. Mair, M.D., F.R.C.S.E. Third
+     Edition. Revised and Corrected. Post 8vo. Cloth, price 6_s._
+
+
+HUTCHISON (Lieut. Col. F. J.), and Capt. G. H. MACGREGOR.
+
+     =Military Sketching and Reconnaissance.= With Fifteen
+     Plates. Small 8vo. Cloth, price 6_s_. Being the first Volume
+     of Military Hand-books for Regimental Officers. Edited by
+     Lieut.-Col. C. B. BRACKENBURY, R.A., A.A.G.
+
+
+IGNOTUS.
+
+     =Culmshire Folk.= A Novel. New and Cheaper Edition. Crown
+     8vo. Cloth, price 6_s._
+
+
+INCHBOLD (J. W.).
+
+     =Annus Amoris.= Sonnets. Fcap. 8vo. Cloth, price 4_s._ 6_d._
+
+
+INGELOW (Jean).
+
+     =The Little Wonder-horn.= A Second Series of "Stories Told
+     to a Child." With Fifteen Illustrations. Small 8vo. Cloth,
+     price 2_s._ 6_d._
+
+
+=Indian Bishoprics.= By an Indian Churchman. Demy 8vo. 6_d._
+
+
+=International Scientific Series (The).=
+
+     =I. Forms of Water: A Familiar Exposition of the Origin and
+     Phenomena of Glaciers.= By J. Tyndall, LL.D., F.R.S. With 25
+     Illustrations. Seventh Edition. Crown 8vo. Cloth, price
+     5_s._
+
+     =II. Physics and Politics=; or, Thoughts on the Application
+     of the Principles of "Natural Selection" and "Inheritance"
+     to Political Society. By Walter Bagehot. Fourth Edition.
+     Crown 8vo. Cloth, price 4_s._
+
+     =III. Foods.= By Edward Smith, M.D., LL.B., F.R.S. With
+     numerous Illustrations. Fifth Edition. Crown 8vo. Cloth,
+     price 5_s._
+
+     =IV. Mind and Body=: The Theories of their Relation. By
+     Alexander Bain, LL.D. With Four Illustrations. Sixth
+     Edition. Crown 8vo. Cloth, price 4_s._
+
+     =V. The Study of Sociology.= By Herbert Spencer. Seventh
+     Edition. Crown 8vo. Cloth, price 5_s._
+
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+     M.A., LL.D., F.R.S. With 14 Illustrations. Fifth Edition.
+     Crown 8vo. Cloth, price 5_s._
+
+     =VII. Animal Locomotion=; or, Walking, Swimming, and Flying.
+     By J. B. Pettigrew, M.D., F.R.S., &c. With 130
+     Illustrations. Second Edition. Crown 8vo. Cloth, price 5_s._
+
+     =VIII. Responsibility in Mental Disease.= By Henry Maudsley,
+     M.D. Third Edition. Crown 8vo. Cloth, price 5_s._
+
+     =IX. The New Chemistry.= By Professor J. P. Cooke, of the
+     Harvard University. With 31 Illustrations. Fourth Edition.
+     Crown 8vo. Cloth, price 5_s._
+
+     =X. The Science of Law.= By Professor Sheldon Amos. Third
+     Edition. Crown 8vo. Cloth, price 5_s._
+
+     =XI. Animal Mechanism.= A Treatise on Terrestrial and Aerial
+     Locomotion. By Professor E. J. Marey. With 117
+     Illustrations. Second Edition. Crown 8vo. Cloth, price 5_s._
+
+     =XII. The Doctrine of Descent and Darwinism.= By Professor
+     Oscar Schmidt (Strasburg University). With 26 Illustrations.
+     Third Edition. Crown 8vo. Cloth, price 5_s._
+
+     =XIII. The History of the Conflict between Religion and
+     Science.= By J. W. Draper, M.D., LL.D. Eleventh Edition.
+     Crown 8vo. Cloth, price 5_s._
+
+     =XIV. Fungi=; their Nature, Influences, Uses, &c. By M. C.
