Whether the author of the story of _Paulo and Francesca_ could have
carried the Dominican theories into practice, had he been the banisher
instead of the banished, is a point that may happily be doubted; but at
all events he revenged himself on his enemies after their own fashion;
for he answered their decree of the stake by putting them into hell.

Dante entitled the saddest poem in the world a Comedy, because it was
written in a middle style; though some, by a strange confusion of ideas,
think the reason must have been because it "ended happily!" that is,
because, beginning with hell (to some), it terminated with "heaven" (to
others). As well might they have said, that a morning's work in the
Inquisition ended happily, because, while people were being racked in
the dungeons, the officers were making merry in the drawing-room. For
the much-injured epithet of "Divine," Dante's memory is not responsible.
He entitled his poem, arrogantly enough, yet still not with that impiety
of arrogance, "The Comedy of Dante Alighieri, a Florentine by nation but
not by habits." The word "divine" was added by some transcriber; and it
heaped absurdity on absurdity, too much of it, alas! being literally
infernal tragedy. I am not speaking in mockery, any further than the
fact itself cannot help so speaking. I respect what is to be respected
in Dante; I admire in him what is admirable; would love (if his
infernalities would let me) what is loveable; but this must not hinder
one of the human race from protesting against what is erroneous in his
fame, when it jars against every best feeling, human and divine. Mr.
Cary thinks that Dante had as much right to avail himself of "the
popular creed in all its extravagance" as Homer had of his gods, or
Shakspeare of his fairies. But the distinction is obvious. Homer did not
personally identify himself with a creed, or do his utmost to perpetuate
the worst parts of it in behalf of a ferocious inquisitorial church, and
to the risk of endangering the peace of millions of gentle minds.