Butthesecircumstances，whiletheyfostergenius，areunfavourabletothescienceofcriticism。Menjudgebycomparison。Theyareunabletoestimatethegrandeurofanobjectwhenthereisnostandardbywhichtheycanmeasureit。
OneoftheFrenchphilosophers（IbegGerard’spardon），whoaccompaniedNapoleontoEgypt，tellsusthat，whenhefirstvisitedthegreatPyramid，hewassurprisedtoseeitsodiminutive。Itstoodaloneinaboundlessplain。Therewasnothingnearitfromwhichhecouldcalculateitsmagnitude。Butwhenthecampwaspitchedbesideit，andthetentsappearedlikediminutivespecksarounditsbase，hethenperceivedtheimmensityofthismightiestworkofman。Inthesamemanner，itisnottillacrowdofpettywritershassprungupthatthemeritofthegreatmasterspiritsofliteratureisunderstood。
WehaveindeedampleproofthatDantewashighlyadmiredinhisownandthefollowingage。Iwishthatwehadequalproofthathewasadmiredforhisexcellencies。Butitisaremarkablecorroborationofwhathasbeensaid，thatthisgreatmanseemstohavebeenutterlyunabletoappreciatehimself。Inhistreatise\"DeVulgariEloquentia\"hetalkswithsatisfactionofwhathehasdoneforItalianliterature，ofthepurityandcorrectnessofhisstyle。\"Cependant，\"saysafavouritewriterofmine，（Sismondi，LiteratureduMididel’Europe。）\"iln’estnipur，nicorrect，maisilestcreateur。\"ConsideringthedifficultieswithwhichDantehadtostruggle，wemayperhapsbemoreinclinedthantheFrenchcritictoallowhimthispraise。Stillitisbynomeanshishighestormostpeculiartitletoapplause。Itisscarcelynecessarytosaythatthosequalitieswhichescapedthenoticeofthepoethimselfwerenotlikelytoattracttheattentionofthecommentators。Thefactis，that，whilethepublichomagewaspaidtosomeabsurditieswithwhichhisworksmaybejustlycharged，andtomanymorewhichwerefalselyimputedtothem，——
whilelecturerswerepaidtoexpoundandeulogisehisphysics，hismetaphysics，histheology，allbadoftheirkind——whileannotatorslabouredtodetectallegoricalmeaningsofwhichtheauthorneverdreamed，thegreatpowersofhisimagination，andtheincomparableforceofhisstyle，wereneitheradmirednorimitated。Arimaneshadprevailed。TheDivineComedywastothatagewhatSt。Paul’sCathedralwastoOmai。ThepoorOtaheiteanstaredlistlesslyforamomentatthehugecupola，andranintoatoyshoptoplaywithbeads。Italy，too，wascharmedwithliterarytrinkets，andplayedwiththemforfourcenturies。
FromthetimeofPetrarchtotheappearanceofAlfieri’stragedies，wemaytraceinalmosteverypageofItalianliteraturetheinfluenceofthosecelebratedsonnetswhich，fromthenaturebothoftheirbeautiesandtheirfaults，werepeculiarlyunfittobemodelsforgeneralimitation。Almostallthepoetsofthatperiod，howeverdifferentinthedegreeandqualityoftheirtalents，arecharacterisedbygreatexaggeration，andasanecessaryconsequence，greatcoldnessofsentiment;byapassionforfrivolousandtawdryornament;and，aboveall，byanextremefeeblenessanddiffusenessofstyle。
Tasso，Marino，Guarini，Metastasio，andacrowdofwritersofinferiormeritandcelebrity，werespell—boundintheenchantedgardensofagaudyandmeretriciousAlcina，whoconcealeddebilityanddeformitybeneaththedeceitfulsemblanceoflovelinessandhealth。Ariosto，thegreatAriostohimself，likehisownRuggiero，stoopedforatimetolingeramidstthemagicflowersandfountains，andtocaressthegayandpaintedsorceress。Buttohim，astohisownRuggiero，hadbeengiventheomnipotentringandthewingedcourser，whichborehimfromtheparadiseofdeceptiontotheregionsoflightandnature。
TheevilofwhichIspeakwasnotconfinedtothegraverpoets。
Itinfectedsatire，comedy，burlesque。NopersoncanadmiremorethanIdothegreatmasterpiecesofwitandhumourwhichItalyhasproduced。StillIcannotbutdiscernandlamentagreatdeficiency，whichiscommontothemall。Ifindinthemabundanceofingenuity，ofdrollnaivete，ofprofoundandjustreflection，ofhappyexpression。Manners，characters，opinions，aretreatedwith\"amostlearnedspiritofhumandealing。\"Butsomethingisstillwanting。Weread，andweadmire，andweyawn。
WelookinvainforthebacchanalianfurywhichinspiredthecomedyofAthens，forthefierceandwitheringscornwhichanimatestheinvectivesofJuvenalandDryden，orevenforthecompactandpointeddictionwhichaddszesttotheversesofPopeandBoileau。Thereisnoenthusiasm，noenergy，nocondensation，nothingwhichspringsfromstrongfeeling，nothingwhichtendstoexciteit。Manyfinethoughtsandfineexpressionsrewardthetoilofreading。Stillitisatoil。TheSecchiaRapita，insomepointsthebestpoemofitskind，ispainfullydiffuseandlanguid。TheAnimaliParlantiofCastiisperfectlyintolerable。
Iadmirethedexterityoftheplot，andtheliberalityoftheopinions。Iadmitthatitisimpossibletoturntoapagewhichdoesnotcontainsomethingthatdeservestoberemembered;butitisatleastsixtimesaslongasitoughttobe。Andthegarrulousfeeblenessofthestyleisastillgreaterfaultthanthelengthofthework。
ItmaybethoughtthatIhavegonetoofarinattributingtheseevilstotheinfluenceoftheworksandthefameofPetrarch。Itcannot，however，bedoubtedthattheyhavearisen，inagreatmeasure，fromaneglectofthestyleofDante。ThisisnotmoreprovedbythedeclineofItalianpoetrythanbyitsresuscitation。Afterthelapseoffourhundredandfiftyyears，thereappearedamancapableofappreciatingandimitatingthefatherofTuscanliterature——VittorioAlfieri。Liketheprinceinthenurserytale，hesoughtandfoundthesleepingbeautywithintherecesseswhichhadsolongconcealedherfrommankind。
Theportalwasindeedrustedbytime;——thedustofageshadaccumulatedonthehangings;——thefurniturewasofantiquefashion;——andthegorgeouscolouroftheembroideryhadfaded。