+     Cooke, M.A., LL.D. Edited by the Rev. M. J. Berkeley, M.A.,
+     F.L.S. With numerous Illustrations. Second Edition. Crown
+     8vo. Cloth, price 5_s._
+
+     =XV. The Chemical Effects of Light and Photography.= By Dr.
+     Hermann Vogel (Polytechnic Academy of Berlin). With 100
+     Illustrations. Third and Revised Edition. Crown 8vo. Cloth,
+     price 5_s._
+
+     =XVI. The Life and Growth of Language.= By William Dwight
+     Whitney, Professor of Sanskrit and Comparative Philology in
+     Yale College, New Haven. Second Edition. Crown 8vo. Cloth,
+     price 5_s._
+
+     =XVII. Money and the Mechanism of Exchange.= By W. Stanley
+     Jevons, M.A., F.R.S. Fourth Edition. Crown 8vo. Cloth, price
+     5_s._
+
+     =XVIII. The Nature of Light=: With a General Account of
+     Physical Optics. By Dr. Eugene Lommel, Professor of Physics
+     in the University of Erlangen. With 188 Illustrations and a
+     table of Spectra in Chromo-lithography. Second Edition.
+     Crown 8vo. Cloth, price 5_s._
+
+     =XIX. Animal Parasites and Messmates.= By Monsieur Van
+     Beneden, Professor of the University of Louvain,
+     Correspondent of the Institute of France. With 83
+     Illustrations. Second Edition. Crown 8vo. Cloth, price 5_s._
+
+     =XX. Fermentation.= By Professor Schuetzenberger, Director of
+     the Chemical Laboratory at the Sorbonne. With 28
+     Illustrations. Second Edition. Crown 8vo. Cloth, price 5_s._
+
+     =XXI. The Five Senses of Man.= By Professor Bernstein, of
+     the University of Halle. With 91 Illustrations. Second
+     Edition. Crown 8vo. Cloth, price 5_s._
+
+     =XXII. The Theory of Sound in its Relation to Music.= By
+     Professor Pietro Blaserna, of the Royal University of Rome.
+     With numerous Illustrations. Second Edition. Crown 8vo.
+     Cloth, price 5_s._
+
+     =XXIII. Studies in Spectrum Analysis.= By J. Norman Lockyer,
+     F.R.S. With six photographic Illustrations of Spectra, and
+     numerous engravings on wood. Crown 8vo. Second Edition.
+     Cloth, price 6_s._ 6_d._
+
+     =XXIV. A History of the Growth of the Steam Engine.= By
+     Prof. R. H. Thurston. With numerous Illustrations. Second
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+
+     =XXV. Education as a Science.= By Alexander Bain, LL. D.
+     Second Edition. Crown 8vo. Cloth, price 5_s._
+
+          _Forthcoming Volumes._
+
+     Prof. W. KINGDON CLIFFORD, M.A. The First Principles of the
+     Exact Sciences explained to the Non-mathematical.
+
+     W. B. CARPENTER, LL.D., F.R.S. The Physical Geography of the
+     Sea.
+
+     Sir JOHN LUBBOCK, Bart., F.R.S. On Ants and Bees.
+
+     Prof. W. T. THISELTON DYER, B.A., B.Sc. Form and Habit in
+     Flowering Plants.
+
+     Prof. MICHAEL FOSTER, M.D. Protoplasm and the Cell Theory.
+
+     H. CHARLTON BASTIAN, M.D., F.R.S. The Brain as an Organ of
+     Mind.
+
+     Prof. A. C. RAMSAY, LL.D., F.R.S. Earth Sculpture: Hills,
+     Valleys, Mountains, Plains, Rivers, Lakes; how they were
+     Produced, and how they have been Destroyed.
+
+     P. BERT (Professor of Physiology, Paris). Forms of Life and
+     other Cosmical Conditions.
+
+     Prof. T. H. HUXLEY. The Crayfish: an Introduction to the
+     Study of Zoology.
