The plan of the Poem renders it natural that on the very ascent through Paradise the loftiest speculations of Theology should be discussed. His deep reverence for this science is symbolized by his love of Beatrice. In proportion as the field of vision enlarges itself into the purely Universal, it is necessary that Poetry should become Music, form vanish, and that, in this point of view, the Inferno should appear the most poetic part of the work. But in this work it is absolutely impossible to take things separately; and the peculiar excellence of each separate part is authenticated and recognized only through its harmony with the whole. If the relation of the three parts to the whole is perceived, we shall necessarily recognize the Paradiso as the purely musical and lyrical portion, even in the design of the poet, who expresses this in the external form, by the frequent use of the Latin words of Church Hymns. The marvelous grandeur of the Poem, which gleams forth in the mingling of all the elements of poetry and art, reaches in this way a perfect manifestation. This divine work is not plastic, not picturesque, not musical, but all of these at once and in accordant harmony. It is not dramatic, not epic, not lyric, but a peculiar, unique, and unexampled mingling of all these. I think I have shown, at the same time, that it is prophetic, and typical of all the Modern Poetry. It embraces all its characteristics, and springs out of the intricately mingled materials of the same, as the first growth, stretching itself above the earth and toward the heavens—the first fruit of transfiguration. Those who would become acquainted with the poetry of modern times, not superficially, but at its fountain head, may train themselves by this great and mighty spirit, in order to know by what means the whole of the modern time may be embraced in its entireness, and that it is not held together by a loosely woven band. They who have no vocation for this, can apply to themselves the words at the beginning of the first part: “Lasciate ogni speranza voi ch’ entrate.” * * * * * THE GOLD-SEEKER. BY GRACE GREENWOOD.