"Between two viands, equally removed And tempting, a free man would die of hunger Ere either he could bring unto his teeth. So would a lamb between the ravenings Of two fierce wolves stand fearing both alike; And so would stand a dog between two does. Hence, if I held my peace, myself I blame not, Impelled in equal measure by my doubts, Since it must be so, nor do I commend." _Paradiso_: Canto IV. "And as a lute and harp, accordant strung With many strings, a dulcet tinkling make To him by whom the notes are not distinguished, So from the lights that there to me appeared Upgathered through the cross a melody, Which rapt me, not distinguishing the hymn." _Paradiso_: Canto XIV. "As through the pure and tranquil evening air There shoots from time to time a sudden fire, Moving the eyes that steadfast were before, And seems to be a star that changeth place, Except that in the part where it is kindled Nothing is missed, and this endureth little; So from the horn that to the right extends Unto that cross's foot there ran a star Out of the constellation shining there." _Paradiso_: Canto XV. "Even as remaineth splendid and serene The hemisphere of air, when Boreas Is blowing from that cheek where he is mildest, Because is purified and resolved the rack That erst disturbed it, till the welkin laughs With all the beauties of its pageantry; Thus did I likewise, after that my lady Had me provided with a clear response, And like a star in Heaven the truth was seen." _Paradiso_: Canto XXVIII. The first question to ask in regard to a simile found in verse is, Is it poetical? Is there, as effect of its introduction, any heightening of the reader's mood, any cleansing of his vision, any clarification of the medium through which he is looking? Is there a sudden play of light that warms, and, through this warmth, illuminates the object before him? Few of those just quoted, put to such test, could be called more than conventionally poetical--if this be not a solecism. To illustrate one sensuous object by another does not animate the mind enough to fulfill any one of the above conditions. Such similitudes issuing from intellectual liveliness, there is through them no steeping of intellectual perception in emotion. They may help to make the object ocularly more apparent, but they do not make the feeling a party to the movement. When this is done,--as in the examples from Canto XV. of the "Inferno," and Canto VIII. of the "Purgatorio,"--what an instantaneous vivification of the picture! But in the best of them the poetic gleam is not so unlooked-for bright as in the best of Shakespeare's. As one instance out of many: towards the end of the great soliloquy of Henry V., after enumerating the emblems and accompaniments of royalty, the king continues,--