+
+     The Rev. A. SECCHI, D.J., late Director of the Observatory
+     at Rome. The Stars.
+
+     Prof. J. ROSENTHAL, of the University of Erlangen. General
+     Physiology of Muscles and Nerves.
+
+     Prof. A. DE QUATREFAGES, Membre de l'Institut. The Human
+     Race.
+
+     FRANCIS GALTON, F.R.S. Psychometry.
+
+     J. W. JUDD, F.R.S. The Laws of Volcanic Action.
+
+     Prof. F. N. BALFOUR. The Embryonic Phases of Animal Life.
+
+     J. LUYS, Physician to the Hospice de la Salpetriere. The
+     Brain and its Functions. With Illustrations.
+
+     Dr. CARL SEMPER. Animals and their Conditions of Existence.
+
+     Prof. WURTZ. Atoms and the Atomic Theory.
+
+     GEORGE J. ROMANES, F.L.S. Animal Intelligence.
+
+     ALFRED W. BENNETT. A Handbook of Cryptogamic Botany.
+
+
+JACKSON (T. G.).
+
+     =Modern Gothic Architecture.= Crown 8vo. Cloth, price 5_s._
+
+
+JACOB (Maj.-Gen. Sir G. Le Grand), K.C.S.I., C.B.
+
+     =Western India before and during the Mutinies.= Pictures
+     drawn from life. Second Edition. Crown 8vo. Cloth, price
+     7_s._ 6_d._
+
+
+JENKINS (E.) and RAYMOND (J.), Esqs.
+
+     =A Legal Handbook for Architects, Builders, and Building
+     Owners.= Second Edition Revised. Crown 8vo. Cloth, price
+     6_s._
+
+
+JENKINS (Rev. R. C.), M.A.
+
+     =The Privilege of Peter= and the Claims of the Roman Church,
+     confronted with the Scriptures, the Councils, and the
+     Testimony of the Popes themselves. Fcap. 8vo. Cloth, price
+     3_s._ 6_d._
+
+
+JENNINGS (Mrs. Vaughan).
+
+     =Rahel: Her Life and Letters.= With a Portrait from the
+     Painting by Daffinger. Square post 8vo. Cloth, price 7_s._
+     6_d._
+
+
+=Jeroveam's Wife and other Poems.= Fcap. 8vo. Cloth, price
+     3_s._ 6_d._
+
+
+JEVONS (W. Stanley), M.A., F.R.S.
+
+     =Money and the Mechanism of Exchange.= Fourth Edition. Crown
+     8vo. Cloth, price 5_s._
+
+     Volume XVII. of The International Scientific Series.
+
+
+JONES (Lucy).
+
+     =Puddings and Sweets.= Being Three Hundred and Sixty-Five
+     Receipts approved by Experience. Crown 8vo., price 2_s._
+     6_d._
+
+
+KAUFMANN (Rev. M.), B.A.
+
+     =Socialism:= Its Nature, its Dangers, and its Remedies
+     considered. Crown 8vo. Cloth, price 7_s._ 6_d._
+
+
+KER (David).
+
+     =The Boy Slave in Bokhara.= A Tale of Central Asia. With
+     Illustrations. Crown 8vo. Cloth, price 5_s._
+
+     =The Wild Horseman of the Pampas.= Illustrated. Crown 8vo.
+     Cloth, price 5_s._
+
+
+KERNER (Dr. A.), Professor of Botany in the University of Innsbruck.
+
+     =Flowers and their Unbidden Guests.= Translation edited by
+     W. OGLE, M.A., M.D., and a prefatory letter by C. Darwin,
+     F.R.S. With Illustrations. Sq. 8vo. Cloth, price 9_s._
+
+
+KIDD (Joseph), M.D.
+
+     =The Laws of Therapeutics,= or, the Science and Art of
+     Medicine. Crown 8vo. Cloth, price 6_s._
+
+
+KINAHAN (G. Henry), M.R.I.A., &c., of her Majesty's Geological Survey.