Butthelivingcharmswhichwerewellworthalltherestremainedinthebloomofeternalyouth，andwellrewardedtheboldadventurerwhorousedthemfromtheirlongslumber。IneverylineofthePhilipandtheSaul，thegreatestpoems，Ithink，oftheeighteenthcentury，wemaytracetheinfluenceofthatmightygeniuswhichhasimmortalisedtheill—starredloveofFrancesca，andthepaternalagoniesofUgolino。AlfieribequeathedthesovereigntyofItalianliteraturetotheauthoroftheAristodemus——amanofgeniusscarcelyinferiortohisown，andastillmoredevoteddiscipleofthegreatFlorentine。ItmustbeacknowledgedthatthiseminentwriterhassometimespushedtoofarhisidolatryofDante。ToborrowasprightlyillustrationfromSirJohnDenham，hehasnotonlyimitatedhisgarb，butborrowedhisclothes。Heoftenquoteshisphrases;andhehas，notveryjudiciouslyasitappearstome，imitatedhisversification。Nevertheless，hehasdisplayedmanyofthehigherexcellenciesofhismaster;andhisworksmayjustlyinspireuswithahopethattheItalianlanguagewilllongflourishunderanewliterarydynasty，orratherunderthelegitimateline，whichhasatlengthbeenrestoredtoathronelongoccupiedbyspecioususurpers。
Themantowhomtheliteratureofhiscountryowesitsoriginanditsrevivalwasbornintimessingularlyadaptedtocallforthhisextraordinarypowers。Religiouszeal，chivalrousloveandhonour，democraticliberty，arethethreemostpowerfulprinciplesthathaveeverinfluencedthecharacteroflargemassesofmen。Eachofthemsinglyhasoftenexcitedthegreatestenthusiasm，andproducedthemostimportantchanges。InthetimeofDanteallthethree，ofteninamalgamation，generallyinconflict，agitatedthepublicmind。Theprecedinggenerationhadwitnessedthewrongsandtherevengeofthebrave，theaccomplished，theunfortunateEmperorFrederictheSecond，——apoetinanageofschoolmen，——aphilosopherinanageofmonks，——
astatesmaninanageofcrusaders。Duringthewholelifeofthepoet，ItalywasexperiencingtheconsequencesofthememorablestrugglewhichhehadmaintainedagainsttheChurch。Thefinestworksofimaginationhavealwaysbeenproducedintimesofpoliticalconvulsion，astherichestvineyardsandthesweetestflowersalwaysgrowonthesoilwhichhasbeenfertilisedbythefierydelugeofavolcano。Tolooknofurtherthantheliteraryhistoryofourowncountry，canwedoubtthatShakspearewasinagreatmeasureproducedbytheReformation，andWordsworthbytheFrenchRevolution？Poetsoftenavoidpoliticaltransactions;
theyoftenaffecttodespisethem。But，whethertheyperceiveitornot，theymustbeinfluencedbythem。Aslongastheirmindshaveanypointofcontactwiththoseoftheirfellow—men，theelectricimpulse，atwhateverdistanceitmayoriginate，willbecircuitouslycommunicatedtothem。
Thiswillbethecaseeveninlargesocieties，wherethedivisionoflabourenablesmanyspeculativementoobservethefaceofnature，ortoanalysetheirownminds，atadistancefromtheseatofpoliticaltransactions。InthelittlerepublicofwhichDantewasamemberthestateofthingswasverydifferent。Thesesmallcommunitiesaremostunmercifullyabusedbymostofourmodernprofessorsofthescienceofgovernment。Insuchstates，theytellus，factionsarealwaysmostviolent:wherebothpartiesarecoopedupwithinanarrowspace，politicaldifferencenecessarilyproducespersonalmalignity。Everymanmustbeasoldier;everymomentmayproduceawar。Nocitizencanliedownsecurethatheshallnotberousedbythealarum—bell，torepeloravengeaninjury。InsuchpettyquarrelsGreecesquanderedthebloodwhichmighthavepurchasedforherthepermanentempireoftheworld，andItalywastedtheenergyandtheabilitieswhichwouldhaveenabledhertodefendherindependenceagainstthePontiffsandtheCaesars。
Allthisistrue:yetthereisstillacompensation。MankindhasnotderivedsomuchbenefitfromtheempireofRomeasfromthecityofAthens，norfromthekingdomofFranceasfromthecityofFlorence。Theviolenceofpartyfeelingmaybeanevil;butitcallsforththatactivityofmindwhichinsomestatesofsocietyitisdesirabletoproduceatanyexpense。Universalsoldiershipmaybeanevil;butwhereeverymanisasoldiertherewillbenostandingarmy。Andisitnoevilthatonemanineveryfiftyshouldbebredtothetradeofslaughter;shouldliveonlybydestroyingandbyexposinghimselftobedestroyed;
shouldfightwithoutenthusiasmandconquerwithoutglory;besenttoahospitalwhenwounded，androtonadunghillwhenold？
Such，overmorethantwo—thirdsofEurope，isthefateofsoldiers。ItwassomethingthatthecitizenofMilanorFlorencefought，notmerelyinthevagueandrhetoricalsenseinwhichthewordsareoftenused，butinsobertruth，forhisparents，hischildren，hislands，hishouse，hisaltars。ItwassomethingthathemarchedforthtobattlebeneaththeCarroccio，whichhadbeentheobjectofhischildishveneration:thathisagedfatherlookeddownfromthebattlementsonhisexploits;thathisfriendsandhisrivalswerethewitnessesofhisglory。Ifhefell，hewasconsignedtonovenalorheedlessguardians。Thesamedaysawhimconveyedwithinthewallswhichhehaddefended。
Hiswoundsweredressedbyhismother;hisconfessionwaswhisperedtothefriendlypriestwhohadheardandabsolvedthefolliesofhisyouth;hislastsighwasbreatheduponthelipsoftheladyofhislove。Surelythereisnoswordlikethatwhichisbeatenoutofaploughshare。Surelythisstateofthingswasnotunmixedlybad;itsevilswerealleviatedbyenthusiasmandbytenderness;anditwillatleastbeacknowledgedthatitwaswellfittedtonursepoeticalgeniusinanimaginativeandobservantmind。
