The scene of the poem is the spiritual world, of which we are members even while still denizens of the world of time. In the spiritual world the results of sin or perverted love, and of virtue or right love, in this life of probation, are manifest. The life to come is but the fulfilment of the life that now is. This is the truth that Dante sought to enforce. The allegory in which he cloaked it is of a character that separates the Divine Comedy from all other works of similar intent. In The Pilgrim’s Progress, for example, the personages introduced are mere simulacra of men and women, the types of moral qualities or religious dispositions. They are abstractions which the genius of Bunyan fails to inform with vitality sufficient to kindle the imagination of the reader with a sense of their actual, living and breathing existence. But in the Divine Comedy the personages are all from real life, they are men and women with their natural passions and emotions, and they are undergoing an actual experience. The allegory consists in making their characters and their fates, what all human characters and fates really are, the types and images of spiritual law. Virgil and Beatrice, whose nature as depicted in the poem makes nearest approach to purely abstract and typical existence, are always consistently presented as living individuals, exalted indeed in wisdom and power, but with hardly less definite and concrete humanity than that of Dante himself. The scheme of the created Universe held by the Christians of the Middle Ages was comparatively simple, and so definite that Dante, in accepting it in its main features without modification, was provided with the limited stage that was requisite for his design, and of which the general disposition was familiar to all his readers. The three spiritual realms had their local bounds marked out as clearly as those of time earth itself. Their cosmography was but an extension of the largely hypothetical geography of the tune. The Earth was the centre of the Universe, and its northern hemisphere was the abode of man. At the middle point of this hemisphere stood Jerusalem, equidistant from the Pillars of Hercules on the West, and the Ganges on the East. Within the body of this hemisphere was hell, shared as a vast cone, of which the apex was the centre of the globe; and here, according to Dante, was the seat of Lucifer. The concave of Hell had been formed by his fall, when a portion of the solid earth, through fear of him, ran back to the southern uninhabited hemisphere, and formed there, directly antipodal to Jerusalem, the mountain of Purgatory which rose from the waste of waters that covered this half of the globe. Purgatory was shaped as a cone, of similar dimensions to that of Hell, amid at its summit was the Terrestrial Paradise.