almost incredible diligence, as it appears to us, of the Middle Ages, to make himself acquainted with all the best that had been done and said in the world. This it is which forms at once the fascination and the difficulty of Dante’s great work. Of course, if we content ourselves with reading it merely for its “beauties,” for the æsthetic enjoyment of an image here and an allusion there, for the trenchant expression of some thought or feeling at the roots of human nature, there will be no need of any harder study than is involved in going through it with a translation. Indeed, it will hardly be worth while to go to the original at all. The pleasure, one might almost say the physical pleasure, derived from sonorous juxtaposition of words, such as we obtain from Milton or from Shelley, is scarcely to be genuinely felt in the case of a foreign language; and the beauties of matter, as distinguished from those of form, are faithfully enough rendered by Cary or Longfellow. It may, however, be safely assumed that few intelligent students will rest content with this amount of study. They will find at every turn allusions calling for explanation, philosophical doctrines to be traced to their sources, judgements on contemporary persons and events to be verified. On every page they will meet with problems the solution of which has not yet been attempted, or attempted only in the most perfunctory way. For generation after generation readers have gone on accepting received interpretations which only tell them what their own wits could divine without any other assistance than the text itself gives. No commentator seems yet to have realised that, in order to understand Dante thoroughly, he must put himself on Dante’s level so far as regards a knowledge of all the available literature. The more obvious quarries from which Dante obtained the materials for his mighty structure--the Bible, Virgil, Augustine, Aquinas, Aristotle--have no doubt been pretty thoroughly examined, and many obscurities which the comments of Landino and others only left more obscure have thus been cleared up; but a great deal remains to be done. Look where one may in the literature which was open to Dante, one finds evidence of his universal reading. We take up such a book as Otto of Freising’s _Annals_ (to which, with his _Acts of Frederick I._, we shall have to refer again), and find the good bishop moralising thus on the mutability of human affairs, with especial reference to the break-up of the Empire in the middle of the ninth century:-- “Does not worldly honour seem to turn round and round after the fashion of one stricken with fever? For such place their hope of rest in a change of posture, and so, when they are in pain, throw themselves from side to side, turning over continually.”[1] It is hard not to suppose that Dante had this passage in his mind when he wrote that bitter apostrophe to his own city with which the sixth canto of the _Purgatory_ ends:--