diff options
Diffstat (limited to '36479.txt')
| -rw-r--r-- | 36479.txt | 7182 |
1 files changed, 7182 insertions, 0 deletions
diff --git a/36479.txt b/36479.txt new file mode 100644 index 0000000..ba4eac5 --- /dev/null +++ b/36479.txt @@ -0,0 +1,7182 @@ +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._ + + * * * * * + + + + + _1, Paternoster Square, London._ + +A LIST OF +C. KEGAN PAUL AND CO.'S +PUBLICATIONS. + + +ABBEY (Henry). + + =Ballads of Good Deeds, and Other Verses.= Fcap. 8vo. Cloth + gilt, price 5_s._ + + +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. + + =Field and Forest Rambles of a Naturalist in New Brunswick.= + With Notes and Observations on the Natural History of + Eastern Canada. Illustrated. 8vo. Cloth, price 14_s._ + + +ADAMS (F. O.), F.R.G.S. + + =The History of Japan.= From the Earliest Period to the + Present Time. New Edition, revised. 2 volumes. With Maps and + Plans. Demy 8vo. Cloth, priced 21_s._ each. + + +ADAMS (W. D.). + + =Lyrics of Love=, from Shakespeare to Tennyson. Selected and + arranged by. Fcap. 8vo. Cloth extra, gilt edges, price 3_s._ + 6_d._ + + Also, a Cheap Edition. Fcap. 8vo. Cloth, price 2_s._ 6_d._ + + +ADAMS (John), M.A. + + =St. Malo's Quest, and other Poems.= Fcap. 8vo. Cloth, 5_s._ + + +ADAMSON (H. T.), B.D. + + =The Truth as it is in Jesus.= Crown 8vo. Cloth, price 8_s._ + 6_d._ + + +ADON. + + =Through Storm & Sunshine.= Illustrated by M. E. Edwards, A. + T. H. Paterson, and the Author. Crown 8vo. Cloth, price + 7_s._ 6_d._ + + +A. J. R. + + =Told at Twilight=; Stories in Verse, Songs, &c. Fcap. 8vo. + Cloth, price 3_s._ 6_d._ + + +A. K. H. B. + + =A Scotch Communion Sunday=, 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_s._ + + =From a Quiet Place.= A New Volume of Sermons. Crown 8vo. + Cloth, price 5_s._ + + +ALBERT (Mary). + + =Holland and her Heroes to the year 1585.= An Adaptation + from Motley's "Rise of the Dutch Republic." Small crown 8vo. + Cloth, price, 4_s._ 6_d._ + + +ALLEN (Rev. R.), M.A. + + =Abraham; his Life, Times, and Travels=, 3,800 years ago. + Second Edition. With Map. Post 8vo. Cloth, price 6_s._ + + +ALLEN (Grant), B.A. + + =Physiological AEsthetics.= Large post 8vo. 9_s._ + + +AMOS (Prof. Sheldon). + + =Science of Law.= Third Edition. Crown 8vo. Cloth, price 5_s._ + + Volume X. of The International Scientific Series. + + +ANDERSON (Rev. C.), M.A. + + =New Readings of Old Parables.= Demy 8vo. Cloth, price 4_s._ + 6_d._ + + =Church Thought and Church Work.= Edited by. Second Edition. + Demy 8vo. Cloth, price 7_s._ 6_d._ + + =The Curate of Shyre.= Second Edition. 8vo. Cloth, price + 7_s._ 6_d._ + + +ANDERSON (Col. R. P.). + + =Victories and Defeats.= An Attempt to explain the Causes + which have led to them. An Officer's Manual. Demy 8vo. + Cloth, price 14_s._ + + +ANDERSON (R. C.), C.E. + + =Tables for Facilitating the Calculation of every Detail in + connection with Earthen and Masonry Dams.= Royal 8vo. Cloth, + price L2 2_s._ + + +ARCHER (Thomas). + + =About my Father's Business.= Work amidst the Sick, the Sad, + and the Sorrowing. Crown 8vo. Cloth, price 5_s._ + + +Army of the North German Confederation. + + A Brief Description of its Organization, of the Different + Branches of the Service and their _role_ in War, of its Mode + of Fighting, &c. &c. Translated from the Corrected Edition, + by permission of the Author, by Colonel Edward Newdigate. + Demy 8vo. Cloth, price 5_s._ + + +ARNOLD (Arthur). + + =Social Politics.= Demy 8vo. Cloth, price 14_s._ + + +AUBERTIN (J. J.). + + =Camoens' Lusiads.= Portuguese Text, with Translation by. + With Map and Portraits. 2 vols. Demy 8vo. Price 30_s._ + + +Aunt Mary's Bran Pie. + + By the author of "St. Olave's." Illustrated. Cloth, price + 3_s._ 6_d._ + + +Aurora. + + A Volume of Verse. Fcap. 8vo. Cloth, price 5_s._ + + +BAGEHOT (Walter). + + =Physics and Politics=; or, Thoughts on the Application of + the Principles of "Natural Selection" and "Inheritance" to + Political Society. Fourth Edition. Crown 8vo. Cloth, price + 4_s._ + + Volume II. of The International Scientific Series. + + =Some Articles on the Depreciation of Silver=, and Topics + connected with it. Demy 8vo. Price 5_s._ + + =The English Constitution.= A New Edition, Revised and + Corrected, with an Introductory Dissertation on Recent + Changes and Events. Crown 8vo. Cloth, price 7_s._ 6_d._ + + _Lombard Street._ A Description of the Money Market. Seventh + Edition. Crown 8vo. Cloth, price 7_s._ 6_d._ + + +BAGOT (Alan). + + =Accidents in Mines=: their Causes and Prevention. Crown + 8vo. Cloth, price 6_s._ + + +BAIN (Alexander), LL.D. + + =Mind and Body=: the Theories of their relation. Sixth + Edition. Crown 8vo. Cloth, price 4_s._ + + Volume IV. of The International Scientific Series. + + =Education as a Science.= Crown 8vo. Second Edition. Cloth, + price 5_s._ + + Volume XXV. of The International Scientific Series. + + +BAKER (Sir Sheraton, Bart.). + + =Halleck's International Law=; 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_s._ + + +BALDWIN (Capt. J. H.), F.Z.S. + + =The Large and Small Game of Bengal and the North-Western + Provinces of India.= 4to. With numerous Illustrations. + Second Edition. Cloth, price 21_s._ + + +BANKS (Mrs. G. L.). + + =God's Providence House.= New Edition. Crown 8vo. Cloth, + price 3_s._ 6_d._ + + =Ripples and Breakers.= Poems. Square 8vo. Cloth, price + 5_s._ + + +BARING (T. C.), M.A., M.P. + + =Pindar in English Rhyme.= Being an Attempt to render the + Epinikian Odes with the principal remaining Fragments of + Pindar into English Rhymed Verse. Small Quarto. Cloth, price + 7_s._ + + +BARLEE (Ellen). + + =Locked Out=: a Tale of the Strike. With a Frontispiece. + Royal 16mo. Cloth, price 1_s._ 6_d._ + + +BARNES (William). + + =An Outline of English Speechcraft.= Crown 8vo. Cloth, price + 4_s._ + + +BARTLEY (George C. T.). + + =Domestic Economy=: Thrift in Every Day Life. Taught in + Dialogues suitable for Children of all ages. Small crown + 8vo. Cloth, limp, 2_s._ + + +BAUR (Ferdinand), Dr. Ph. + + =A Philological Introduction to Greek and Latin for + Students.= Translated and adapted from the German of. By C. + KEGAN PAUL, M.A. Oxon., and the Rev. E. D. STONE, M.A., late + Fellow of King's College, Cambridge, and Assistant Master at + Eton. Second and revised edition. Crown 8vo. Cloth, price + 6_s._ + + +BAYNES (Rev. Canon R. H.) + + =At the Communion Time.= A Manual for Holy Communion. With a + preface by the Right Rev. the Lord Bishop of Derry and + Raphoe. Cloth, price 1_s._ 6_d._ + + * * * Can also be had bound in French morocco, price 2_s._ + 6_d._; Persian morocco, price 3_s._; Calf, or Turkey + morocco, price 3_s._ 6_d._ + + =Home Songs for Quiet Hours.= Fourth and cheaper Edition. + Fcap. 8vo. Cloth, price 2_s._ 6_d._ + + _This may also be had handsomely bound in morocco with gilt + edges._ + + +BECKER (Bernard H.). + + =The Scientific Societies of London.= Crown 8vo. Cloth, + price 5_s._ + + +BELLINGHAM (Henry), Barrister-at-Law. + + =Social Aspects of Catholicism and Protestantism in their + Civil Bearing upon Nations.= Translated and adapted from the + French of M. le Baron de Haulleville. With a Preface by His + Eminence Cardinal Manning. Crown 8vo. Cloth, price 6_s._ + + +BENNETT (Dr. W. C). + + =Narrative Poems & Ballads.= Fcap. 8vo. Sewed in Coloured + Wrapper, price 1_s._ + + =Songs for Sailors.= Dedicated by Special Request to H. R. + H. the Duke of Edinburgh. With Steel Portrait and + Illustrations. Crown 8vo. Cloth, price 3_s._ 6_d._ + + An Edition in Illustrated Paper Covers, price 1_s._ + + =Songs of a Song Writer.= Crown 8vo. Cloth, price 6_s._ + + +BENNIE (Rev. J. N.), M.A. + + =The Eternal Life.= Sermons preached during the last twelve + years. Crown 8vo. Cloth, price 6_s._ + + +BERNARD (Bayle). + + =Samuel Lover, the Life and Unpublished Works of.= In 2 + vols. With a Steel Portrait. Post 8vo. Cloth, price 21_s._ + + +BERNSTEIN (Prof.). + + =The Five Senses of Man.= With 91 Illustrations. Second + Edition. Crown 8vo. Cloth, price 5_s._ + + Volume XXI. of The International Scientific Series. + + +BETHAM--EDWARDS (Miss M.). + + =Kitty.= With a Frontispiece. Crown 8vo. Cloth, price 6_s._ + + +BISCOE (A. C.). + + =The Earls of Middleton, Lords of Clermont and of + Fettercairn, and the Middleton Family.= Crown 8vo. Cloth, + price 10_s._ 6_d._ + + +BISSET (A.) + + =History of the Struggle for Parliamentary Government in + England.= 2 vols. Demy 8vo. Cloth, price 24_s._ + + +BLASERNA (Prof. Pietro). + + =The Theory of Sound in its Relation to Music.= With + numerous Illustrations. Second Edition. Crown 8vo. Cloth, + price 5_s._ + + Volume XXII. of The International Scientific Series. + + +=Blue Roses=; or, Helen Malinofska's Marriage. By the Author + of "Vera." 2 vols. Fifth Edition. Cloth, gilt tops, 12_s._ + + * * * Also a Cheaper Edition in 1 vol. With Frontispiece. + Crown 8vo. Cloth, price 6_s._ + + +BLUME (Major W.). + + =The Operations of the German Armies in France=, 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_s._ + + +BOGUSLAWSKI (Capt. A. von). + + =Tactical Deductions from the War of 1870-71.