worldly life of olden time. The metaphysics and theology may seem tedious to modern unbelievers, but they were stern realities to Dante, and it is from his point of view that I have regarded those lofty subjects, which take up so large a space in the following pages.

These volumes, like their predecessors, are based upon the famous Latin Commentary of Benvenuto da Imola (first delivered as lectures, at Bologna, in 1375), and follow the same order and plan, which has been to take the text verse by verse, to give a faithful translation, to connect the narrative with a running commentary, to explain all difficulties as they arise, and to supply in numerous footnotes a key to philological, literary, and historical doubts. This, apart from the notes, is very much the system of Benvenuto, although he goes somewhat further and construes the text almost word by word. It is the usual method of oral teaching, and is sufficiently expressed by the title of " Readings."

I have again adopted Dr. Moore's Oxford text, to which I have added the accentuation of Fraticelli, welcome, I believe, to Italian eyes. I take this opportunity of expressing my great obligations to Dr. Moore for the generous and unwearied assistance he has given me during the last four years. It is with deep gratitude that I have been permitted to dedicate these volumes to our most distinguished English Dantist.

Again must I record my heart-felt thanks to my friend Mr. H. R. Tedder, the Secretary and Librarian of the Athenæum, who has revised my work from

first to last. It is impossible for me to find words to thank him adequately for his undeviating kindness and patience.

While the plan, much of the connecting narrative, and some of the notes, are due to Benvenuto, I have taken toll of the labours of many ancient and modern commentators, whose writings are mentioned in the list of authors consulted. I am unable to thank each one, but I cannot avoid expressing my special obligations to some recent publications. I am glad to be able to congratulate Dr. G. A. Scartazzini upon the completion of his learned Enciclopedia Dantesca, as well as upon the last edition (1899) of his Edizione Minore of the text. The invaluable Dante Dictionary of Mr. Paget Toynbee, Mr. E. G. Gardner's charmingly written Dante's Ten Heavens, the admirable. translations of the Paradiso by Mr. Charles Eliot Norton and Mr. Wicksteed have been of great help.

To my Wife is due the ample index, and to her is also due my warm acknowledgment of much help and encouragement.

The Dowager Duchess of Sermoneta has kindly allowed me to adapt from her late husband's Tavole Dantesche, a coloured plate of the disposition of the universe.

I put forth no claim to originality, except, perhaps, as regards the form in which this work is presented to English readers. The labours of others make all that is valuable herein, and foremost among those must be ranked the Bishop of Ripon, the third distinguished churchman who has honoured me by writing an Introduction to one of the divisions of the

"Readings." In this beautiful contribution lovers of Dante will read a masterly sketch, eloquent yet condensed, of the spirit in which the Divina Commedia was written. My own share is based upon a life-long devotion to the study of Dante's writings, many years of which were passed in his own country, and associated with those who speak his beloved Tuscan. In the words of the translator of the De Proprietatibus Rerum of Bartholomæus Anglicus, "I make protestation in the end of this worke, as I did in the beginning, that in all that is in divers matters conteined in this worke, right little or naught have I set of mine owne, but I have followed veritie and truth, and also followed the wordes, meaning, and sences, and comments of Holy Saints and Philosophers."

WILLIAM WARREN VERNON.

THE ATHENEUM, PALL MALL, S.W.

October, 1900.

INTRODUCTION

BY THE BISHOP OF RIPON (W. BOYD-CARPEnter).

THE fortunes of a great work, like those of a great man, are often romantic. The copyright of Paradise Lost was sold for £5, and copies of FitzGerald's Rubáiyát of Omar Khayyám were offered in the rubbish box outside a bookseller's shop for a penny each; and there were generations in which there was little or no demand for the Divina Commedia. During the whole of the seventeenth century there appear to have been only four editions published. The ninety years which followed were more appreciative, as twenty-one editions appeared; but even this number makes only twenty-five editions in a period of nearly two hundred years. With the age of the Revolution there was a sudden increase of public interest; for, in the last decade of the eighteenth century, no fewer than thirteen editions of the Divine Comedy were brought out. This revival of interest was not confined to Italy; for editions of the Divine Comedy began to issue from the press in France, Germany, and England. As early as 1768 an edition had been printed in Paris, ten years later one appeared in London, and, of the thirteen editions which appeared between 1790 and

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1800, two were printed in Berlin. With the dawn the nineteenth century this revived interest wa sustained, as twelve editions, about half of which were published outside of Italy, made their appearance before 1810. From this year, the popularity of the Poet steadily rose; the number of editions issued between 1810 and 1820 was twenty-six; between 1820 and 1830 the number of editions rose to fortyone; and between 1830 and 1840 to forty-three. The total number of editions which appeared between 1790 and 1845 was 164, or six times as many as there were issued in the 190 years preceding the French Revolution. Such figures strikingly illustrate the declaration of Lamartine: "Dante semble être le poète de notre époque." The verdict is not sustained merely by a comparison of the number of editions. It is even more remarkably established by the changed tone of literary criticism. Four or five generations ago, not only were editions of his works little in demand, but his genius was disparaged, and his great poem was spoken of in terms of doubt and even of derision. Voltaire could only write of him in slighting and scornful terms. The poet whom Italians called Divine was, in his view, a hidden divinity. The Divine Comedy might indeed find a place in the libraries of the great, but it would remain neglected on the shelves. According to his experience people were ready enough to steal a volume of Ariosto, but none ever purloined a volume of Dante. The poet, in Voltaire's judgment, would owe his reputation to the mystery which enveloped a work of which people spoke with respect because they were ignorant of it.