Nordidthereligiousspiritoftheagetendlesstothisresultthanitspoliticalcircumstances。Fanaticismisanevil，butitisnotthegreatestofevils。Itisgoodthatapeopleshouldberousedbyanymeansfromastateofuttertorpor;——thattheirmindsshouldbedivertedfromobjectsmerelysensual，tomeditations，howevererroneous，onthemysteriesofthemoralandintellectualworld;andfrominterestswhichareimmediatelyselfishtothosewhichrelatetothepast，thefuture，andtheremote。Theseeffectshavesometimesbeenproducedbytheworstsuperstitionsthateverexisted;buttheCatholicreligion，eveninthetimeofitsutmostextravaganceandatrocity，neverwhollylostthespiritoftheGreatTeacher，whosepreceptsformthenoblestcode，asHisconductfurnishedthepurestexample，ofmoralexcellence。Itisofallreligionsthemostpoetical。Theancientsuperstitionsfurnishedthefancywithbeautifulimages，buttooknoholdontheheart。ThedoctrinesoftheReformedChurcheshavemostpowerfullyinfluencedthefeelingsandtheconductofmen，buthavenotpresentedthemwithvisionsofsensiblebeautyandgrandeur。TheRomanCatholicChurchhasunitedtotheawfuldoctrinesoftheonethatMrColeridgecallsthe\"fairhumanities\"oftheother。Ithasenrichedsculptureandpaintingwiththeloveliestandmostmajesticforms。TothePhidianJupiteritcanopposetheMosesofMichaelAngelo;andtothevoluptuousbeautyoftheQueenofCyprus，thesereneandpensivelovelinessoftheVirginMother。ThelegendsofitsmartyrsanditssaintsmayvieiningenuityandinterestwiththemythologicalfablesofGreece;
itsceremoniesandprocessionswerethedelightofthevulgar;
thehugefabricofsecularpowerwithwhichitwasconnectedattractedtheadmirationofthestatesman。Atthesametime，itneverlostsightofthemostsolemnandtremendousdoctrinesofChristianity，——theincarnateGod，——thejudgment，——theretribution，——theeternityofhappinessortorment。Thus，while，liketheancientreligions，itreceivedincalculablesupportfrompolicyandceremony，itneverwhollybecame，likethosereligions，amerelypoliticalandceremonialinstitution。
Thebeginningofthethirteenthcenturywas，asMachiavellihasremarked，theeraofagreatrevivalofthisextraordinarysystem。ThepolicyofInnocent，——thegrowthoftheInquisitionandthemendicantorders，——thewarsagainsttheAlbigenses，thePagansoftheEast，andtheunfortunateprincesofthehouseofSwabia，agitatedItalyduringthetwofollowinggenerations。InthispointDantewascompletelyundertheinfluenceofhisage。
Hewasamanofaturbidandmelancholyspirit。Inearlyyouthhehadentertainedastrongandunfortunatepassion，which，longafterthedeathofherwhomheloved，continuedtohaunthim。
Dissipation，ambition，misfortuneshadnoteffacedit。Hewasnotonlyasincere，butapassionate，believer。ThecrimesandabusesoftheChurchofRomewereindeedloathsometohim;buttoallitsdoctrinesandallitsritesheadheredwithenthusiasticfondnessandveneration;and，atlength，drivenfromhisnativecountry，reducedtoasituationthemostpainfultoamanofhisdisposition，condemnedtolearnbyexperiencethatnofoodissobitterasthebreadofdependence（\"TuproveraisicomesadisaleLopanealtrui，ecomeedurocalleLoscenderee’lsa’irperl’altruiscale。\"
Paradiso，cantoxvii。），andnoascentsopainfulasthestaircaseofapatron，——hiswoundedspirittookrefugeinvisionarydevotion。Beatrice，theunforgottenobjectofhisearlytenderness，wasinvestedbyhisimaginationwithgloriousandmysteriousattributes;shewasenthronedamongthehighestofthecelestialhierarchy:AlmightyWisdomhadassignedtoherthecareofthesinfulandunhappywandererwhohadlovedherwithsuchaperfectlove。（\"L’amicomio，enondellaventura。\"Inferno，cantoii。）Byaconfusion，likethatwhichoftentakesplaceindreams，hehassometimeslostsightofherhumannature，andevenofherpersonalexistence，andseemstoconsiderherasoneoftheattributesoftheDeity。
Butthosereligioushopeswhichhadreleasedthemindofthesublimeenthusiastfromtheterrorsofdeathhadnotrenderedhisspeculationsonhumanlifemorecheerful。Thisisaninconsistencywhichmayoftenbeobservedinmenofasimilartemperament。Hehopedforhappinessbeyondthegrave:buthefeltnoneonearth。Itisfromthiscause，morethanfromanyother，thathisdescriptionofHeavenissofarinferiortotheHellorthePurgatory。Withthepassionsandmiseriesofthesufferingspiritshefeelsastrongsympathy。Butamongthebeatifiedheappearsasonewhohasnothingincommonwiththem，—
—asonewhoisincapableofcomprehending，notonlythedegree，butthenatureoftheirenjoyment。Wethinkthatweseehimstandingamidstthosesmilingandradiantspiritswiththatscowlofunutterablemiseryonhisbrow，andthatcurlofbitterdisdainonhislips，whichallhisportraitshavepreserved，andwhichmightfurnishChantreywithhintsfortheheadofhisprojectedSatan。
Thereisnopoetwhoseintellectualandmoralcharacteraresocloselyconnected。Thegreatsource，asitappearstome，ofthepoweroftheDivineComedyisthestrongbeliefwithwhichthestoryseemstobetold。Inthisrespect，theonlybookswhichapproachtoitsexcellenceareGulliver’sTravelsandRobinsonCrusoe。Thesolemnityofhisasseverations，theconsistencyandminutenessofhisdetails，theearnestnesswithwhichhelabourstomakethereaderunderstandtheexactshapeandsizeofeverythingthathedescribes，giveanairofrealitytohiswildestfictions。Ishouldonlyweakenthisstatementbyquotinginstancesofafeelingwhichpervadesthewholework，andtowhichitowesmuchofitsfascination。Thisistherealjustificationofthemanypassagesinhispoemwhichbadcriticshavecondemnedasgrotesque。IamconcernedtoseethatMrCary，towhomDanteowesmorethaneverpoetowedtotranslator，hassanctionedanaccusationutterlyunworthyofhisabilities。\"Hissolicitude，\"saysthatgentleman，\"todefineallhisimagesinsuchamannerastobringthemwithinthecircleofourvision，andtosubjectthemtothepowerofthepencil，rendershimlittlebetterthangrotesque，whereMiltonhassincetaughtustoexpectsublimity。\"ItistruethatDantehasnevershrunkfromembodyinghisconceptionsindeterminatewords，thathehasevengivenmeasuresandnumbers，whereMiltonwouldhavelefthisimagestofloatundefinedinagorgeoushazeoflanguage。Bothwereright。Miltondidnotprofesstohavebeeninheavenorhell。Hemightthereforereasonablyconfinehimselftomagnificentgeneralities。Fardifferentwastheofficeofthelonelytraveller，whohadwanderedthroughthenationsofthedead。HadhedescribedtheabodeoftherejectedspiritsinlanguageresemblingthesplendidlinesoftheEnglishPoet，——hadhetoldusof——
