No person can have attended to the Divine Comedy without observing how little impression the forms of the external world appear to have made on the mind of Dante. His temper and his situation had led him to fix his observation almost exclusively on human nature. The exquisite opening of the eighth* canto of the Purgatorio affords a strong instance of this. (I cannot help observing that Gray's imitation of that noble line "Che paia 'lgiorna pianger che si muore,"-- is one of the most striking instances of injudicious plagiarism with which I am acquainted. Dante did not put this strong personification at the beginning of his description. The imagination of the reader is so well prepared for it by the previous lines, that it appears perfectly natural and pathetic. Placed as Gray has placed it, neither preceded nor followed by anything that harmonises with it, it becomes a frigid conceit. Woe to the unskilful rider who ventures on the horses of Achilles!) He leaves to others the earth, the ocean, and the sky. His business is with man. To other writers, evening may be the season of dews and stars and radiant clouds. To Dante it is the hour of fond recollection and passionate devotion,--the hour which melts the heart of the mariner and kindles the love of the pilgrim,--the hour when the toll of the bell seems to mourn for another day which is gone and will return no more. The feeling of the present age has taken a direction diametrically opposite. The magnificence of the physical world, and its influence upon the human mind, have been the favourite themes of our most eminent poets. The herd of bluestocking ladies and sonneteering gentlemen seem to consider a strong sensibility to the "splendour of the grass, the glory of the flower," as an ingredient absolutely indispensable in the formation of a poetical mind. They treat with contempt all writers who are unfortunately nec ponere lucum Artifices, nec rus saturum laudare. The orthodox poetical creed is more Catholic. The noblest earthly object of the contemplation of man is man himself. The universe, and all its fair and glorious forms, are indeed included in the wide empire of the imagination; but she has placed her home and her sanctuary amidst the inexhaustible varieties and the impenetrable mysteries of the mind. In tutte parti impera, e quivi regge; Quivi e la sua cittade, e l'alto seggio. (Inferno, canto i.)