inquisitors dancing in circles, and saints denouncing popes and
Florentines; in short, a heaven libelling itself with invectives against
earth, and terminating in a great presumption. Many of the people put
there, a Calvinistic Dante would have consigned to the "other place;"
and some, if now living, would not be admitted into decent society. At
the beginning of one of the cantos, the poet congratulates himself,
with a complacent superiority, on his being in heaven and occupied with
celestial matters, while his poor fellow-creatures are wandering and
blundering on earth. But he had never got there! A divine--worthy of
that name--of the Church of England (Dr. Whichcote), has beautifully
said, that "heaven is first a temper, and then a place." According to
this truly celestial topography, the implacable Florentine had not
reached its outermost court. Again, his heavenly mistress, Beatrice,
besides being far too didactic to sustain the womanly part of her
character properly, alternates her smiles and her sarcasms in a way that
jars horribly against the occasional enchantment of her aspect. She does
not scruple to burst into taunts of the Florentines in the presence of
Jesus himself; and the spirit of his ancestor, Cacciaguida, in the very
bosom of Christian bliss, promises him revenge on his enemies! Is this
the kind of zeal that is to be exempt from objection in a man who
objected to all the world? or will it be thought a profaneness against
such profanity, to remind the reader of the philosopher in Swift, who
"while gazing on the stars, was betrayed by his lower parts into a
ditch!"

The reader's time need not be wasted with the allegorical and other
mystical significations given to the poem; still less on the question
whether Beatrice is theology, or a young lady, or both; and least of all
on the discovery of the ingenious Signor Rossetti, that Dante and all
the other great old Italian writers meant nothing, either by their