= Translated by + Colonel Sir Lumley Graham, Bart., late 18th (Royal Irish) + Regiment. Third Edition, Revised and Corrected. Demy 8vo. + Cloth, price 7_s._ + + +BONWICK (J.), F.R.G.S. + + =Egyptian Belief and Modern Thought.= Large post 8vo. Cloth, + price 10_s._ 6_d._ + + =Pyramid Facts and Fancies.= Crown 8vo. Cloth, price 5_s._ + + =The Tasmanian Lily.= With Frontispiece. Crown 8vo. Cloth, + price 5_s._ + + =Mike Howe, the Bushranger of Van Diemen's Land.= With + Frontispiece. Crown 8vo. Cloth, price 5_s._ + + +BOSWELL (R. B.), M.A., Oxon. + + =Metrical Translations from the Greek and Latin Poets=, and + other Poems. Crown 8vo. Cloth, price 5_s._ + + +BOWEN (H. C.), M.A. + + =English Grammar for Beginners.= Fcap. 8vo. Cloth, price + 1_s._ + + =Studies in English=, for the use of Modern Schools. Small + crown 8vo. Cloth, price 1_s_. 6_d._ + + +BOWRING (L.), C.S.I. + + =Eastern Experiences.= Illustrated with Maps and Diagrams. + Demy 8vo. Cloth, price 16_s._ + + +BOWRING (Sir John). + + =Autobiographical Recollections.= With Memoir by Lewin B. + Bowring. Demy 8vo. Price 14_s._ + + +BRADLEY (F. H.). + + Studies.= Critical Essays in Moral Philosophy. Large post + 8vo. Cloth, price 9_s._ + +=Brave Men's Footsteps.= + + By the Editor of "Men who have Risen." A Book of Example and + Anecdote for Young People. With Four Illustrations by C. + Doyle. Fifth Edition. Crown 8vo. Cloth, price 3_s._ 6_d._ + + +BRIALMONT (Col. A.). + + =Hasty Intrenchments.= Translated by Lieut. Charles A. + Empson, R. A. With Nine Plates. Demy 8vo. Cloth, price 6_s._ + + +BROOKE (Rev. S. A.), M.A. + + =The Late Rev. F. W. Robertson, M.A., Life and Letters of.= + Edited by. + + I. Uniform with the Sermons. 2 vols. With Steel Portrait. + Price 7_s._ 6_d._ + + II. Library Edition. 8vo. With Two Steel Portraits. Price + 12_s._ + + III. A Popular Edition, in 1 vol. 8vo. Price 6_s._ + + =Theology in the English Poets.=--COWPER, COLERIDGE, + WORDSWORTH, and BURNS. Third Edition. Post 8vo. Cloth, price + 9_s._ + + =Christ in Modern Life.= Thirteenth Edition. Crown 8vo. + Cloth, price 7_s._ 6_d._ + + =Sermons.= First Series. Tenth Edition. Crown 8vo. Cloth, + price 6_s._ + + =Sermons.= Second Series. Third Edition. Crown 8vo. Cloth, + price 7_s._ + + =The Fight of Faith.= Sermons preached on various occasions. + Third Edition. Crown 8vo. Cloth, price 7_s._ 6_d._ + + =Frederick Denison Maurice:= The Life and Work of. A + Memorial Sermon. Crown 8vo. Sewed, price 1_s._ + + +BROOKE (W. G.), M.A. + + =The Public Worship Regulation Act.= With a Classified + Statement of its Provisions, Notes, and Index. Third + Edition, Revised and Corrected. Crown 8vo. Cloth, price + 3_s._ 6_d._ + + + =Six Privy Council Judgments=--1850-1872. Annotated by. + Third Edition. Crown 8vo. Cloth, price 9_s._ + + +BROUN (J. A.). + + =Magnetic Observations at Trevandrum and Augustia Malley.= + Vol. I. 4to. Cloth, price 63_s._ + + The Report from above, separately sewed, price 21_s._ + + +BROWN (Rev. J. Baldwin), B.A. + + =The Higher Life.= Its Reality, Experience, and Destiny. + Fifth and Cheaper Edition. Crown 8vo. Cloth, price 5_s._ + + =Doctrine of Annihilation= in the Light of the Gospel of + Love. Five Discourses. Third Edition. Crown 8vo. Cloth, + price 2_s._ 6_d._ + + +BROWN (J. Croumbie), LL.D. + + =Reboisement in France=; or, Records of the Replanting of + the Alps, the Cevennes, and the Pyrenees with Trees, + Herbage, and Bush. Demy 8vo. Cloth, price 12_s._ 6_d._ + + =The Hydrology of Southern Africa.= Demy 8vo. Cloth, price + 10_s._ 6_d._ + + +BRYANT (W. C.) + + =Poems.= Red-line Edition. With 24 Illustrations and + Portrait of the Author. Crown 8vo. Cloth extra, price 7_s._ + 6_d._ + + A Cheaper Edition, with Frontispiece. Small crown 8vo. + Cloth, price 3_s._ 6_d._ + + +BUCHANAN (Robert). + + =Poetical works.= Collected Edition, in 3 vols., with + Portrait Crown 8vo. Cloth, price 6_s._ each. + + =Master-Spirits.= Post 8vo. Cloth, price 10_s._ 6_d._ + + +BULKELEY (Rev. H. J.). + + =Walled in=, and other Poems. Crown 8vo. Cloth, price 5_s._ + + +BURCKHARDT (Jacob). + + =The Civilization of the Period of the Renaissance in + Italy.= Authorized translation, by S. G. C. Middlemore. 9 + vols. Demy 8vo. Cloth, price 24_s._ + + +BURTON (Mrs. Richard). + + =The Inner Life of Syria, Palestine, and the Holy Land.= + With Maps, Photographs, and Coloured Plates. 2 vols. Second + Edition. Demy 8vo. Cloth, price 24_s._ + + * * * Also a Cheaper Edition in one volume. Large post 8vo. + Cloth, price 10_s._ 6_d._ + + +BURTON (Capt. Richard F.). + + =The Gold Mines of Midian and the Ruined Midianite Cities.= + A Fortnight's Tour in North Western Arabia. With numerous + Illustrations. Second Edition. Demy 8vo. Cloth, price 18_s._ + + =The Land of Midian Revisited.= With numerous illustrations + on wood and by Chromo-lithography. 2 vols. Demy 8vo. Cloth, + price 32_s._ + + +CALDERON. + + =Calderon's Dramas=: The Wonder-Working Magician--Life is a + Dream--The Purgatory of St. Patrick. Translated by Denis + Florence MacCarthy. Post 8vo. Cloth, price 10_s._ + + +CARLISLE (A. D.), B.A. + + =Round the World in 1870.= A Volume of Travels, with Maps. + New and Cheaper Edition. Demy 8vo. Cloth, price 6_s._ + + +CARNE (Miss E. T.). + + =The Realm of Truth.= Crown 8vo. Cloth, price 5_s._ 6_d._ + + +CARPENTER (E.). + + =Narcissus and other Poems.= Fcap. 8vo. Cloth, price 5_s._ + + +CARPENTER (W. B.), M.D. + + =The Principles of Mental Physiology.= With their + Applications to the Training and Discipline of the Mind, and + the Study of its Morbid Conditions. Illustrated. Fourth + Edition. 8vo. Cloth, price 12_s._ + + +CAVALRY OFFICER. + + =Notes on Cavalry Tactics, Organisation, &c.= With Diagrams. + Demy 8vo. Cloth, price 12_s._ + + +CHAPMAN (Hon. Mrs. E. W.). + + =A Constant Heart.= A Story. 2 vols. Cloth, gilt tops, price + 12_s._ + + +=Children's Toys,= and some Elementary Lessons in General + Knowledge which they teach. Illustrated. Crown 8vo. Cloth, + price 5_s._ + + +CHRISTOPHERSON (The late Rev. Henry), M.A. + + =Sermons.= With an Introduction by John Rae, LL.D., F.S.A. + Second Series. Crown 8vo. Cloth, price 6_s._ + + +CLERK (Mrs. Godfrey). + + ='Ilam en Nas.= Historical Tales and Anecdotes of the Times + of the Early Khalifahs. Translated from the Arabic + Originals. Illustrated with Historical and Explanatory + Notes. Crown 8vo. Cloth, price 7_s._ + + +CLERY (C.), Capt. + + =Minor Tactics.= With 26 Maps and Plans. Third and Revised + Edition. Demy 8vo. Cloth, price 16_s._ + + +CLODD (Edward), F.R.A.S. + + =The Childhood of the World:= a Simple Account of Man in + Early Times. Sixth Edition. Crown 8vo. Cloth, price 3_s._ + + A Special Edition for Schools. Price 1_s._ + + =The Childhood of Religions.= Including a Simple Account of + the Birth and Growth of Myths and Legends. Third Thousand. + Crown 8vo. Cloth, price 5_s._ + + A Special Edition for Schools. Price 1_s._ 6_d._ + + +COLERIDGE (Sara). + + =Pretty Lessons in Verse for Good Children,= with some + Lessons in Latin, in Easy Rhyme. A New Edition. Illustrated. + Fcap. 8vo. Cloth, price 3_s._ 6_d._ + + =Phantasmion.= A Fairy Tale. With an Introductory Preface by + the Right Hon. Lord Coleridge, of Ottery St. Mary. A New + Edition. Illustrated. Crown 8vo. Cloth, price 7_s._ 6_d._ + + =Memoir and Letters of Sara Coleridge.= Edited by her + Daughter. With Index. 2 vols. With Two Portraits. Third + Edition, Revised and Corrected. Crown 8vo. Cloth, price + 24_s._ + + Cheap Edition. With one Portrait. Cloth, price 7_s._ 6_d._ + + +COLLINS (Mortimer). + + =Inn of Strange Meetings,= and other Poems. Crown 8vo. + Cloth, price 5_s._ + + +COLLINS (Rev. R.), M.A. + + =Missionary Enterprise in the East.= With special reference + to the Syrian Christians of Malabar, and the results of + modern Missions. With Four Illustrations. Crown 8vo. Cloth, + price 6_s._ + + +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 + Edition. Crown 8vo. Cloth, price 5_s._ + + 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._ + + +COOPER (T. T.), F.R.G.S. + + =The Mishmee Hills:= an Account of a Journey made in an + Attempt to Penetrate Thibet from Assam, to open New Routes + for Commerce. Second Edition. With Four Illustrations and + Map. Post 8vo. Cloth, price 10_s._ 6_d._ + + +=Cornhill Library of Fiction (The).= Crown 8vo. Cloth, price 3_s._ +6_d._ per volume. + + =Half-a-Dozen Daughters.= By J. Masterman. + + =The House of Raby.= By Mrs. G. Hooper. + + =A Fight for Life.= By Moy Thomas. + + =Robin Gray.= By Charles Gibbon. One of Two; or, A Left-Handed + 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. + + +CORY (Lieut. Col. Arthur). + + =The Eastern Menace=; =or=, =Shadows of Coming Events=. + Crown 8vo. Cloth, price 5_s._ + + =Ione.= A Poem in Four Parts. Fcap. 8vo. Cloth, price 5_s._ + + +=Cosmos.= + + A Poem. Fcap. 8vo. Cloth, price 3_s._ 6_d._ + + +COURTNEY (W. L.). + + =The Metaphysics of John Stuart Mill.= Crown 8vo. Cloth, + price 5_s._ 6_d._ + + +COWAN (Rev. William). + + =Poems=: Chiefly Sacred, including Translations from some + Ancient Latin Hymns. Fcap. 8vo. Cloth, price 5_s._ + + +COX (Rev. Sir G. W.), Bart. + + =A History of Greece= from the Earliest Period to the end of + the Persian War. New Edition. 