\"Anuniverseofdeath，whichGodbycurseCreatedevil，forevilonlygood，Wherealllifedies，deathlives，andNaturebreedsPerverseallmonstrous，allprodigiousthings，Abominable，unutterable，andworseThanfablesyethavefeigned，orfearconceived，Gorgons，andhydras，andchimaerasdire\"——
thiswoulddoubtlesshavebeennoblewriting。Butwherewouldhavebeenthatstrongimpressionofreality，which，inaccordancewithhisplan，itshouldhavebeenhisgreatobjecttoproduce？
Itwasabsolutelynecessaryforhimtodelineateaccurately\"allmonstrous，allprodigiousthings，\"——toutterwhatmighttoothersappear\"unutterable，\"——torelatewiththeairoftruthwhatfableshadneverfeigned，——toembodywhatfearhadneverconceived。AndIwillfranklyconfessthatthevaguesublimityofMiltonaffectsmelessthantheserevileddetailsofDante。WereadMilton;andweknowthatwearereadingagreatpoet。WhenwereadDante，thepoetvanishes。Wearelisteningtothemanwhohasreturnedfrom\"thevalleyofthedolorousabyss;\"
（\"Lavalled’abissodoloroso。\"——Inferno，cantoiv。）——weseemtoseethedilatedeyeofhorror，toheartheshudderingaccentswithwhichhetellshisfearfultale。Consideredinthislight，thenarrativesareexactlywhattheyshouldbe，——definiteinthemselves，butsuggestingtothemindideasofawfulandindefinitewonder。Theyaremadeupoftheimagesoftheearth:—
—theyaretoldinthelanguageoftheearth。——Yetthewholeeffectis，beyondexpression，wildandunearthly。Thefactis，thatsupernaturalbeings，aslongastheyareconsideredmerelywithreferencetotheirownnature，exciteourfeelingsveryfeebly。Itiswhenthegreatgulfwhichseparatesthemfromusispassed，whenwesuspectsomestrangeandundefinablerelationbetweenthelawsofthevisibleandtheinvisibleworld，thattheyrouse，perhaps，thestrongestemotionsofwhichournatureiscapable。Howmanychildren，andhowmanymen，areafraidofghosts，whoarenotafraidofGod！Andthis，because，thoughtheyentertainamuchstrongerconvictionoftheexistenceofaDeitythanoftherealityofapparitions，theyhavenoapprehensionthathewillmanifesthimselftotheminanysensiblemanner。Whilethisisthecase，todescribesuperhumanbeingsinthelanguage，andtoattributetothemtheactions，ofhumanitymaybegrotesque，unphilosophical，inconsistent;butitwillbetheonlymodeofworkinguponthefeelingsofmen，and，therefore，theonlymodesuitedforpoetry。Shakspeareunderstoodthiswell，asheunderstoodeverythingthatbelongedtohisart。WhodoesnotsympathisewiththeraptureofAriel，flyingaftersunsetonthewingsofthebat，orsuckinginthecupsofflowerswiththebee？WhodoesnotshudderatthecaldronofMacbeth？Whereisthephilosopherwhoisnotmovedwhenhethinksofthestrangeconnectionbetweentheinfernalspiritsand\"thesow’sbloodthathatheatenherninefarrow？\"
Butthisdifficulttaskofrepresentingsupernaturalbeingstoourminds，inamannerwhichshallbeneitherunintelligibletoourintellectsnorwhollyinconsistentwithourideasoftheirnature，hasneverbeensowellperformedasbyDante。Iwillrefertothreeinstances，whichare，perhaps，themoststriking:—
—thedescriptionofthetransformationsoftheserpentsandtherobbers，inthetwenty—fifthcantooftheInferno，——thepassageconcerningNimrod，inthethirty—firstcantoofthesamepart，——
andthemagnificentprocessioninthetwenty—ninthcantoofthePurgatorio。
ThemetaphorsandcomparisonsofDanteharmoniseadmirablywiththatairofstrongrealityofwhichIhavespoken。Theyhaveaverypeculiarcharacter。Heisperhapstheonlypoetwhosewritingswouldbecomemuchlessintelligibleifallillustrationsofthissortwereexpunged。Hissimilesarefrequentlyratherthoseofatravellerthanofapoet。Heemploysthemnottodisplayhisingenuitybyfancifulanalogies，——nottodelightthereaderbyaffordinghimadistantandpassingglimpseofbeautifulimagesremotefromthepathinwhichheisproceeding，buttogiveanexactideaoftheobjectswhichheisdescribing，bycomparingthemwithothersgenerallyknown。TheboilingpitchinMalebolgewaslikethatintheVenetianarsenal:——themoundonwhichhetravelledalongthebanksofPhlegethonwaslikethatbetweenGhentandBruges，butnotsolarge:——thecavitieswheretheSimoniacalprelatesareconfinedresembletheFontsintheChurchofJohnatFlorence。EveryreaderofDantewillrecallmanyotherillustrationsofthisdescription，whichaddtotheappearanceofsincerityandearnestnessfromwhichthenarrativederivessomuchofitsinterest。
Manyofhiscomparisons，again，areintendedtogiveanexactideaofhisfeelingsunderparticularcircumstances。Thedelicateshadesofgrief，offear，ofanger，arerarelydiscriminatedwithsufficientaccuracyinthelanguageofthemostrefinednations。Arudedialectneveraboundsinnicedistinctionsofthiskind。Dantethereforeemploysthemostaccurateandinfinitelythemostpoeticalmodeofmarkingtheprecisestateofhismind。Everypersonwhohasexperiencedthebewilderingeffectofsuddenbadtidings，——thestupefaction，——thevaguedoubtofthetruthofourownperceptionswhichtheyproduce，——willunderstandthefollowingsimile:——\"Iwasasheiswhodreamethhisownharm，——who，dreaming，wishesthatitmaybealladream，sothathedesiresthatwhichisasthoughitwerenot。\"Thisisonlyoneoutofahundredequallystrikingandexpressivesimilitudes。ThecomparisonsofHomerandMiltonaremagnificentdigressions。Itscarcelyinjurestheireffecttodetachthemfromthework。ThoseofDanteareverydifferent。