+
+     =Manual of the Geology of Ireland.= With 8 Plates, 26
+     Woodcuts, and a Map of Ireland, geologically coloured.
+     Square 8vo. Cloth, price 15_s._
+
+
+KING (Alice).
+
+     =A Cluster of Lives.= Crown 8vo. Cloth, price 7_s._ 6_d._
+
+
+KING (Mrs. Hamilton).
+
+     =The Disciples.= A Poem. Third Edition, with some Notes.
+     Crown 8vo. Cloth, price 7_s._ 6_d._
+
+     =Aspromonte, and other Poems.= Second Edition. Fcap. 8vo.
+     Cloth, price 4_s._ 6_d._
+
+
+KINGSLEY (Charles), M.A.
+
+     =Letters and Memories of his Life.= Edited by his Wife. With
+     2 Steel engraved Portraits and numerous Illustrations on
+     Wood, and a Facsimile of his Handwriting. Thirteenth
+     Edition. 2 vols. Demy 8vo. Cloth, price 36_s._
+
+     * * * Also a Cabinet Edition in 2 vols. Crown 8vo. Cloth,
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+
+     =All Saints' Day and other Sermons.= Second Edition. Crown
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+
+     =True Words for Brave Men=: a Book for Soldiers' and
+     Sailors' Libraries. Fifth Edition. Crown 8vo. Cloth, price
+     2_s._ 6_d._
+
+
+KNIGHT (A. F. C.).
+
+     =Poems.= Fcap. 8vo. Cloth, price 5_s._
+
+
+LACORDAIRE (Rev. Pere).
+
+     =Life=: Conferences delivered at Toulouse. A New and Cheaper
+     Edition. Crown 8vo. Cloth, price 3_s._ 6_d._
+
+
+=Lady of Lipari (The)=. A Poem in Three Cantos. Fcap. 8vo.
+     Cloth, price 5_s._
+
+
+LAIRD-CLOWES (W.).
+
+     =Love's Rebellion=: a Poem. Fcap. 8vo. Cloth, price 3_s._
+     6_d._
+
+
+LAMBERT (Cowley), F.R.G.S.
+
+     =A Trip to Cashmere and Ladak.= With numerous Illustrations.
+     Crown 8vo. Cloth, 7_s._ 6_d._
+
+
+LAMONT (Martha MacDonald).
+
+     =The Gladiator=: A Life under the Roman Empire in the
+     beginning of the Third Century. With four Illustrations by
+     H. M. Paget. Extra fcap. 8vo. Cloth, price 3_s._ 6_d._
+
+
+LAYMANN (Capt.).
+
+     =The Frontal Attack of Infantry.= Translated by Colonel
+     Edward Newdigate. Crown 8vo. Cloth, price 2_s._ 6_d._
+
+
+L. D. S.
+
+     =Letters from China and Japan.= With Illustrated Title-page.
+     Crown 8vo. Cloth, price 7_s._ 6_d._
+
+
+LEANDER (Richard).
+
+     =Fantastic Stories.= Translated from the German by Paulina
+     B. Granville. With Eight full-page Illustrations by M. E.
+     Fraser-Tytler. Crown 8vo. Cloth, price 5_s._
+
+
+LEE (Rev. F. G.), D.C.L.
+
+     =The Other World=; or, Glimpses of the Supernatural. 2 vols.
+     A New Edition. Crown 8vo. Cloth, price 15_s._
+
+
+LEE (Holme).
+
+     =Her Title of Honour.= A Book for Girls. New Edition. With a
+     Frontispiece. Crown 8vo. Cloth, price 5_s._
+
+
+LENOIR (J.).
+
+     =Fayoum=; or, Artists in Egypt. A Tour with M. Gerome and
+     others. With 13 Illustrations. A New and Cheaper Edition.
+     Crown 8vo. Cloth, price 3_s_. 6_d._
+
+
+LEWIS (Mary A.).