2 vols. Demy 8vo. Cloth, price + 36_s._ + + =The Mythology of the Aryan Nations.= New Edition, 2 vols. + Demy 8vo. Cloth, price 28_s._ + + =A General History of Greece= from the Earliest Period to + the Death of Alexander the Great, with a sketch of the + subsequent History to the present time. New Edition. Crown + 8vo. Cloth, price 7_s._ 6_d._ + + =Tales of Ancient Greece.= New Edition. Small crown 8vo. + Cloth, price 6_s._ + + =School History of Greece.= With Maps. New Edition. Fcap. + 8vo. Cloth, price 3_s._ 6_d._ + + =The Great Persian War= from the Histories of Herodotus. New + Edition. Fcap. 8vo. Cloth, price 3_s._ 6_d._ + + =A Manual of Mythology= in the form of Question and Answer. + New Edition. Fcap. 8vo. Cloth, price 3_s._ + + +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. + 4to. Cloth, price 10_s._ 6_d._ + + +CROMPTON (Henry). + + =Industrial Conciliation.= Fcap. 8vo. Cloth, price 2_s._ + 6_d._ + + +CURWEN (Henry). + + =Sorrow and Song=: Studies of Literary Struggle. Henry + Murger--Novalis--Alexander Petoefi--Honore de Balzac--Edgar + Allan Poe--Andre Chenier. 2 vols. Crown 8vo. Cloth, price + 15_s._ + + +DANCE (Rev. C. D.). + + =Recollections of Four Years in Venezuela.= With Three + Illustrations and a Map. Crown 8vo. Cloth, price 7_s._ 6_d._ + + +D'ANVERS (N. R.). + + =The Suez Canal=: Letters and Documents descriptive of its + Rise and Progress in 1854-56. By Ferdinand de Lesseps. + Translated by. Demy 8vo. Cloth, price 10_s._ 6_d._ + + =Little Minnie's Troubles.= An Every-day Chronicle. With + Four Illustrations by W. H. Hughes. Fcap. Cloth, price 3_s._ + 6_d._ + + =Pixie's Adventures=; or, the Tale of a Terrier. With 21 + Illustrations. 16mo. Cloth, price 4_s._ 6_d._ + + =Nanny's Adventures=; or, the Tale of a Goat. With 12 + Illustrations. 16mo. Cloth, price 4_s._ 6_d._ + + +DAVIDSON (Rev. Samuel), D.D., LL.D. + + =The New Testament=, translated from the Latest Greek Text + of Tischendorf. A New and thoroughly Revised Edition. Post + 8vo. Cloth, price 10_s._ 6_d._ + + =Canon of the Bible=: Its Formation, History, and + Fluctuations. Second Edition. Small crown 8vo. Cloth, price + 5_s._ + + +DAVIES (G. Christopher). + + =Mountain, Meadow, and Mere=: a Series of Outdoor Sketches + of Sport, Scenery, Adventures, and Natural History. With + Sixteen Illustrations by Bosworth W. Harcourt. Crown 8vo. + Cloth, price 6_s._ + + =Rambles and Adventures of Our School Field Club.= With Four + Illustrations. Crown 8vo. Cloth, price 5_s._ + + +DAVIES (Rev. J. L.), M.A. + + =Theology and Morality.= Essays on Questions of Belief and + Practice. Crown 8vo. Cloth, price 7_s._ 6_d._ + + +DAWSON (George), M.A. + + =Prayers, with a Discourse on Prayer.= Edited by his Wife. + Fifth Edition. Crown 8vo. Price 6_s._ + + =Sermons on Disputed Points and Special Occasions.= Edited + by his Wife. Third Edition. Crown 8vo. Cloth, price 6_s._ + + =Sermons on Daily Life and Duty.= Edited by his Wife. Second + Edition. Crown 8vo. Cloth, price 6_s._ + + +DE L'HOSTE (Col. E. P.). + + =The Desert Pastor, Jean Jarousseau.= Translated from the + French of Eugene 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, + price 3_s._ + + +DESPREZ (Philip S.). + + =Daniel and John=; or, the Apocalypse of the Old and that of + the New Testament. Demy 8vo. Cloth, price 12_s._ + + +DE TOCQUEVILLE (A.). + + =Correspondence and Conversations of=, with Nassau William + Senior, from 1834 to 1859. Edited by M. C. M. Simpson. 2 + 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 Societe.= 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. + Cloth, price 1_s._ 6_d._ + + =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 + vols. Large post 8vo. Price 14_s._ + + +EYRE (Maj.-Gen. Sir V.), C.B., K.C.S.I., &c. + + =Lays of a Knight-Errant in many Lands.= Square crown 8yo. + With Six Illustrations. Cloth, price 7_s._ 6_d._ + + +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 + Farthing to One Hundred Thousand Pounds, and at Rates + 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 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 + 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 Leon 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 L6 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 + 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._ + + =VI. On the Conservation of Energy.= By Balfour Stewart, + 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 + Edition. Crown 8vo. Cloth, price 6_s._ 6_d._ + + =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, + price 12_s._ + + =All Saints' Day and other Sermons.= Second Edition. Crown + 8vo. Cloth, 7_s._ 6_d._ + + =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 + illustrations of Spectra, and numerous engravings on wood. + 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 + of Spectra in Chromo-lithography. Second Edition. Crown 8vo. + Cloth, price 5_s._ + + Volume XVIII. of The International Scientific Series. + + +LORIMER (Peter), D.D. + + =John Knox and the Church of England=: His Work in her + Pulpit, and his Influence upon her Liturgy, Articles, and + Parties. Demy 8vo. Cloth, price 12_s._ + + =John Wiclif and his English Precursors=, by Gerhard Victor + Lechler. Translated from the German, with additional Notes. + 2 vols. Demy 8vo. Cloth, price 21_s._ + + +LOTHIAN (Roxburghe). + + =Dante and Beatrice from 1282 to 1290.= A Romance. 2 vols. + Post 8vo. Cloth, price 24_s._ + + +LOVER (Samuel), R.H.A. + + =The Life of Samuel Lover=, 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_s._ + + +LUCAS (Alice). + + =Translations from the Works of German Poets of the 18th and + 19th Centuries.= Fcap. 8vo. Cloth, price 5_s._ + + +LYONS (R. T.), Surg.-Maj. Bengal Army. + + =A Treatise on Relapsing Fever.= Post 8vo. Cloth, price + 7_s._ 6_d._ + + +MACAULAY (J.), M.A., M.D. Edin. + + =The Truth about Ireland=: 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_s._ 6_d._ + + +MAC CLINTOCK (L.). + + =Sir Spangle and the Dingy Hen.= Illustrated. Square crown + 8vo., price 2_s._ 6_d._ + + +MAC DONALD (G.). + + =Malcolm.= With Portrait of the Author engraved on Steel. + Fourth Edition. Crown 8vo. Price 6_s._ + + =The Marquis of Lossie.= Second Edition. Crown 8vo. Cloth, + price 6_s._ + + =St. George and St. Michael.= Second Edition. Crown 8vo. + Cloth, price 6_s._ + + +MAC KENNA (S. J.). + + =Plucky Fellows.= A Book for Boys. With Six Illustrations. + Second Edition. Crown 8vo. Cloth, price 3_s._ 6_d._ + + =At School with an Old Dragoon.= With Six Illustrations. + Second Edition. Crown 8vo. Cloth, price 5_s._ + + +MACLACHLAN (A. N. C), M.A. + + =William Augustus, Duke of Cumberland=: 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_s._ + + +MACNAUGHT (Rev. John). + + =Coena Domini=: An Essay on the Lord's Supper, its Primitive + Institution, Apostolic Uses, and Subsequent History. Demy + 8vo. Cloth, price 14_s._ + + +MAGNUSSON (Eirikr), M.A., and PALMER (E. H.), M.A. + + =Johan Ludvig Runeberg's Lyrical Songs,= Idylls and + Epigrams. Fcap. 8vo. Cloth, price 5_s._ + + +MAIR (R. S.), M.D., F.R.C.S.E. + + =The Medical Guide for Anglo-Indians.= 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_s._ 6_d._ + + +MALDEN (H. E. and E. E.). + + =Princes and Princesses.= Illustrated. Small crown 8vo. + Cloth, price 2_s._ 6_d._ + + +MANNING (His Eminence Cardinal). + + =Essays on Religion and Literature.= By various Writers. + Third Series. Demy 8vo. Cloth, price 10_s._ 6_d._ + + =The Independence of the Holy See,= with an Appendix + containing the Papal Allocution and a translation. Cr. 8vo. + Cloth, price 5_s._ + + =The True Story of the Vatican Council.= Crown 8vo. Cloth, + price 5_s._ + + +MAREY (E. J.). + + =Animal Mechanics.= A Treatise on Terrestrial and Aerial + Locomotion. With 117 Illustrations. Second Edition. Crown + 8vo. Cloth, price 5_s._ + + Volume XI. of The International Scientific Series. + + +MARRIOTT (Maj.-Gen. W. F.), C.S.I. + + =A Grammar of Political Economy.= Crown 8vo. Cloth, price + 6_s._ + + +=Master Bobby=: a Tale. By the Author of "Christina North." + With Illustrations by E. H. BELL. Extra fcap. 8vo. Cloth, + price 3_s._ 6_d._ + + +MASTERMAN (J.). + + =Worth Waiting for.= A New Novel. 3 vols. Crown 8vo. Cloth. + + =Half-a-Dozen Daughters.= With a Frontispiece. Crown 8vo. + Cloth, price 3_s._ 6_d._ + + +MAUDSLEY (Dr. H.). + + =Responsibility in Mental Disease.= Third Edition. Crown + 8vo. Cloth, price 5_s._ + + Volume VIII. of The International Scientific Series. + + +MAUGHAN (W. C.). + + =The Alps of Arabia=; or, Travels through Egypt, Sinai, + Arabia, and the Holy Land. With Map. Second Edition. Demy + 8vo. Cloth, price 5_s._ + + +MAURICE (C. E.). + + =Lives of English Popular Leaders.= No. 1.--STEPHEN LANGTON. + Crown 8vo. Cloth, price 7_s._ 6_d._ No. 2.--TYLER, BALL, and + OLDCASTLE. Crown 8vo. Cloth, price 7_s._ 6_d._ + + +Mazzini (Joseph). + + A Memoir. By E. A. V. Two Photographic Portraits. Second + Edition. Crown 8vo. Cloth, price 5_s._ + + +MEDLEY (Lieut.-Col. J. G.), R.E. + + =An Autumn Tour in the United States and Canada.