Theyderivetheirbeautyfromthecontext，andreflectbeautyuponit。Hisembroiderycannotbetakenoutwithoutspoilingthewholeweb。IcannotdismissthispartofthesubjectwithoutadvisingeverypersonwhocanmustersufficientItaliantoreadthesimileofthesheep，inthethirdcantoofthePurgatorio。I
thinkitthemostperfectpassageofthekindintheworld，themostimaginative，themostpicturesque，andthemostsweetlyexpressed。
NopersoncanhaveattendedtotheDivineComedywithoutobservinghowlittleimpressiontheformsoftheexternalworldappeartohavemadeonthemindofDante。Histemperandhissituationhadledhimtofixhisobservationalmostexclusivelyonhumannature。Theexquisiteopeningoftheeighth*cantoofthePurgatorioaffordsastronginstanceofthis。（IcannothelpobservingthatGray’simitationofthatnobleline\"Chepaia’lgiornapiangerchesimuore，\"——
isoneofthemoststrikinginstancesofinjudiciousplagiarismwithwhichIamacquainted。Dantedidnotputthisstrongpersonificationatthebeginningofhisdescription。Theimaginationofthereaderissowellpreparedforitbythepreviouslines，thatitappearsperfectlynaturalandpathetic。
PlacedasGrayhasplacedit，neitherprecedednorfollowedbyanythingthatharmoniseswithit，itbecomesafrigidconceit。
WoetotheunskilfulriderwhoventuresonthehorsesofAchilles！）
Heleavestootherstheearth，theocean，andthesky。Hisbusinessiswithman。Tootherwriters，eveningmaybetheseasonofdewsandstarsandradiantclouds。ToDanteitisthehouroffondrecollectionandpassionatedevotion，——thehourwhichmeltstheheartofthemarinerandkindlestheloveofthepilgrim，——thehourwhenthetollofthebellseemstomournforanotherdaywhichisgoneandwillreturnnomore。
Thefeelingofthepresentagehastakenadirectiondiametricallyopposite。Themagnificenceofthephysicalworld，anditsinfluenceuponthehumanmind，havebeenthefavouritethemesofourmosteminentpoets。Theherdofbluestockingladiesandsonneteeringgentlemenseemtoconsiderastrongsensibilitytothe\"splendourofthegrass，thegloryoftheflower，\"asaningredientabsolutelyindispensableintheformationofapoeticalmind。TheytreatwithcontemptallwriterswhoareunfortunatelynecponerelucumArtifices，necrussaturumlaudare。
TheorthodoxpoeticalcreedismoreCatholic。Thenoblestearthlyobjectofthecontemplationofmanismanhimself。Theuniverse，andallitsfairandgloriousforms，areindeedincludedinthewideempireoftheimagination;butshehasplacedherhomeandhersanctuaryamidsttheinexhaustiblevarietiesandtheimpenetrablemysteriesofthemind。
Intuttepartiimpera，equiviregge;
Quivielasuacittade，el’altoseggio。
（Inferno，cantoi。）
Othelloisperhapsthegreatestworkintheworld。Fromwhatdoesitderiveitspower？Fromtheclouds？Fromtheocean？
Fromthemountains？Orfromlovestrongasdeath，andjealousycruelasthegrave？WhatisitthatwegoforthtoseeinHamlet？Isitareedshakenwiththewind？Asmallcelandine？
Abedofdaffodils？Orisittocontemplateamightyandwaywardmindlaidbarebeforeustotheinmostrecesses？Itmayperhapsbedoubtedwhetherthelakesandthehillsarebetterfittedfortheeducationofapoetthantheduskystreetsofahugecapital。
Indeedwhoisnottiredtodeathwithpuredescriptionofscenery？Isitnotthefact，thatexternalobjectsneverstronglyexciteourfeelingsbutwhentheyarecontemplatedinreferencetoman，asillustratinghisdestiny，orasinfluencinghischaracter？Themostbeautifulobjectintheworld，itwillbeallowed，isabeautifulwoman。Butwhothatcananalysehisfeelingsisnotsensiblethatsheowesherfascinationlesstograceofoutlineanddelicacyofcolour，thantoathousandassociationswhich，oftenunperceivedbyourselves，connectthosequalitieswiththesourceofourexistence，withthenourishmentofourinfancy，withthepassionsofouryouth，withthehopesofourage——withelegance，withvivacity，withtenderness，withthestrongestofnaturalinstincts，withthedearestofsocialties？
Tothosewhothinkthus，theinsensibilityoftheFlorentinepoettothebeautiesofnaturewillnotappearanunpardonabledeficiency。Onmankindnowriter，withtheexceptionofShakspeare，haslookedwithamorepenetratingeye。Ihavesaidthathispoeticalcharacterhadderivedatingefromhispeculiartemper。Itisonthesterneranddarkerpassionsthathedelightstodwell。Allloveexceptingthehalf—mysticpassionwhichhestillfeltforhisburiedBeatrice，hadpalledonthefierceandrestlessexile。ThesadstoryofRiminiisalmostasingleexception。Iknownotwhetherithasbeenremarked，that，inonepoint，misanthropyseemstohaveaffectedhismind，asitdidthatofSwift。Nauseousandrevoltingimagesseemtohavehadafascinationforhismind;andherepeatedlyplacesbeforehisreaders，withalltheenergyofhisincomparablestyle，themostloathsomeobjectsofthesewerandthedissecting—room。
ThereisanotherpeculiarityinthepoemofDante，which，I
think，deservesnotice。Ancientmythologyhashardlyeverbeensuccessfullyinterwovenwithmodernpoetry。Oneclassofwritershaveintroducedthefabulousdeitiesmerelyasallegoricalrepresentativesoflove，wine，orwisdom。Thisnecessarilyrenderstheirworkstameandcold。Wemaysometimesadmiretheiringenuity;butwithwhatinterestcanwereadofbeingsofwhosepersonalexistencethewriterdoesnotsufferustoentertain，foramoment，evenaconventionalbelief？EvenSpenser’sallegoryisscarcelytolerable，tillwecontrivetoforgetthatUnasignifiesinnocence，andconsiderhermerelyasanoppressedladyundertheprotectionofagenerousknight。