+
+     =A Rat with Three Tales.= With Four Illustrations by
+     Catherine F. Frere. Crown 8vo. Cloth, price 5_s._
+
+
+LOCKER (F.).
+
+     =London Lyrics.= A New and Revised Edition, with Additions
+     and a Portrait of the Author. Crown 8vo. Cloth, elegant,
+     price 6_s._
+
+     Also, an Edition for the People. Fcap. 8vo. Cloth, price
+     2_s._ 6_d._
+
+
+LOCKYER (J. Norman), F.R.S.
+
+     =Studies in Spectrum Analysis=; with six photographic
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+     Second Edition. Crown 8vo. Cloth, price 6_s._ 6_d._
+
+     Vol. XXIII. of The International Scientific Series.
+
+
+LOMMEL (Dr. E.).
+
+     =The Nature of Light=: With a General Account of Physical
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+     Cloth, price 5_s._
+
+     Volume XVIII. of The International Scientific Series.
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+LOTHIAN (Roxburghe).
+
+     =Dante and Beatrice from 1282 to 1290.= A Romance. 2 vols.
+     Post 8vo. Cloth, price 24_s._
+
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+LOVER (Samuel), R.H.A.
+
+     =The Life of Samuel Lover=, R.H.A.; Artistic, Literary, and
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+     Post 8vo. Cloth, price 21_s._
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+
+     =Translations from the Works of German Poets of the 18th and
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+
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+LYONS (R. T.), Surg.-Maj. Bengal Army.
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+
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+
+     =Sir Spangle and the Dingy Hen.= Illustrated. Square crown
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+
+
+MAC DONALD (G.).
+
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+
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+
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+
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+
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+
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+
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+
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+
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+
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+
+     Volume XI. of The International Scientific Series.
+
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+
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+
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+MASTERMAN (J.).
+
+     =Worth Waiting for.= A New Novel. 3 vols. Crown 8vo. Cloth.
+
+     =Half-a-Dozen Daughters.= With a Frontispiece. Crown 8vo.
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+
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+MAUDSLEY (Dr. H.).
+
+     =Responsibility in Mental Disease.= Third Edition. Crown
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+
+     Volume VIII. of The International Scientific Series.
+
+
+MAUGHAN (W. C.).
+
+     =The Alps of Arabia=; or, Travels through Egypt, Sinai,
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+     8vo. Cloth, price 5_s._
+
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+
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+
+     A Memoir. By E. A. V. Two Photographic Portraits. Second
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+
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+MEDLEY (Lieut.-Col. J. G.), R.E.
+
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+
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+
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+     6_s._
+
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+
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+
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+
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+
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+
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+     Catholic and Apostolic Church. 2 vols. Large post 8vo.
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+
+
+MILLER (Robert).
+
+     =The Romance of Love.= Fcap. 8vo. Cloth, price 5_s._
+
+
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+
+     =Tables of Exchange= for the Conversion of Sterling Money
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+
+     =Contemporary Evolution=: An Essay on some recent Social
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+
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+
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+     characters. Fcap. 8vo. Cloth, price 5_s._
+
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+MOFFAT (Robert Scott).
+
+     =The Economy of Consumption=; an Omitted Chapter in
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+     Mill, Fawcett, &c. Demy 8vo. Cloth, price 18_s._
+
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+     Reprinted from "The Economy of Consumption," with a Preface
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+     Mill on Rent, Value, and Cost of Production. Demy 8vo.
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+MOLTKE (Field-Marshal Von).
+
+     =Letters from Russia.= Translated by Robina Napier. Crown
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+
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+
+     =Christ and His Church.= By the Author of "The Age and the
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+
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+
+     =Under the Balkans.= Notes of a Visit to the District of
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+
+
+MORELL (J. R.).
+
+     =Euclid Simplified in Method and Language.= Being a Manual
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+
+     =The Olympian and Pythian Odes of Pindar.= A New Translation
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+
+
+MORLEY (Susan).