= Crown 8vo. + Cloth, price 5_s._ + + +MEREDITH (George). + + =The Ordeal of Richard Feverel.= A History of Father and + Son. In one vol. with Frontispiece. Crown 8vo. Cloth, price + 6_s._ + + +MICKLETHWAITE (J. T.), F.S.A. + + =Modern Parish Churches=: Their Plan, Design, and Furniture. + Crown 8vo. Cloth, price 7_s._ 6_d._ + + +MIDDLETON (The Lady). + + =Ballads.= Square 16mo. Cloth, price 3_s._ 6_d._ + + +MILLER (Edward). + + =The History and Doctrines of Irvingism=; or, the so-called + Catholic and Apostolic Church. 2 vols. Large post 8vo. + Cloth, price 25_s._ + + +MILLER (Robert). + + =The Romance of Love.= Fcap. 8vo. Cloth, price 5_s._ + + +MILNE (James). + + =Tables of Exchange= for the Conversion of Sterling Money + into Indian and Ceylon Currency, at Rates from 1_s._ 8_d._ + to 2_s._ 3_d._ per Rupee. Second Edition. Demy 8vo. Cloth, + price L2 2_s._ + + +MIVART (St. George), F.R.S. + + =Contemporary Evolution=: An Essay on some recent Social + Changes. Post 8vo. Cloth, price 7_s._ 6_d._ + + +MOCKLER (E.). + + =A Grammar of the Baloochee Language=, as it is spoken in + Makran (Ancient Gedrosia), in the Persia-Arabic and Roman + characters. Fcap. 8vo. Cloth, price 5_s._ + + +MOFFAT (Robert Scott). + + =The Economy of Consumption=; 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, &c. Demy 8vo. Cloth, price 18_s._ + + =The Principles of a Time Policy=: 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_s._ 6_d._ + + +MOLTKE (Field-Marshal Von). + + =Letters from Russia.= Translated by Robina Napier. Crown + 8vo. Cloth, price 6_s._ + + +MOORE (Rev. D.), M.A. + + =Christ and His Church.= By the Author of "The Age and the + Gospel," &c. Crown 8vo. Cloth, price 3_s._ 6_d._ + + +MORE (R. Jasper). + + =Under the Balkans.= Notes of a Visit to the District of + Philippopolis in 1876. With a Map and Illustrations from + Photographs. Crown 8vo. Cloth, price 6_s._ + + +MORELL (J. R.). + + =Euclid Simplified in Method and Language.= 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_s._ 6_d._ + + +MORICE (Rev. F. D.), M.A. + + =The Olympian and Pythian Odes of Pindar.= A New Translation + in English Verse. Crown 8vo. Cloth, price 7_s_. 6_d_. + + +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 AEschylus.= 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._ + + +NAAKE (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 + from his various Works. Arranged with the Author's personal + approval. Third Edition. With Portrait. Crown 8vo. Cloth, + price 6_s._ + + * * * A Portrait of the Rev. Dr. J. H. Newman, mounted for + framing, can be had, price 2_s._ 6_d._ + + +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, + price 16_s._ + + +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 + British Dominions and the United States of America. Demy + 8vo. Cloth, price 21_s._ + + +NORRIS (Rev. Alfred). + + =The Inner and Outer Life Poems.= Fcap. 8vo. Cloth, price + 6_s._ + + +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 + Primer.= New Edition in Three Parts. Crown 8vo. Each 1_s._ + + * * * The Three Parts can also be had bound together in + cloth, price 3_s._ + +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 + Edition. Crown 8vo. Cloth, price 6_s._ + + +PANDURANG HARI; + + =Or, Memoirs of a Hindoo.= With an Introductory Preface by + Sir H. Bartle E. Frere, G.C.S.I., C.B. Crown 8vo. Price + 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._ + 6_d._ + + +PARSLOE (Joseph). + + =Our Railways=: Sketches, Historical and Descriptive. With + Practical Information as to Fares, Rates, &c., and a Chapter + on Railway Reform. Crown 8vo. Cloth, price 6_s._ + + +PATTISON (Mrs. Mark). + + =The Renaissance of Art in France.= With Nineteen Steel + Engravings, 2 vols. Demy 8vo. Cloth, price 32_s._ + + +PAUL (C. Kegan). + + =Mary Wollstonecraft.= Letters to Imlay. With Prefatory + Memoir by, and Two Portraits in _eau forte_, by Anna Lea + Merritt. Crown 8vo. Cloth, price 6_s._ + + =Goethe's Faust.= A New Translation in Rime. Crown 8vo. + Cloth, price 6_s._ + + =William Godwin=: His Friends and Contemporaries. With + Portraits and Facsimiles of the Handwriting of Godwin and + his Wife. 2 vols. Square post 8vo. Cloth, price 28_s._ + + =The Genius of Christianity Unveiled.= Being Essays by + William Godwin never before published. Edited, with a + Preface, by C. Kegan Paul. Crown 8vo. Cloth, price 7_s._ + 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. Froebel 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 + Kindergartens, Primary Schools, Public Girls' Schools, and + Schools for Technical Instruction in Hamburgh, Berlin, + Dresden, Weimar, Gotha, Eisenach, in the autumn of 1874. + With Critical Discussions of the General Principles and + Practice of Kindergartens and other Schemes of Elementary + Education. Crown 8vo. Cloth, price 4_s._ 6_d._ + + +PEACOCKE (Georgiana). + + =Rays from the Southern Cross=: Poems. Crown 8vo. With + Sixteen Full-page Illustrations by the Rev. P. Walsh. Cloth + elegant, price 10_s._ 6_d._ + + +PELLETAN (E.). + + =The Desert Pastor, Jean Jarousseau.= Translated from the + French. By Colonel E. P. De L'Hoste. With a Frontispiece. + 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 + upwards of Six Thousand Proverbs. Third Edition. Demy 8vo. + Sewed, price 9_s._ + + +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._ + + +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 + Sermons. With a Portrait of Bishop Wilberforce (after a + Photograph by Charles Watkins). Crown 8vo. Cloth, price + 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 L3 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 (nee 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 + of the Firmament. With a Frontispiece. Fourth Edition. Crown + 8vo. Cloth, price 6_s._ + + +=Proteus and Amadeus.= A Correspondence. Edited by Aubrey De Vere. + Crown 8vo. Cloth, price 5_s._ + + +PUBLIC SCHOOLBOY. + + =The Volunteer, the Militiaman, and the Regular Soldier.= + Crown 8vo. Cloth, price 5_s._ + + +=Punjaub (The) and North Western Frontier of India.= By an old + Punjaubee. Crown 8vo. Cloth, price 5_s._ + + +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 + additions and alterations by his Widow. With forty-four + photographic illustrations and twenty-five facsimiles of + Inscriptions. Super royal 4to. Cloth, 3_l_. 13_s_. 6_d_. + + +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 + frontispiece. Crown 8vo. Cloth, price 5_s._ + + =Waking and Working; or, from Girlhood to Womanhood.= With a + Frontispiece. Crown 8vo. Cloth, price 5_s._ + + =Just Anyone, and other Stories.= Three Illustrations. Royal + 16mo. Cloth, price 1_s._ 6_d._ + + =Sunshine Jenny and other Stories.= Three Illustrations. + Royal 16mo. Cloth, price 1_s._ 6_d._ + + =Sunbeam Willie, and other Stories.= Three Illustrations. + 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 + post 8vo. Cloth, price 9_s_. + + =Heredity=: A Psychological Study on its Phenomena, its + Laws, its Causes, and its Consequences. Large crown 8vo. + Cloth, price 9_s._ + + +RINK (Chevalier Dr. Henry). + + =Greenland: Its People and its Products.= By the Chevalier + Dr. HENRY RINK, President of the Greenland Board of Trade. + 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 + Corinthians.= A New Edition. Small crown 8vo. Cloth, price + 5_s._ + + =Lectures and Addresses=, with other literary remains. A New + Edition. Crown 8vo. Cloth, price 5_s._ + + =An Analysis of Mr. Tennyson's "In Memoriam."= (Dedicated by + Permission to the Poet-Laureate.) Fcap. 8vo. Cloth, price + 2_s._ + + =The Education of the Human Race.= Translated from the + German of Gotthold Ephraim Lessing. Fcap. 8vo. Cloth, price + 2_s_. 6_d._ + + =Life and Letters.= Edited by the Rev. Stopford Brooke, + M.A., Chaplain in Ordinary to the Queen. + + I. 2 vols., uniform with the Sermons. With Steel Portrait. + Crown 8vo. Cloth, price 7_s._ 6_d._ + + II. Library Edition, in Demy 8vo., with Two Steel Portraits. + Cloth, price 12_s._ + + III. A Popular Edition, in one vol. Crown 8vo. Cloth, price + 6_s._ + + _The above Works can also be had half-bound in morocco._ + + * * * A Portrait of the late Rev. F. W. Robertson, mounted + for framing, can be had, price 2_s._ 6_d._ + + +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. + + =Etna: a History of the Mountain and its Eruptions.= With + Maps and Illustrations. Square 8vo. Cloth, price 9_s._ + + +ROSS (Mrs. E.), ("Nelsie Brook"). + + =Daddy's Pet.= A Sketch from Humble Life. With Six + Illustrations. Royal 16mo. Cloth, price 1_s._ + + +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 + Coast. With Three Illustrations. Second Edition. Crown 8vo. + 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._ + + =Joan Merryweather,= and other Stories. Crown 8vo. Cloth, + price 6_s._ + + =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, + price 3_s._ 6_d._ + + +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 + 10_s._ 6_d._ + + +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. + + +SCHUeTZENBERGER (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. + Cloth, price 3_s._ 6_d._ + + +=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 + a Sketch of the Revolution of 1848. Edited by his Daughter, + M. C. M. Simpson. 