Thosewriterswhohave，morejudiciously，attemptedtopreservethepersonalityoftheclassicaldivinitieshavefailedfromadifferentcause。Theyhavebeenimitators，andimitatorsatadisadvantage。EuripidesandCatullusbelievedinBacchusandCybeleaslittleaswedo。Buttheylivedamongmenwhodid。
Theirimaginations，ifnottheiropinions，tookthecolouroftheage。HencethegloriousinspirationoftheBacchaeandtheAtys。
Ourmindsareformedbycircumstances:andIdonotbelievethatitwouldbeinthepowerofthegreatestmodernpoettolashhimselfuptoadegreeofenthusiasmadequatetotheproductionofsuchworks。
Dante，aloneamongthepoetsoflatertimes，hasbeen，inthisrespect，neitheranallegoristnoranimitator;and，consequently，healonehasintroducedtheancientfictionswitheffect。HisMinos，hisCharon，hisPluto，areabsolutelyterrific。NothingcanbemorebeautifulororiginalthantheusewhichhehasmadeoftheRiverofLethe。HehasneverassignedtohismythologicalcharactersanyfunctionsinconsistentwiththecreedoftheCatholicChurch。HehasrelatednothingconcerningthemwhichagoodChristianofthatagemightnotbelievepossible。Onthisaccountthereisnothinginthesepassagesthatappearspuerileorpedantic。Onthecontrary，thissingularuseofclassicalnamessuggeststothemindavagueandawfulideaofsomemysteriousrevelation，anteriortoallrecordedhistory，ofwhichthedispersedfragmentsmighthavebeenretainedamidsttheimposturesandsuperstitionsoflaterreligions。IndeedthemythologyoftheDivineComedyisoftheelderandmorecolossalmould。ItbreathesthespiritofHomerandAeschylus，notofOvidandClaudian。
Thisisthemoreextraordinary，sinceDanteseemstohavebeenutterlyignorantoftheGreeklanguage;andhisfavouriteLatinmodelscouldonlyhaveservedtomisleadhim。Indeed，itisimpossiblenottoremarkhisadmirationofwritersfarinferiortohimself;and，inparticular，hisidolatryofVirgil，who，elegantandsplendidasheis，hasnopretensionstothedepthandoriginalityofmindwhichcharacterisehisTuscanworshipper，Intruthitmaybelaiddownasanalmostuniversalrulethatgoodpoetsarebadcritics。Theirmindsareunderthetyrannyoftenthousandassociationsimperceptibletoothers。Theworstwritermayeasilyhappentotouchaspringwhichisconnectedintheirmindswithalongsuccessionofbeautifulimages。TheyarelikethegiganticslavesofAladdin，giftedwithmatchlesspower，butboundbyspellssomightythatwhenachildwhomtheycouldhavecrushedtouchedatalisman，ofwhosesecrethewasignorant，theyimmediatelybecamehisvassals。Ithasmorethanoncehappenedtometoseeminds，gracefulandmajesticastheTitaniaofShakspeare，bewitchedbythecharmsofanass’shead，bestowingonitthefondestcaresses，andcrowningitwiththesweetestflowers。IneedonlymentionthepoemsattributedtoOssian。Theyareutterlyworthless，exceptasanedifyinginstanceofthesuccessofastorywithoutevidence，andofabookwithoutmerit。Theyareachaosofwordswhichpresentnoimage，ofimageswhichhavenoarchetype:——theyarewithoutformandvoid;anddarknessisuponthefaceofthem。Yethowmanymenofgeniushavepanegyrisedandimitatedthem！
ThestyleofDanteis，ifnothishighest，perhapshismostpeculiarexcellence。Iknownothingwithwhichitcanbecompared。ThenoblestmodelsofGreekcompositionmustyieldtoit。Hiswordsarethefewestandthebestwhichitispossibletouse。Thefirstexpressioninwhichheclotheshisthoughtsisalwayssoenergeticandcomprehensivethatamplificationwouldonlyinjuretheeffect。Thereisprobablynowriterinanylanguagewhohaspresentedsomanystrongpicturestothemind。
Yetthereisprobablynowriterequallyconcise。ThisperfectionofstyleistheprincipalmeritoftheParadiso，which，asIhavealreadyremarked，isbynomeansequalinotherrespectstothetwoprecedingpartsofthepoem。Theforceandfelicityofthediction，however，irresistiblyattractthereaderthroughthetheologicallecturesandthesketchesofecclesiasticalbiography，withwhichthisdivisionoftheworktoomuchabounds。
Itmayseemalmostabsurdtoquoteparticularspecimensofanexcellencewhichisdiffusedoverallhishundredcantos。I
will，however，instancethethirdcantooftheInferno，andthesixthofthePurgatorio，aspassagesincomparableintheirkind。
Themeritofthelatteris，perhaps，ratheroratoricalthanpoetical;norcanIrecollectanythinginthegreatAthenianspeecheswhichequalsitinforceofinvectiveandbitternessofsarcasm。Ihaveheardthemosteloquentstatesmanoftheageremarkthat，nexttoDemosthenes，Danteisthewriterwhooughttobemostattentivelystudiedbyeverymanwhodesirestoattainoratoricaleminence。
Butitistimetoclosethisfeebleandramblingcritique。I
cannotrefrain，however，fromsayingafewwordsuponthetranslationsoftheDivineComedy。Boyd’sisastediousandlanguidastheoriginalisrapidandforcible。Thestrangemeasurewhichhehaschosen，and，foraughtIknow，invented，ismostunfitforsuchawork。Translationsoughtnevertobewritteninaversewhichrequiresmuchcommandofrhyme。ThestanzabecomesabedofProcrustes;andthethoughtsoftheunfortunateauthorarealternatelyrackedandcurtailedtofittheirnewreceptacle。TheabruptandyetconsecutivestyleofDantesuffersmorethanthatofanyotherpoetbyaversiondiffuseinstyle，anddividedintoparagraphs，fortheydeservenoothername，ofequallength。
NothingcanbesaidinfavourofHayley’sattempt，butthatitisbetterthanBoyd’s。Hismindwasatolerablespecimenoffiligreework，——ratherelegant，andveryfeeble。Allthatcanbesaidforhisbestworksisthattheyareneat。Allthatcanbesaidagainsthisworstisthattheyarestupid。HemighthavetranslatedMetastasiotolerably。Buthewasutterlyunabletodojusticetothe\"rimeeaspreechiocce，\"Comesiconverrebbealtristobuco。\"
