In the last cantos of the "Purgatorio," and throughout the "Paradiso," there is a prodigious putting forth of power to describe ineffable and eternal things; with inexhaustible prodigality of illustration, and transmutation of the same symbols, to constitute different gradations of blessedness and glory. Of these, however, there are scarcely any types except light, colour, sound, and motion, variously combined to represent spiritual beings, their forms, their occupations, and manner of discoursing; but even amongst such inexpressible, nay, unimaginable scenes and passages, the human nature which cleaves to the poet, and shows itself, under every transmigration, allied to flesh and blood, gives an interest which allegorical pictures of invisible realities can never keep up beyond the first brilliant impression. Yet the vitality and strength of the poem reside chiefly in the first and second parts; diminishing just in proportion as the author rises above the regions which exhibit the sins and sufferings of creatures like ourselves, punished with everlasting destruction in hell, or "burnt and purged away," through the penal inflictions of purgatory. It may, however, be said, with regard to the whole, that no ideal beings, ideal scenes, or ideal occurrences, in any poem or romance, have ever more perfectly _personified_ truth and nature than those in this composition, which, though the theatre is figuratively beyond the limits of human action, is nevertheless full of such action in its most common as well as its most extraordinary forms.