Such is the general scheme of the poem, in which the order of the universe is displayed and the life of man depicted, in scenes of immense dramatic variety and of unsurpassed imaginative reality. It embraces the whole field of human experience. Nature, art, the past, the present, learning, philosophy, all contribute to it. The mastery of the poet over all material which can serve him is complete; the force of his controlling imagination corresponds with the depth and intensity of his moral purpose. And herein lies the exceptional character of the poem, as at once a work of art of supreme beauty and a work of didactic morals of supreme significance. Art indeed cannot, if it would, divorce itself from morals. Into every work of art, whether the artist intend it or not, enters a moral element. But in art, beauty does not submit to be subordinated to any other end, and it is the marvel in Dante that while his main intent is didactic, he attains it by a means of art so perfect that only in a few rare passages does beauty fall a sacrifice to doctrine. The 'Divine Comedy' is indeed not less incomparable in its beauty than in its vast compass, the variety of its interest, and in the harmony of its form with its spirit. In his lectures 'On Translating Homer' Mr. Arnold, speaking of the metre of 'Paradise Lost,' says:--"To this metre, as used in the 'Paradise Lost,' our country owes the glory of having produced one of the only two poetical works in the grand style which are to be found in the modern languages; the 'Divine Comedy' of Dante is the other." But Mr. Arnold does not point out the extraordinary fact, in regard to the style of the 'Divine Comedy,' that this poem stands at the beginning of modern literature, that there was no previous modern standard of style, that the language was molded and the verse invented by Dante; that he did not borrow his style from the ancients, and that when he says to Virgil, "Thou art he from whom I took the fair style that has done me honor," he meant only that he had learned from him the principles of noble and adequate poetic expression. The style of the 'Divine Comedy' is as different from that of the AEneid as it is from that of 'Paradise Lost.' There are few other works of man, perhaps there is no other, which afford such evidence as the 'Divine Comedy' of uninterrupted consistency of purpose, of sustained vigor of imagination, and of steady force of character controlling alike the vagaries of the poetic temperament, the wavering of human purpose, the fluctuation of human powers, and the untowardness of circumstance. From beginning to end of this work of many years there is no flagging of energy, no indication of weakness. The shoulders, burdened by a task almost too great for mortal strength, never tremble under their load.