Lippincott's Magazine of Popular Literature and Science, Volume 15, No. 86, February, 1875Various
History
Lippincott's Magazine of Popular Literature and Science, Volume 15, No. 86, February, 1875
Various
Literature, Modern -- 19th century -- Periodicals; Science -- Periodicals
"'To this grim form our cherished limbs have come,
And thus lie mouldering in their earthly home.
In turf-bound hillock or in sculptured shrine
The worms alike their cold caresses twine.
So far we all are equal; but once left
Our mortal weeds, of vital spark bereft,
Asunder farther than the poles we're driven--
Some sunk to deepest Hell, some raised to highest Heaven.'
"Still farther on the left of Minos, and melting into distance
behind him, is seen the shadowy region of Purgatory. Four bright
stars--the Cardinal Virtues--give a delicate and cheering light
amid the gloom. A group of figures loaded with the burthen of their
sins are about to plunge into the lake of purgatorial waters, in
the hope of depositing them there. A boat wafted by the wings of an
Angel is bearing departed, souls toward Heaven; and near it is a
column of pale light to direct its course. In the distance is the
mountain that divides Purgatory from Heaven; and Beatrice, the
departed mistress of Dante, is standing on its summit, encouraging
him to proceed with her to Heaven, where his former guide, Virgil,
cannot be admitted (being a Pagan). Groups of Pilgrims who have
passed through Purgatory are ascending the mountain. Still farther
to the left, and opening in unbroken splendor above the head of
Beatrice, is seen the Heaven of Heavens. The golden light pours
down on the heads of the Pilgrims, and angels are seen floating in
the air and encouraging their efforts. The foreground of this part
of the scene presents various objects to cheer the spirit of the
Pilgrims in their passage through Purgatory. The entrance indeed is
rocky, but shrubs and flowers adorn it, and the Dove, the bird of
Hope, is bearing the olive-branch before them."
Public-domain text, read in full here on John Shaqi.
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