es, or make themselves suspected, everywhere, as in the architecture of the Middle Ages.
An analysis of the poem would be out of place here, but we must say a few words of Dante's position as respects modern literature.
If we except Wolfram von Eschenbach, he is the first Christian poet, the first (indeed, we might say the only) one whose whole system of thought is colored in every finest fibre by a purely Christian theology.
Lapse through sin, mediation, and redemption, these are the subject his choice whether he would take them as song or sermon.
In the heroes of some of these certain Christian virtues were typified, and around a few of them, as the Holy Grail, a perfume yet lingers of cloistered piety and withdrawal.
Wolfram von Eschenbach, indeed, has divided his Parzival into three books, of Simplicity, Doubt, and Healing, which has led Gervinus to trace a not altogether fanciful analogy between that poem and the Divina Commedia. The doughty old poet, who says of himself,—