+
+     =Margaret Chetwynd.= A Novel. 3 vols. Crown 8vo. Cloth.
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+
+     =First Book of Zoology.= With numerous Illustrations. Crown
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+
+     =The Agamemnon of AEschylus.= Translated into English verse.
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+
+
+MUSGRAVE (Anthony).
+
+     =Studies in Political Economy.= Crown 8vo. Cloth, price
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+NAAKE (J. T.).
+
+     =Slavonic Fairy Tales.= From Russian, Servian, Polish, and
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+
+
+NEWMAN (J. H.), D.D.
+
+     =Characteristics from the Writings of.= Being Selections
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+
+     * * * A Portrait of the Rev. Dr. J. H. Newman, mounted for
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+NEW WRITER (A).
+
+     =Songs of Two Worlds.= Fourth Edition. Complete in one
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+
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+     Fcap. 8vo. Cloth, price 7_s._ 6_d._
+
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+NICHOLAS (Thomas), Ph.D., F.G.S.
+
+     =The Pedigree of the English People=: an Argument,
+     Historical and Scientific, on the Formation and Growth of
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+
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+NICHOLSON (Edward B.), Librarian of the London Institution.
+
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+NOAKE (Major R. Compton).
+
+     =The Bivouac=; or, Martial Lyrist, with an Appendix--Advice
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+
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+NOBLE (J. A.).
+
+     =The Pelican Papers.= Reminiscences and Remains of a Dweller
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+
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+NORMAN PEOPLE (The).
+
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+NORRIS (Rev. Alfred).
+
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+
+Notes on Cavalry Tactics, Organization, &c. By a Cavalry Officer.
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+NOTREGE (John), A.M.
+
+     =The Spiritual Function of a Presbyter in the Church of
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+
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+
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+
+     =Light and Shade.= 2 vols. Crown 8vo. Cloth, gilt tops,
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+
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+
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+Oriental Sporting Magazine (The).
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+
+     =Hermann Agha=; An Eastern Narrative. Third and Cheaper
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+
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+     6_s._
+
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+PARKER (Joseph), D.D.
+
+     =The Paraclete=: An Essay on the Personality and Ministry of
+     the Holy Ghost, with some reference to current discussions.
+     Second Edition. Demy 8vo. Cloth, price 12_s._
+
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+PARR (Harriet).
+
+     =Echoes of a Famous Year.= Crown 8vo. Cloth, price 8_s._
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+
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+
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+
+     =Gentle and Simple=: A Story. 2 vols. Crown 8vo. Cloth, gilt
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+
+     * * * Also a Cheaper Edition in one vol. with Frontispiece.
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+
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+PAYNE (John).
+
+     =Songs of Life and Death.= Crown 8vo. Cloth, price 5_s._
+
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+PAYNE (Prof. J. F.).
+
+     =Lectures on Education.= Price 6_d._ each.
+
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+
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+
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+
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+     New Edition. Fcap. 8vo. Cloth, price 3_s._ 6_d._
+
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+
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+     Second Edition. Fcap. 4to. Cloth elegant, price 12_s._ 6_d._
+
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+PENRICE (Maj. J.), B.A.
+
+     =A Dictionary and Glossary= of the Ko-ran. With copious
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+
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+     =The Races of Man and their Geographical Distribution.=
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+     5_s._
+
+     Volume VII. of The International Scientific Series.
+
+
+PFEIFFER (Emily).
+
+     =Quarterman's Grace, and other Poems.= Crown 8vo. Cloth,
+     price 5=s.=
+
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+POOR (Henry V.).
+
+     =Money and its Laws=, embracing a History of Monetary
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+
+
+POUSHKIN (A. S.).
+
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+
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+
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+PRESBYTER.
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+
+
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+
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+
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+PROCTOR (Richard A.), B.A.
+
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+     "The Jewish Sabbath." Third Edition. Crown 8vo. Cloth, price
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+=Punjaub (The) and North Western Frontier of India.= By an old
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+
+     =The Philosophy of War.= Small crown 8vo. Cloth, price 3_s_.
