those works the Vita Nuova and the Convito have a distinct place, as
leading up to the great masterpiece. In the New Life, Man starts on
his career with human love that points to the divine. In the Banquet,
he passes to mature life and to love of knowledge that declares the
power and the love of God in the material and moral world about us and
within us. In the Divine Comedy, the Poet passes to the world to come,
and rises to the final union of the love for Beatrice, the beatifier,
with the glory of the Love of God. Of this great series, the crowning
work has, of course, had many translators, and there have been
translators also of the book that shows the youth of love. But the
noble fragment of the Convito that unites these two has, I believe,
never yet been placed within reach of the English reader, except by a
translation of its poems only into unrhymed measure in Mr. Charles
Lyell's "Poems of the Vita Nuova and the Convito," published in 1835.

The Convito is a fragment. There are four books where fifteen were
designed, including three only of the intended fourteen songs. But the
plan is clear, and one or two glances forward to the matter of the
last book, which would have had Justice for its theme, show that all
was to have been brought to a high spiritual close.

Its aim was no less than the lifting of men's minds by knowledge of
the world without them and within them, bound together in creation,
showing forth the Mind of the Creator. The reader of this volume must
not flinch from the ingenious dialectics of the mediæval reasoner on
Man and Nature. Dante's knowledge is the knowledge of his time.
Science had made little advance since Aristotle--who is "the
Philosopher" taken by Dante for his human guide--first laid its
foundations. It is useful, no doubt, to be able in a book like this,
shaped by a noble mind, to study at their best the forms of reasoning