2 vols. Post 8vo. Cloth, price 24_s._ + + +=Seven Autumn Leaves from Fairyland.= Illustrated with Nine + Etchings. Square crown 8vo. Cloth, price 3_s._ 6_d._ + + +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._ + + Containing songs by Reginald A. Gatty, Stephen H. Gatty, + Greville J. Chester, and Juliana Ewing. + + +SPENCER (Herbert). + + =The Study of Sociology.= Seventh Edition. Crown 8vo. Cloth, + price 5_s._ + + Volume V. of The International Scientific Series. + + +SPICER (H.). + + =Otho's Death Wager.= A Dark Page of History Illustrated. In + Five Acts. Fcap. 8vo. Cloth, price 5_s._ + + +STAPLETON (John). + + =The Thames=: A Poem. Crown 8vo. Cloth, price 6_s._ + + +STEPHENS (Archibald John), LL.D. + + =The Folkestone Ritual Case.= The Substance of the Argument + delivered before the Judicial Committee of the Privy + Council. On behalf of the Respondents. Demy 8vo. Cloth, + price 6_s._ + + +STEVENSON (Robert Louis). + + =An Inland Voyage.= With Frontispiece by Walter Crane. Crown + 8vo. Cloth, price 7_s._ 6_d._ + + +STEVENSON (Rev. W. F.). + + =Hymns for the Church and Home.= Selected and Edited by the + Rev. W. Fleming Stevenson. + + The most complete Hymn Book published. + + The Hymn Book consists of Three Parts:--I. For Public + Worship.--II. For Family and Private Worship.--III. For + Children. + + * * * _Published in various forms and prices, the latter + ranging from 8d. to 6s. Lists and full particulars will be + furnished on application to the Publishers._ + + +STEWART (Prof. Balfour), M.A., LL.D., F.R.S. + + =On the Conservation of Energy.= Fifth Edition. With + Fourteen Engravings. Crown 8vo. Cloth, price 5_s._ + + Volume VI. of The International Scientific Series. + + +STONEHEWER (Agnes). + + =Monacella=: A Legend of North Wales. A Poem. Fcap. 8vo. + Cloth, price 3_s._ 6_d._ + + +STORR (Francis), and TURNER (Hawes). + + =Canterbury Chimes=; or, Chaucer Tales retold to Children. + With Illustrations from the Ellesmere MS. Extra Fcap. 8vo. + Cloth, price 3_s._ 6_d._ + + +STRETTON (Hesba). Author of "Jessica's First Prayer." + + =Michel Lorio's Cross, and other Stories.= With Two + Illustrations. Royal 16mo. Cloth, price 1_s._ 6_d._ + + =The Storm of Life.= With Ten Illustrations. Twenty-first + Thousand. Royal 16mo. Cloth, price 1_s._ 6_d._ + + =The Crew of the Dolphin.= Illustrated. Fourteenth Thousand. + Royal 16mo. Cloth, price 1_s._ 6_d._ + + =Cassy.= Thirty-eighth Thousand. With Six Illustrations. + Royal 16mo. Cloth, price 1_s._ 6_d._ + + =The King's Servants.= Forty-third Thousand. With Eight + Illustrations. Royal 16mo. Cloth, price 1_s._ 6_d._ + + =Lost Gip.= Fifty-ninth Thousand. With Six Illustrations. + Royal 16mo. Cloth, price 1_s._ 6_d._ + + * * * _Also a handsomely bound Edition, with Twelve + Illustrations, price 2s. 6d._ + + =David Lloyd's Last Will.= With Four Illustrations. Royal + 16mo., price 2_s._ 6_d._ + + =The Wonderful Life.= Thirteenth Thousand. Fcap. 8vo. Cloth, + price 2_s._ 6_d._ + + =A Man of His Word.= With Frontispiece. Royal 16mo. Limp + cloth, price 6_d._ + + =A Night and a Day.= With Frontispiece. Twelfth Thousand. + Royal 16mo. Limp cloth, price 6_d._ + + =Friends till Death.= With Illustrations and Frontispiece. + Twenty-fourth Thousand. Royal 16mo. Cloth, price 1_s._ + 6_d._; limp cloth, price 6_d._ + + =Two Christmas Stories.= With Frontispiece. Twenty-first + Thousand. Royal 16mo. Limp cloth, price 6_d._ + + =Michel Lorio's Cross, and Left Alone.= With Frontispiece. + Fifteenth Thousand. Royal 16mo. Limp cloth, price 6_d._ + + =Old Transome.= With Frontispiece. Sixteenth Thousand. Royal + 16mo. Limp cloth, price 6_d._ + + * * * Taken from "The King's Servants." + + =The Worth of a Baby, and how Apple-Tree Court was won.= + With Frontispiece. Nineteenth Thousand. Royal 16mo. Limp + cloth, price 6_d._ + + =Through a Needle's Eye=: a Story. 2 vols. Crown 8vo. Cloth, + gilt top, price 12_s._ + + +STUBBS (Lieut.-Colonel F. W.). + + =The Regiment of Bengal Artillery.= The History of its + Organization, Equipment, and War Services. Compiled from + Published Works, Official Records, and various Private + Sources. With numerous Maps and Illustrations. 2 vols. Demy + 8vo. Cloth, price 32_s._ + + +STUMM (Lieut. Hugo), German Military Attache to the Khivan Expedition. + + =Russia's advance Eastward.= Based on the Official Reports + of. Translated by Capt. C. E. H. VINCENT. With Map. Crown + 8vo. Cloth, price 6_s._ + + +SULLY (James), M.A. + + =Sensation and Intuition.= Demy 8vo. Cloth, price 10_s._ + 6_d._ + + =Pessimism=: a History and a Criticism. Demy 8vo. Price + 14_d._ + + +=Sunnyland Stories.= + + By the Author of "Aunt Mary's Bran Pie." Illustrated. Small + 8vo. Cloth, price 3_s._ 6_d._ + + +=Supernatural in Nature, The.= + + A Verification by Free Use of Science. Demy 8vo. Cloth, + price 14_s._ + + +=Sweet Silvery Sayings of Shakespeare.= Crown 8vo. Cloth gilt, + price 7_s._ 6_d._ + + +SYME (David). + + =Outlines of an Industrial Science.= Second Edition. Crown + 8vo. Cloth, price 6_s._ + + +=Tales of the Zenana.= + + By the Author of "Pandurang Hari." 2 vols. Crown 8vo. Cloth, + price 21_s._ + + +TAYLOR (Rev. J. W. A.), M.A. + + =Poems.= Fcap. 8vo. Cloth, price 5_s._ + + +TAYLOR (Sir H.). + + =Works Complete.= Author's Edition, in 5 vols. Crown 8vo. + Cloth, price 6_s._ each. + + Vols. I. to III. containing the Poetical Works, Vols. IV. + and V. the Prose Works. + + +TAYLOR (Col. Meadows), C.S.I., M.R.I.A. + + =A Noble Queen=: a Romance of Indian History. 3 vols. Crown + 8vo. Cloth. + + =Seeta.= 3 vols. Crown 8vo. Cloth. + + =The Confessions of a Thug.= Crown 8vo. Cloth, price 6_s._ + + =Tara=: a Mahratta Tale. Crown 8vo. Cloth, price 6_s._ + + +TELFER (J. Buchan), F.R.G.S., Commander, R.N. + + =The Crimea and Trans-Caucasia.= With numerous Illustrations + and Maps. 2 vols. Medium 8vo. Second Edition. Cloth, price + 36_s._ + + +TENNYSON (Alfred). + + =The Imperial Library Edition.= Complete in 7 vols. Demy + 8vo. Cloth, price L3 13_s._ 6_d._; in Roxburgh binding, L4 + 7_s._ 6_d._ + + =Author's Edition.= Complete in 6 Volumes. Post 8vo. Cloth + gilt; or half-morocco, Roxburgh style:-- + + Vol. I. =Early Poems, and English Idylls.= Price 6_s._; + Roxburgh, 7_s._ 6_d._ + + Vol. II. =Locksley Hall, Lucretius, and other Poems.= Price + 6_s._; Roxburgh, 7_s._ 6_d._ + + Vol. III. =The Idylls of the King= (_Complete_). Price 7_s._ + 6_d._; Roxburgh, 9_s._ + + Vol. IV. =The Princess, and Maud.= Price 6_s._; Roxburgh, + 7_s._ 6_d._ + + Vol. V. =Enoch Arden, and In Memoriam.= Price 6_s._; + Roxburgh, 7_s._ 6_d._ + + Vol. VI. =Dramas.= Price 7s.; Roxburgh, 8_s._ 6_d._ + + =Cabinet Edition.= 12 vols. Each with Frontispiece. Fcap. + 8vo. Cloth, price 2_s._ 6_d._ each. + + CABINET EDITION. 12 vols. Complete in handsome Ornamental + Case. 32_s._ + + =Pocket Volume Edition.= 13 vols. In neat case, 36_s._ + Ditto, ditto. Extra cloth gilt, in case, 42_s._ + + =The Royal Edition.= Complete in one vol. Cloth, 16_s._ + Cloth extra, 18_s._ Roxburgh, half morocco, price 20_s._ + + =The Guinea Edition.= Complete in 12 vols., neatly bound and + enclosed in box. Cloth, price 21_s._ French morocco, price + 31_s._ 6_d._ + + =The Shilling Edition of the Poetical and Dramatic Works, + in= 12 vols., pocket size. Price 1_s._ each. + + =The Crown Edition.= Complete in one vol., strongly bound in + cloth, price 6_s._ Cloth, extra gilt leaves, price 7_s._ + 6_d._ Roxburgh, half morocco, price 8_s._ 6_d._ + + * * * Can also be had in a variety of other bindings. + + =Original Editions:= + + =Poems.= Small 8vo. Cloth, price 6_s._ + + =Maud=, and other Poems. Small 8vo. Cloth, price 3_s._ 6_d._ + + =The Princess.= Small 8vo. Cloth, price 3_s._ 6_d._ + + =Idylls of the King.= Small 8vo. Cloth, price 5_s._ + + =Idylls of the King.= Complete. Small 8vo. Cloth, price + 6_s._ + + =The Holy Grail=, and other Poems. Small 8vo. Cloth, price + 4_s._ 6_d._ + + =Gareth and Lynette.= Small 8vo. Cloth, price 3_s._ + + =Enoch Arden, &c.= Small 8vo. Cloth, price 3_s._ 6_d._ + + =In Memoriam.= Small 8vo. Cloth, price 4_s._ + + =Queen Mary.= A Drama. New Edition. Crown 8vo. Cloth, price + 6_s._ + + =Harold.= A Drama. Crown 8vo. Cloth, price 6_s._ + + =Selections from Tennyson's Works.= Super royal 16mo. Cloth, + price 3_s._ 6_d._ Cloth gilt extra, price 4_s._ + + =Songs from Tennyson's Works.= Super royal 16mo. Cloth + extra, price 3_s._ 6_d._ + + Also a cheap edition, 16mo. Cloth, price 2_s._ 6_d._ + + =Idylls of the King=, and other Poems. Illustrated by Julia + Margaret Cameron. 2 vols. Folio. Half-bound morocco, cloth + sides, price L6 6_s._ each. + + +=Tennyson for the Young and for Recitation.= Specially arranged. + Fcap. 8vo. Price 1_s._ 6_d._ + + +=Tennyson Birthday Book.= Edited by Emily Shakespear. 32mo. + Cloth limp, 2_s._; cloth extra, 3_s._ + + +THOMAS (Moy). + + =A Fight for Life.= With Frontispiece. Crown 8vo. Cloth, + price 3_s._ 6_d._ + + +THOMPSON (Alice C.). + + =Preludes.= A Volume of Poems. Illustrated by Elizabeth + Thompson (Painter of "The Roll Call"). 