From what has been said it will be seen that a marked mental affinity existed between Dante and Immanuel. To both history, scholasticism, and romanticism provided materials for their work. They were both influenced by the new national spirit that had inspired the members of “Young Italy” to struggle for the liberation of their countrymen—bodily and mentally—from the yoke of priestcraft and superstition. Finally, it will be admitted that the _Ha-Topheth-ve-Ha-Eden_ in style, dramatic effect, and graphic description has much in common with the _Divina Commedia_, although the condensed imitation is, of course, vastly inferior to the original. Yet there are several features in it which are peculiar to Immanuel. The most remarkable one is this: while Dante is narrow-minded enough to exclude from Paradise all and every one who does not profess Christianity, including even his leader, Virgil, Immanuel assigns places of honour there to the good and righteous of all nations and of all ages, provided they do not deny the existence of God and of a divine spirit in man. Professor Th. Paur refers to this point in the essay that was mentioned above, and writes as follows:— “If we closely examine the sentiments set forth in the little poetical volume (_Ha-Topheth-ve-Ha-Eden_), we must confess that the Jew Immanuel need not blush in the presence of the Christian Dante. It is true that he, like Dante, condemns those philosophical theories in which the personality of God, the creation of the world by his power, and the existence of a divine spirit in man are denied. But Immanuel shows more courage than Dante by effectively stigmatizing hypocrisy in all its various shapes and forms. He also possesses a greater spirit of tolerance than the latter had shown towards men professing creeds different from his own—a beautiful human _naïveté_ in matters of religion—which must be sought after with the lantern of Diogenes among the Christians of that period.” In the introduction to the present essay mention was made of some sonnets composed by Immanuel in the Italian language, which show that he must have been well versed in the literature of his native country. Three of them were published for the first time some thirty years ago in a book entitled _Letteratura e filosofia, opuscoli per Pasquale Garofalo, Duca di Bonita_ (Naples, 1872). Perhaps it will not be out of place, in conclusion, to quote one of them here. Its English translation is somewhat as follows:—