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+
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+
+READ (Carveth).
+
+     =On the Theory of Logic=: An Essay. Crown 8vo. Cloth, price
+     6_s._
+
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+REANEY (Mrs. G. S.).
+
+     =Blessing and Blessed=; a Sketch of Girl Life. With a
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+
+     =Waking and Working; or, from Girlhood to Womanhood.= With a
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+     Royal 16mo. Cloth, price 1_s._ 6_d._
+
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+RHOADES (James).
+
+     =Timoleon.= A Dramatic Poem. Fcap. 8vo. Cloth, price 5_s._
+
+
+RIBOT (Prof. Th.).
+
+     =English Psychology.= Second Edition. A Revised and
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+
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+
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+
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+
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+
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+
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+SCOTT (Patrick).
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+
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+
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+
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+
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+
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+
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+
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+
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+SPENCER (Herbert).
+
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+
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+
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+STEVENSON (Rev. W. F.).
+
+     =Hymns for the Church and Home.= Selected and Edited by the
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+
+     The most complete Hymn Book published.
+
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+
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+STUBBS (Lieut.-Colonel F. W.).
+
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+SYME (David).
+
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+
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+
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+TAYLOR (Rev. J. W. A.), M.A.
+
+     =Poems.= Fcap. 8vo. Cloth, price 5_s._
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+TAYLOR (Sir H.).
+
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+
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+
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+
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+TENNYSON (Alfred).
+
+     =The Imperial Library Edition.= Complete in 7 vols. Demy
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+=Tennyson Birthday Book.= Edited by Emily Shakespear. 32mo.
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+
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+
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+
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+
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+THOMPSON (Rev. A. S.).
+
+     =Home Words for Wanderers.= A Volume of Sermons. Crown 8vo.
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+
+     =Social Problems;= or, an Inquiry into the Law of
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+
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+=Thoughts in Verse.=
+
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+THRING (Rev. Godfrey), B.A.
+
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+
+
+THURSTON (Prof. R. H.).
+
+     =A History of the Growth of the Steam Engine.= With numerous
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+TODD (Herbert), M.A.
+
+     =Arvan=; or, The Story of the Sword. A Poem. Crown 8vo.
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+
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+TODHUNTER (Dr. J.)
+
+     =Alcestis=: A Dramatic Poem. Extra fcap. 8vo. Cloth, price
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+
+     =The Romantic Annals of a Naval Family.= A New and Cheaper
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+
+
+TURNER (Rev. C. Tennyson).
+
+     =Sonnets, Lyrics, and Translations.= Crown 8vo. Cloth, price
+     4_s._ 6_d._
+
+
+TYNDALL (John), LL.D., F.R.S.
+
+     =Forms of Water.= A Familiar Exposition of the Origin and
+     Phenomena of Glaciers. With Twenty-five Illustrations.
+     Seventh Edition. Crown 8vo. Cloth, price 5_s._
+
+     Volume I. of The International Scientific Series.
+
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+VAMBERY (Prof. A.).
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+
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+VAN BENEDEN (Mons.).
+
+     =Animal Parasites and Messmates.= With 83 Illustrations.
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+
+     Volume XIX. of The International Scientific Series.
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+       *       *       *       *       *
+
+Transcriber's Notes
+
+
+Bold text is shown within =equal signs=.
+
+Text in italics is shown within _underscores_.
+
+Three asterisks represent an asterism.
+
+Five asterisks represent a thought break.
+
+Corrected unbalanced quotation marks.
+
+Made minor punctuation changes for consistency.
+
+Page 14 of Publications, under HOLROYD: Removed macron marks above
+both a's in Kalam. (Tas-hil ul Kalam; or, Hindustani made Easy.)
+
+Page 19 of Publications, under MACNAUGHT: Spaced out the oe ligature.
+(Coena Domini: An Essay on the Lord's Supper,)
+
+
+
+
+
+
+
+
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