8vo. Cloth, price + 7_s._ 6d. + + +THOMPSON (Rev. A. S.). + + =Home Words for Wanderers.= A Volume of Sermons. Crown 8vo. + Cloth, price 6_s._ + + +THOMSON (J. Turnbull). + + =Social Problems;= or, an Inquiry into the Law of + Influences. With Diagrams. Demy 8vo. Cloth, price 10_s._ + 6_d._ + + +=Thoughts in Verse.= + + Small Crown 8vo. Cloth, price 1_s._ 6_d._ + + +THRING (Rev. Godfrey), B.A. + + =Hymns and Sacred Lyrics.= Fcap. 8vo. Cloth, price 5_s._ + + +THURSTON (Prof. R. H.). + + =A History of the Growth of the Steam Engine.= With numerous + Illustrations. Second Edition. Crown 8vo. Cloth, price 6_s._ + 6_d._ + + +TODD (Herbert), M.A. + + =Arvan=; or, The Story of the Sword. A Poem. Crown 8vo. + Cloth, price 7_s._ 6_d._ + + +TODHUNTER (Dr. J.) + + =Alcestis=: A Dramatic Poem. Extra fcap. 8vo. Cloth, price + 5_s._ + + =Laurella=; and other Poems. Crown 8vo. Cloth, price 6_s._ + 6_d._ + + +TRAHERNE (Mrs. A.). + + =The Romantic Annals of a Naval Family.= A New and Cheaper + Edition. Crown 8vo. Cloth, price 5_s._ + + +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. + + +VAMBERY (Prof. A.). + + =Bokhara=: Its History and Conquest Second Edition. Demy + 8vo. Cloth, price 18_s._ + + +VAN BENEDEN (Mons.). + + =Animal Parasites and Messmates.= With 83 Illustrations. + Second Edition. Cloth, price 5_s._ + + Volume XIX. of The International Scientific Series. + + +VAUGHAN (H. Halford), sometime Regius Professor of Modern History in +Oxford University. + + =New Readings and Renderings of Shakespeare's Tragedies.= + Vol. I. Demy 8vo. Cloth, price 15_s._ + + +VILLARI (Prof.). + + =Niccolo Machiavelli and His Times.= Translated by Linda + Villari. 2 vols. Large post 8vo. Cloth, price 24_s._ + + +VINCENT (Capt. C. E. H.). + + Elementary Military =Geography, Reconnoitring, and + Sketching.= Compiled for Non-Commissioned Officers and + Soldiers of all Arms. Square crown 8vo. Cloth, price 2_s._ + 6_d._ + + +VOGEL (Dr. Hermann). + + =The Chemical effects of Light and Photography=, in their + application to Art, Science, and Industry. The translation + thoroughly revised. With 100 Illustrations, including some + beautiful specimens of Photography. Third Edition. Crown + 8vo. Cloth, price 5_s._ + + Volume XV. of The International Scientific Series. + + +VYNER (Lady Mary). + + =Every day a Portion.= Adapted from the Bible and the Prayer + Book, for the Private Devotions of those living in + Widowhood. Collected and edited by Lady Mary Vyner. Square + crown 8vo. Cloth extra, price 5_s._ + + +WALDSTEIN (Charles), Ph. D. + + =The Balance of Emotion and Intellect=: An Essay + Introductory to the Study of Philosophy. Crown 8vo. Cloth, + price 6_s._ + + +WALLER (Rev. C. B.). + + =The Apocalypse=, Reviewed under the Light of the Doctrine + of the Unfolding Ages and the Restitution of all Things. + Demy 8vo. Cloth, price 12_s._ + + +WALTERS (Sophia Lydia). + + =A Dreamer's Sketch Book.= With Twenty-one Illustrations by + Percival Skelton, R. P. Leitch, W. H. J. Boot, and T. R. + Pritchett. Engraved by J. D. Cooper. Fcap. 4to. Cloth, price + 12_s._ 6_d._ + + +WARTENSLEBEN (Count H. von). + + =The Operations of the South Army in January and February, + 1871.= Compiled from the Official War Documents of the + Head-quarters of the Southern Army. Translated by Colonel C. + H. von Wright. With Maps. Demy 8vo. Cloth, price 6_s._ + + =The Operations of the First Army under Gen. von + Manteuffel.= Translated by Colonel C. H. von Wright. Uniform + with the above. Demy 8vo. Cloth, price 9_s._ + + +WATERFIELD, (W.). + + =Hymns for Holy Days and Seasons.= 32mo. Cloth, price 1_s._ + 6_d._ + + +WAY (A.), M.A. + + =The Odes of Horace Literally Translated in Metre.= Fcap. + 8vo. Cloth, price 2_s._ + + +WELLS (Capt. John C.), R.N. + + =Spitzbergen--The Gateway to the Polynia=; or, A Voyage to + Spitzbergen. With numerous Illustrations by Whymper and + others, and Map. New and Cheaper Edition. Demy 8vo. Cloth, + price 6_s._ + + +WETMORE (W. S.). + + =Commercial Telegraphic Code.= Second Edition. Post 4to. + Boards, price 42_s._ + + +WHITAKER (Florence). + + =Christy's Inheritance.= A London Story. Illustrated. Royal + 16mo. Cloth, price 1_s._ 6_d._ + + +WHITE (A. D.), LL.D. + + =Warfare of Science.= With Prefatory Note by Professor + Tyndall. Second Edition. Crown 8vo. Cloth, price 3_s._ 6_d._ + + +WHITNEY (Prof. W. D.) + + =The Life and Growth of Language.= Second Edition. Crown + 8vo. Cloth, price 5_s._ _Copyright Edition._ + + Volume XVI. of The International Scientific Series. + + =Essentials of English Grammar for the Use of Schools.= + Crown 8vo. Cloth, price 3_s._ 6_d._ + + +WHITTLE (J. L.), A.M. + + =Catholicism and the Vatican.= With a Narrative of the Old + Catholic Congress at Munich. Second Edition. Crown 8vo. + Cloth, price 4_s._ 6_d._ + + +WICKHAM (Capt. E. H., R.A.) + + =Influence of Firearms upon Tactics=: Historical and + Critical Investigations. By an OFFICER OF SUPERIOR RANK (in + the German Army). Translated by Captain E. H. Wickham, R.A. + Demy 8vo. Cloth, price 7_s._ 6_d._ + + +WILBERFORCE (H. W.). + + =The Church and the Empires.= Historical Periods. Preceded + by a Memoir of the Author by John Henry Newman, D.D. of the + Oratory. With Portrait. Post 8vo. Cloth, price 10_s._ 6_d._ + + +WILKINSON (T. L.). + + =Short Lectures on the Land Laws.= Delivered before the + Working Men's College. Crown 8vo. Limp cloth, price 2_s._ + + +WILLIAMS (A. Lukyn). + + =Famines in India=; their Causes and Possible Prevention. + The Essay for the Le Bas Prize, 1875. Demy 8vo. Cloth, price + 5_s._ + + +WILLIAMS (Charles), one of the Special Correspondents attached to the +Staff of Ghazi Ahmed Mouktar Pasha. + + =The Armenian Campaign=: Diary of the Campaign of 1877 in + Armenia and Koordistan. With Two Special Maps. Large post + 8vo. Cloth, price 10_s._ 6_d._ + + +WILLIAMS (Rowland), D.D. + + =Life and Letters of=, with Extracts from his Note-Books. + Edited by Mrs. Rowland Williams. With a Photographic + Portrait. 2 vols. Large post 8vo. Cloth, price 24_s._ + + =Stray Thoughts from the Note-Books of the Late Rowland + Williams, D.D.= Edited by his Widow. Crown 8vo. Cloth, price + 3_s._ 6_d._ + + =Psalms, Litanies, Counsels and Collects for Devout + Persons.= Edited by his Widow. New and Popular Edition. + Crown 8vo. Cloth, price 3_s._ 6_d._ + + +WILLIS (R.), M.D. + + =Servetus and Calvin=: a Study of an Important Epoch in the + Early History of the Reformation. 8vo. Cloth, price 16_s._ + + =William Harvey. A History of the Discovery of the + Circulation of the Blood.= With a Portrait of Harvey, after + Faithorne. Demy 8vo. Cloth, price 14_s._ + + +WILLOUGHBY (The Hon. Mrs.). + + =On the North Wind--Thistledown.= A Volume of Poems. + Elegantly bound. Small crown 8vo. Cloth, price 7_s._ 6_d._ + + +WILSON (H. Schuetz). + + =Studies and Romances.= Crown 8vo. Cloth, price 7_s._ 6_d._ + + +WILSON (Lieut.-Col. C. T.). + + =James the Second and the Duke of Berwick.= Demy 8vo. Cloth, + price 12_s._ 6_d._ + + +WINTERBOTHAM (Rev. R.), M.A., B.Sc. + + =Sermons and Expositions.= Crown 8vo. Cloth, price 7_s._ + 6_d._ + + +=Within Sound of the Sea.= By the Author of "Blue Roses," "Vera," + &c. Third Edition. 2 vols. Crown 8vo. Cloth, gilt tops, + price 12_s._ + + +WOINOVITS (Capt. I.). + + =Austrian Cavalry Exercise.= Translated by Captain W. S. + Cooke. Crown 8vo. Cloth, price 7_s._ + + +WOLLSTONECRAFT (Mary). + + =Letters to Imlay.= With a Preparatory Memoir by C. Kegan + Paul, and two Portraits in _eau forte_ by Anna Lea Merritt. + Crown 8vo. Cloth, price 6_s._ + + +WOOD (C. F.). + + =A Yachting Cruise in the South Seas.= With Six Photographic + Illustrations. Demy 8vo. Cloth, price 7_s._ 6_d._ + + +WRIGHT (Rev. David), M.A. + + =Waiting for the Light, and other Sermons.= Crown 8vo. + Cloth, price 6_s._ + + +WYLD (R.S.), F.R.S.E. + + =The Physics and the Philosophy of the Senses=; or, The + Mental and the Physical in their Mutual Relation. + Illustrated by several Plates. Demy 8vo. Cloth, price 16_s._ + + +YONGE (C. D). + + =History of the English Revolution of 1688.= Crown 8vo. + Cloth, price 6_s._ + + +YOUMANS (Eliza A.). + + =An Essay on the Culture of the Observing Powers of + Children=, especially in connection with the Study of + Botany. Edited, with Notes and a Supplement, by Joseph + Payne, F.C.P., Author of "Lectures on the Science and Art of + Education," &c. Crown 8vo. Cloth, price 2_s._ 6_d._ + + =First Book of Botany.= Designed to Cultivate the Observing + Powers of Children. With 300 Engravings. New and Enlarged + Edition. Crown 8vo. Cloth, price 5_s._ + + +YOUMANS (Edward L.), M.D. + + =A Class Book of Chemistry,= on the Basis of the New System. + With 200 Illustrations. Crown 8vo. Cloth, price 5_s._ + + +ZIMMERN (H.). + + =Stories in Precious Stones.= With Six Illustrations. Third + Edition. Crown 8vo. Cloth, price 5_s._ + + +THE NINETEENTH CENTURY. + +_A Monthly Review, edited by_ JAMES KNOWLES, _price 2s. 6d._ + +Vols. 1 and 2 (Price 14s. each) and Vols. 3 and 4 +(Price 17s. each). + + +THE NEW QUARTERLY MAGAZINE. + +_New Series, price 2s. 6d._ + +Published in January, April, July, October. + +LONDON:--C. KEGAN PAUL & CO., 1, PATERNOSTER SQUARE. + + + + + * * * * * + +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,) + + + + + + + + +End of the Project Gutenberg EBook of Dante, by Philip H. Wicksteed + +*** END OF THIS PROJECT GUTENBERG EBOOK DANTE *** + +***** This file should be named 36479.txt or 36479.