（Inferno，cantoxxxii。）
IturnwithpleasurefromthesewretchedperformancestoMrCary’stranslation。Itisaworkwhichwelldeservesaseparatediscussion，andonwhich，ifthisarticlewerenotalreadytoolong，Icoulddwellwithgreatpleasure。AtpresentIwillonlysaythatthereisnootherversionintheworld，asfarasI
know，sofaithful，yetthatthereisnootherversionwhichsofullyprovesthatthetranslatorishimselfamanofpoeticalgenius。ThosewhoareignorantoftheItalianlanguageshouldreadittobecomeacquaintedwiththeDivineComedy。ThosewhoaremostintimatewithItalianliteratureshouldreaditforitsoriginalmerits:andIbelievethattheywillfinditdifficulttodeterminewhethertheauthordeservesmostpraiseforhisintimacywiththelanguageofDante，orforhisextraordinarymasteryoverhisown……
CRITICISMSONTHEPRINCIPALITALIANWRITERS。
No。II。PETRARCH。
（April1824。）
Etvos，olauri，carpam，ette，proximamyrte，Sicpositaequoniamsuavesmiscetisodores。Virgil。
Itwouldnotbeeasytonameawriterwhosecelebrity，whenbothitsextentanditsdurationaretakenintotheaccount，canbeconsideredasequaltothatofPetrarch。Fourcenturiesandahalfhaveelapsedsincehisdeath。Yetstilltheinhabitantsofeverynationthroughoutthewesternworldareasfamiliarwithhischaracterandhisadventuresaswiththemostillustriousnames，andthemostrecentanecdotes，oftheirownliteraryhistory。Thisisindeedararedistinction。Hisdetractorsmustacknowledgethatitcouldnothavebeenacquiredbyapoetdestituteofmerit。HisadmirerswillscarcelymaintainthattheunassistedmeritofPetrarchcouldhaveraisedhimtothateminencewhichhasnotyetbeenattainedbyShakspeare，Milton，orDante，——thateminence，ofwhichperhapsnomodernwriter，exceptinghimselfandCervantes，haslongretainedpossession，——
anEuropeanreputation。
Itisnotdifficulttodiscoversomeofthecausestowhichthisgreatmanhasowedacelebrity，whichIcannotbutthinkdisproportionedtohisrealclaimsontheadmirationofmankind。
Inthefirstplace，heisanegotist。Egotisminconversationisuniversallyabhorred。Lovers，and，Ibelieve，loversalone，pardonitineachother。Noservices，notalents，nopowersofpleasing，renderitendurable。Gratitude，admiration，interest，fear，scarcelypreventthosewhoarecondemnedtolistentoitfromindicatingtheirdisgustandfatigue。Thechildlessuncle，thepowerfulpatroncanscarcelyextortthiscompliance。Weleavetheinsideofthemailinastorm，andmountthebox，ratherthanhearthehistoryofourcompanion。Thechaplainbiteshislipsinthepresenceofthearchbishop。ThemidshipmanyawnsatthetableoftheFirstLord。Yet，fromwhatevercause，thispractice，thepestofconversation，givestowritingazestwhichnothingelsecanimpart。Rousseaumadetheboldestexperimentofthiskind;anditfullysucceeded。InourowntimeLordByron，byaseriesofattemptsofthesamenature，madehimselftheobjectofgeneralinterestandadmiration。
Wordsworthwrotewithegotismmoreintense，butlessobvious;andhehasbeenrewardedwithasectofworshippers，comparativelysmallinnumber，butfarmoreenthusiasticintheirdevotion。Itisneedlesstomultiplyinstances。Evennowallthewalksofliteratureareinfestedwithmendicantsforfame，whoattempttoexciteourinterestbyexhibitingallthedistortionsoftheirintellects，andstrippingthecoveringfromalltheputridsoresoftheirfeelings。Noraretherewantingmanywhopushtheirimitationofthebeggarswhomtheyresembleastepfurther，andwhofinditeasiertoextortapittancefromthespectator，bysimulatingdeformityanddebilityfromwhichtheyareexempt，thanbysuchhonestlabourastheirhealthandstrengthenablethemtoperform。Inthemeantimethecredulouspublicpitiesandpampersanuisancewhichrequiresonlythetreadmillandthewhip。Thisart，oftensuccessfulwhenemployedbydunces，givesirresistiblefascinationtoworkswhichpossessintrinsicmerit。
Wearealwaysdesiroustoknowsomethingofthecharacterandsituationofthosewhosewritingswehaveperusedwithpleasure。
ThepassagesinwhichMiltonhasalludedtohisowncircumstancesareperhapsreadmorefrequently，andwithmoreinterest，thananyotherlinesinhispoems。ItisamusingtoobservewithwhatlabourcriticshaveattemptedtogleanfromthepoemsofHomer，somehintsastohissituationandfeelings。Accordingtoonehypothesis，heintendedtodescribehimselfunderthenameofDemodocus。OthersmaintainthathewastheidenticalPhemiuswhoselifeUlyssesspared。Thispropensityofthehumanmindexplains，Ithink，inagreatdegree，theextensivepopularityofapoetwhoseworksarelittleelsethantheexpressionofhispersonalfeelings。
Inthesecondplace，Petrarchwasnotonlyanegotist，butanamatoryegotist。Thehopesandfears，thejoysandsorrows，whichhedescribed，werederivedfromthepassionwhichofallpassionsexertsthewidestinfluence，andwhichofallpassionsborrowsmostfromtheimagination。Hehadalsoanotherimmenseadvantage。Hewasthefirsteminentamatorypoetwhoappearedafterthegreatconvulsionwhichhadchanged，notonlythepolitical，butthemoral，stateoftheworld。TheGreeks，who，intheirpublicinstitutionsandtheirliterarytastes，werediametricallyopposedtotheorientalnations，boreaconsiderableresemblancetothosenationsintheirdomestichabits。Likethem，theydespisedtheintellectsandimmuredthepersonsoftheirwomen;anditwasamongtheleastofthefrightfulevilstowhichthispernicioussystemgavebirth，thatalltheaccomplishmentsofmind，andallthefascinationsofmanner，which，inahighlycultivatedage，willgenerallybenecessarytoattachmentotheirfemaleassociates，weremonopolisedbythePhrynesandtheLamais。Theindispensableingredientsofhonourableandchivalrouslovewerenowheretobefoundunited。Thematronsandtheirdaughtersconfinedintheharem，——insipid，uneducated，ignorantofallbutthemechanicalarts，scarcelyseentilltheyweremarried，——couldrarelyexciteinterest;afterwardstheirbrilliantrivals，halfGraces，halfHarpies，elegantandinformed，butfickleandrapacious，couldneverinspirerespect。
