Sempre a quel ver, ch'ha faccia di menzogna, De' l'uom chiuder le labbra, quanto puote, Però che senza colpa fa vergogna. Ma qui tacer nol posso; e per le note Di questa _Commedia_, lettor, ti giuro S'elle non sien di lunga grazia vote, &c.--_Inf._ 16.] [Footnote 89: _Inf._ 9.] Yet the most certain and detailed commentary, one which assigned the exact reason for every image or allegory, and its place and connexion in a general scheme, would add but little to the charm or to the use of the poem. It is not so obscure but that every man's experience who has thought over and felt the mystery of our present life, may supply the commentary--the more ample, the wider and more various has been his experience, the deeper and keener his feeling. Details and links of connexion may be matter of controversy. Whether the three beasts of the forest mean definitely the vices of the time, or of Florence specially, or of the poet himself--"the wickedness of his heels, compassing him round about"--may still exercise critics and antiquaries; but that they carry with them distinct and special impressions of evil, and that they are the hindrances of man's salvation, is not doubtful. And our knowledge of the key of the allegory, where we possess it, contributes but little to the effect. We may infer from the _Convito_[90] that the eyes of Beatrice stand definitely for the _demonstrations_, and her smiles for the _persuasions_ of wisdom; but the poetry of the Paradiso is not about demonstrations and persuasions, but about looks and smiles; and the ineffable and holy calm--"_serenitatis et æternitatis afflatus_"--which pervades it, comes from the sacred truths, and holy persons, and that deep spirit of high-raised yet composed devotion, which it requires no interpreter to show us. [Footnote 90: _Convito_, Tr. 3, c. 15.]