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/3/6/4/7/36479/ + +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.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. Special rules, +set forth in the General Terms of Use part of this license, apply to +copying and distributing Project Gutenberg-tm electronic works to +protect the PROJECT GUTENBERG-tm concept and trademark. Project +Gutenberg is a registered trademark, and may not be used if you +charge for the eBooks, unless you receive specific permission. If you +do not charge anything for copies of this eBook, complying with the +rules is very easy. You may use this eBook for nearly any purpose +such as creation of derivative works, reports, performances and +research. They may be modified and printed and given away--you may do +practically ANYTHING with public domain eBooks. Redistribution is +subject to the trademark license, especially commercial +redistribution. + + + +*** START: FULL LICENSE *** + +THE FULL PROJECT GUTENBERG LICENSE +PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK + +To protect the Project Gutenberg-tm mission of promoting the free +distribution of electronic works, by using or distributing this work +(or any other work associated in any way with the phrase "Project +Gutenberg"), you agree to comply with all the terms of the Full Project +Gutenberg-tm License (available with this file or online at +http://gutenberg.org/license). + + +Section 1. General Terms of Use and Redistributing Project Gutenberg-tm +electronic works + +1.A. By reading or using any part of this Project Gutenberg-tm +electronic work, you indicate that you have read, understand, agree to +and accept all the terms of this license and intellectual property +(trademark/copyright) agreement. If you do not agree to abide by all +the terms of this agreement, you must cease using and return or destroy +all copies of Project Gutenberg-tm electronic works in your possession. +If you paid a fee for obtaining a copy of or access to a Project +Gutenberg-tm electronic work and you do not agree to be bound by the +terms of this agreement, you may obtain a refund from the person or +entity to whom you paid the fee as set forth in paragraph 1.E.8. + +1.B. "Project Gutenberg" is a registered trademark. It may only be +used on or associated in any way with an electronic work by people who +agree to be bound by the terms of this agreement. There are a few +things that you can do with most Project Gutenberg-tm electronic works +even without complying with the full terms of this agreement. See +paragraph 1.C below. There are a lot of things you can do with Project +Gutenberg-tm electronic works if you follow the terms of this agreement +and help preserve free future access to Project Gutenberg-tm electronic +works. See paragraph 1.E below. + +1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation" +or PGLAF), owns a compilation copyright in the collection of Project +Gutenberg-tm electronic works. Nearly all the individual works in the +collection are in the public domain in the United States. If an +individual work is in the public domain in the United States and you are +located in the United States, we do not claim a right to prevent you from +copying, distributing, performing, displaying or creating derivative +works based on the work as long as all references to Project Gutenberg +are removed. Of course, we hope that you will support the Project +Gutenberg-tm mission of promoting free access to electronic works by +freely sharing Project Gutenberg-tm works in compliance with the terms of +this agreement for keeping the Project Gutenberg-tm name associated with +the work. You can easily comply with the terms of this agreement by +keeping this work in the same format with its attached full Project +Gutenberg-tm License when you share it without charge with others. + +1.D. The copyright laws of the place where you are located also govern +what you can do with this work. Copyright laws in most countries are in +a constant state of change. If you are outside the United States, check +the laws of your country in addition to the terms of this agreement +before downloading, copying, displaying, performing, distributing or +creating derivative works based on this work or any other Project +Gutenberg-tm work. The Foundation makes no representations concerning +the copyright status of any work in any country outside the United +States. + +1.E. Unless you have removed all references to Project Gutenberg: + +1.E.1. The following sentence, with active links to, or other immediate +access to, the full Project Gutenberg-tm License must appear prominently +whenever any copy of a Project Gutenberg-tm work (any work on which the +phrase "Project Gutenberg" appears, or with which the phrase "Project +Gutenberg" is associated) is accessed, displayed, performed, viewed, +copied or distributed: + +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 + +1.E.2. If an individual Project Gutenberg-tm electronic work is derived +from the public domain (does not contain a notice indicating that it is +posted with permission of the copyright holder), the work can be copied +and distributed to anyone in the United States without paying any fees +or charges. If you are redistributing or providing access to a work +with the phrase "Project Gutenberg" associated with or appearing on the +work, you must comply either with the requirements of paragraphs 1.E.1 +through 1.E.7 or obtain permission for the use of the work and the +Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or +1.E.9. + +1.E.3. If an individual Project Gutenberg-tm electronic work is posted +with the permission of the copyright holder, your use and distribution +must comply with both paragraphs 1.E.1 through 1.E.7 and any additional +terms imposed by the copyright holder. Additional terms will be linked +to the Project Gutenberg-tm License for all works posted with the +permission of the copyright holder found at the beginning of this work. + +1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm +License terms from this work, or any files containing a part of this +work or any other work associated with Project Gutenberg-tm. + +1.E.5. Do not copy, display, perform, distribute or redistribute this +electronic work, or any part of this electronic work, without +prominently displaying the sentence set forth in paragraph 1.E.1 with +active links or immediate access to the full terms of the Project +Gutenberg-tm License. + +1.E.6. You may convert to and distribute this work in any binary, +compressed, marked up, nonproprietary or proprietary form, including any +word processing or hypertext form. However, if you provide access to or +distribute copies of a Project Gutenberg-tm work in a format other than +"Plain Vanilla ASCII" or other format used in the official version +posted on the official Project Gutenberg-tm web site (www.gutenberg.org), +you must, at no additional cost, fee or expense to the user, provide a +copy, a means of exporting a copy, or a means of obtaining a copy upon +request, of the work in its original "Plain Vanilla ASCII" or other +form. Any alternate format must include the full Project Gutenberg-tm +License as specified in paragraph 1.E.1. + +1.E.7. Do not charge a fee for access to, viewing, displaying, +performing, copying or distributing any Project Gutenberg-tm works +unless you comply with paragraph 1.E.8 or 1.E.9. + +1.E.8. You may charge a reasonable fee for copies of or providing +access to or distributing Project Gutenberg-tm electronic works provided +that + +- You pay a royalty fee of 20% of the gross profits you derive from + the use of Project Gutenberg-tm works calculated using the method + you already use to calculate your applicable taxes. The fee is + owed to the owner of the Project Gutenberg-tm trademark, but he + has agreed to donate royalties under this paragraph to the + Project Gutenberg Literary Archive Foundation. Royalty payments + must be paid within 60 days following each date on which you + prepare (or are legally required to prepare) your periodic tax + returns. Royalty payments should be clearly marked as such and + sent to the Project Gutenberg Literary Archive Foundation at the + address specified in Section 4, "Information about donations to + the Project Gutenberg Literary Archive Foundation." + +- You provide a full refund of any money paid by a user who notifies + you in writing (or by e-mail) within 30 days of receipt that s/he + does not agree to the terms of the full Project Gutenberg-tm + License. You must require such a user to return or + destroy all copies of the works possessed in a physical medium + and discontinue all use of and all access to other copies of + Project Gutenberg-tm works. + +- You provide, in accordance with paragraph 1.F.3, a full