ThestateofsocietyinRomewas，inthispoint，farhappier;andtheLatinliteraturepartookofthesuperiority。TheRomanpoetshavedecidedlysurpassedthoseofGreeceinthedelineationofthepassionoflove。Thereisnosubjectwhichtheyhavetreatedwithsomuchsuccess。Ovid，Catullus，Tibullus，Horace，andPropertius，inspiteofalltheirfaults，mustbeallowedtorankhighinthisdepartmentoftheart。TotheseIwouldaddmyfavouritePlautus;who，thoughhetookhisplotsfromGreece，found，Isuspect，theoriginalsofhisenchantingfemalecharactersatRome。
Stillmanyevilsremained:and，inthedeclineofthegreatempire，allthatwasperniciousinitsdomesticinstitutionsappearedmorestrongly。Undertheinfluenceofgovernmentsatoncedependentandtyrannical，whichpurchased，bycringingtotheirenemies，thepoweroftramplingontheirsubjects，theRomanssunkintotheloweststateofeffeminacyanddebasement。
Falsehood，cowardice，sloth，consciousandunrepiningdegradation，formedthenationalcharacter。Suchacharacteristotallyincompatiblewiththestrongerpassions。Love，inparticular，which，inthemodernsenseoftheword，impliesprotectionanddevotionontheoneside，confidenceontheother，respectandfidelityonboth，couldnotexistamongthesluggishandheartlessslaveswhocringedaroundthethronesofHonoriusandAugustulus。Atthisperiodthegreatrenovationcommenced。
Thewarriorsofthenorth，destituteastheywereofknowledgeandhumanity，broughtwiththem，fromtheirforestsandmarshes，thosequalitieswithoutwhichhumanityisaweaknessandknowledgeacurse，——energy——independence——thedreadofshame——thecontemptofdanger。Itwouldbemostinterestingtoexaminethemannerinwhichtheadmixtureofthesavageconquerorsandtheeffeminateslaves，aftermanygenerationsofdarknessandagitation，producedthemodernEuropeancharacter;——totraceback，fromthefirstconflicttothefinalamalgamation，theoperationofthatmysteriousalchemywhich，fromhostileandworthlesselements，hasextractedthepuregoldofhumannature——
toanalysethemass，andtodeterminetheproportioninwhichtheingredientsaremingled。ButIwillconfinemyselftothesubjecttowhichIhavemoreparticularlyreferred。Thenatureofthepassionoflovehadundergoneacompletechange。Itstillretained，indeed，thefancifulandvoluptuouscharacterwhichithadpossessedamongthesouthernnationsofantiquity。Butitwastingedwiththesuperstitiousvenerationwithwhichthenorthernwarriorshadbeenaccustomedtoregardwomen。Devotionandwarhadimpartedtoittheirmostsolemnandanimatingfeelings。ItwassanctifiedbytheblessingsoftheChurch，anddecoratedwiththewreathsofthetournament。Venus，asintheancientfable，wasagainrisingabovethedarkandtempestuouswaveswhichhadsolongcoveredherbeauty。Butsherosenotnow，asofold，inexposedandluxuriousloveliness。Shestillworethecestusofherancientwitchcraft;butthediademofJunowasonherbrow，andtheaegisofPallasinherhand。Lovemight，infact，becalledanewpassion;anditisnotastonishingthatthefirstpoetofeminencewhowhollydevotedhisgeniustothisthemeshouldhaveexcitedanextraordinarysensation。Hemaybecomparedtoanadventurerwhoaccidentallylandsinarichandunknownisland;andwho，thoughhemayonlysetupanill—shapedcrossupontheshore，acquirespossessionofitstreasures，andgivesithisname。TheclaimofPetrarchwasindeedsomewhatlikethatofAmerigoVespuccitothecontinentwhichshouldhavederiveditsappellationfromColumbus。TheProvencalpoetswereunquestionablythemastersoftheFlorentine。Buttheywroteinanagewhichcouldnotappreciatetheirmerits;andtheirimitatorlivedattheveryperiodwhencompositioninthevernacularlanguagebegantoattractgeneralattention。PetrarchwasinliteraturewhataValentineisinlove。Thepublicpreferredhim，notbecausehismeritswereofatranscendentorder，butbecausehewasthefirstpersonwhomtheysawaftertheyawokefromtheirlongsleep。
NordidPetrarchgainlessbycomparisonwithhisimmediatesuccessorsthanwiththosewhohadprecededhim。TillmorethanacenturyafterhisdeathItalyproducednopoetwhocouldbecomparedtohim。Thisdecayofgeniusisdoubtlesstobeascribed，inagreatmeasure，totheinfluencewhichhisownworkshadexercisedupontheliteratureofhiscountry。Yetithasconducedmuchtohisfame。Nothingismorefavourabletothereputationofawriterthantobesucceededbyaraceinferiortohimself;anditisanadvantage，fromobviouscauses，muchmorefrequentlyenjoyedbythosewhocorruptthenationaltastethanbythosewhoimproveit。
Anothercausehasco—operatedwiththosewhichIhavementionedtospreadtherenownofPetrarch。Imeantheinterestwhichisinspiredbytheeventsofhislife——aninterestwhichmusthavebeenstronglyfeltbyhiscontemporaries，since，afteranintervaloffivehundredyears，nocriticcanbewhollyexemptfromitsinfluence。Amongthegreatmentowhomweowetheresuscitationofsciencehedeservestheforemostplace;andhisenthusiasticattachmenttothisgreatcauseconstituteshismostjustandsplendidtitletothegratitudeofposterity。Hewasthevotaryofliterature。Heloveditwithaperfectlove。Heworshippeditwithanalmostfanaticaldevotion。Hewasthemissionary，whoproclaimeditsdiscoveriestodistantcountries——
thepilgrim，whotravelledfarandwidetocollectitsreliques——
thehermit，whoretiredtoseclusiontomeditateonitsbeauties—