refund of any + money paid for a work or a replacement copy, if a defect in the + electronic work is discovered and reported to you within 90 days + of receipt of the work. + +- You comply with all other terms of this agreement for free + distribution of Project Gutenberg-tm works. + +1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm +electronic work or group of works on different terms than are set +forth in this agreement, you must obtain permission in writing from +both the Project Gutenberg Literary Archive Foundation and Michael +Hart, the owner of the Project Gutenberg-tm trademark. Contact the +Foundation as set forth in Section 3 below. + +1.F. + +1.F.1. Project Gutenberg volunteers and employees expend considerable +effort to identify, do copyright research on, transcribe and proofread +public domain works in creating the Project Gutenberg-tm +collection. Despite these efforts, Project Gutenberg-tm electronic +works, and the medium on which they may be stored, may contain +"Defects," such as, but not limited to, incomplete, inaccurate or +corrupt data, transcription errors, a copyright or other intellectual +property infringement, a defective or damaged disk or other medium, a +computer virus, or computer codes that damage or cannot be read by +your equipment. + +1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right +of Replacement or Refund" described in paragraph 1.F.3, the Project +Gutenberg Literary Archive Foundation, the owner of the Project +Gutenberg-tm trademark, and any other party distributing a Project +Gutenberg-tm electronic work under this agreement, disclaim all +liability to you for damages, costs and expenses, including legal +fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT +LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE +PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE +TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE +LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR +INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH +DAMAGE. + +1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a +defect in this electronic work within 90 days of receiving it, you can +receive a refund of the money (if any) you paid for it by sending a +written explanation to the person you received the work from. If you +received the work on a physical medium, you must return the medium with +your written explanation. The person or entity that provided you with +the defective work may elect to provide a replacement copy in lieu of a +refund. If you received the work electronically, the person or entity +providing it to you may choose to give you a second opportunity to +receive the work electronically in lieu of a refund. If the second copy +is also defective, you may demand a refund in writing without further +opportunities to fix the problem. + +1.F.4. Except for the limited right of replacement or refund set forth +in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER +WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO +WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE. + +1.F.5. Some states do not allow disclaimers of certain implied +warranties or the exclusion or limitation of certain types of damages. +If any disclaimer or limitation set forth in this agreement violates the +law of the state applicable to this agreement, the agreement shall be +interpreted to make the maximum disclaimer or limitation permitted by +the applicable state law. The invalidity or unenforceability of any +provision of this agreement shall not void the remaining provisions. + +1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the +trademark owner, any agent or employee of the Foundation, anyone +providing copies of Project Gutenberg-tm electronic works in accordance +with this agreement, and any volunteers associated with the production, +promotion and distribution of Project Gutenberg-tm electronic works, +harmless from all liability, costs and expenses, including legal fees, +that arise directly or indirectly from any of the following which you do +or cause to occur: (a) distribution of this or any Project Gutenberg-tm +work, (b) alteration, modification, or additions or deletions to any +Project Gutenberg-tm work, and (c) any Defect you cause. + + +Section 2. Information about the Mission of Project Gutenberg-tm + +Project Gutenberg-tm is synonymous with the free distribution of +electronic works in formats readable by the widest variety of computers +including obsolete, old, middle-aged and new computers. It exists +because of the efforts of hundreds of volunteers and donations from +people in all walks of life. + +Volunteers and financial support to provide volunteers with the +assistance they need, are critical to reaching Project Gutenberg-tm's +goals and ensuring that the Project Gutenberg-tm collection will +remain freely available for generations to come. In 2001, the Project +Gutenberg Literary Archive Foundation was created to provide a secure +and permanent future for Project Gutenberg-tm and future generations. +To learn more about the Project Gutenberg Literary Archive Foundation +and how your efforts and donations can help, see Sections 3 and 4 +and the Foundation web page at http://www.pglaf.org. + + +Section 3. Information about the Project Gutenberg Literary Archive +Foundation + +The Project Gutenberg Literary Archive Foundation is a non profit +501(c)(3) educational corporation organized under the laws of the +state of Mississippi and granted tax exempt status by the Internal +Revenue Service. The Foundation's EIN or federal tax identification +number is 64-6221541. Its 501(c)(3) letter is posted at +http://pglaf.org/fundraising. Contributions to the Project Gutenberg +Literary Archive Foundation are tax deductible to the full extent +permitted by U.S. federal laws and your state's laws. + +The Foundation's principal office is located at 4557 Melan Dr. S. +Fairbanks, AK, 99712., but its volunteers and employees are scattered +throughout numerous locations. Its business office is located at +809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887, email +business@pglaf.org. Email contact links and up to date contact +information can be found at the Foundation's web site and official +page at http://pglaf.org + +For additional contact information: + Dr. Gregory B. Newby + Chief Executive and Director + gbnewby@pglaf.org + + +Section 4. Information about Donations to the Project Gutenberg +Literary Archive Foundation + +Project Gutenberg-tm depends upon and cannot survive without wide +spread public support and donations to carry out its mission of +increasing the number of public domain and licensed works that can be +freely distributed in machine readable form accessible by the widest +array of equipment including outdated equipment. Many small donations +($1 to $5,000) are particularly important to maintaining tax exempt +status with the IRS. + +The Foundation is committed to complying with the laws regulating +charities and charitable donations in all 50 states of the United +States. Compliance requirements are not uniform and it takes a +considerable effort, much paperwork and many fees to meet and keep up +with these requirements. We do not solicit donations in locations +where we have not received written confirmation of compliance. To +SEND DONATIONS or determine the status of compliance for any +particular state visit http://pglaf.org + +While we cannot and do not solicit contributions from states where we +have not met the solicitation requirements, we know of no prohibition +against accepting unsolicited donations from donors in such states who +approach us with offers to donate. + +International donations are gratefully accepted, but we cannot make +any statements concerning tax treatment of donations received from +outside the United States. U.S. laws alone swamp our small staff. + +Please check the Project Gutenberg Web pages for current donation +methods and addresses. Donations are accepted in a number of other +ways including checks, online payments and credit card donations. +To donate, please visit: http://pglaf.org/donate + + +Section 5. General Information About Project Gutenberg-tm electronic +works. + +Professor Michael S. Hart is the originator of the Project Gutenberg-tm +concept of a library of electronic works that could be freely shared +with anyone. For thirty years, he produced and distributed Project +Gutenberg-tm eBooks with only a loose network of volunteer support. + + +Project Gutenberg-tm eBooks are often created from several printed +editions, all of which are confirmed as Public Domain in the U.S. +unless a copyright notice is included. Thus, we do not necessarily +keep eBooks in compliance with any particular paper edition. + + +Most people start at our Web site which has the main PG search facility: + + http://www.gutenberg.org + +This Web site includes information about Project Gutenberg-tm, +including how to make donations to the Project Gutenberg Literary +Archive Foundation, how to help produce our new eBooks, and how to +subscribe to our email newsletter to hear about new eBooks. |