ague commendation, evidently from a very superficial acquaintance, and that only with the Inferno, probably from Rivarol's version.
Genie du Christianisme, Cap. IV. Since then there have been four or five French versions in prose or verse, including one by Lamennais.
But the austerity of Dante will not condescend to the conventional elegance which makes the charm of French, and the most virile of poets cannot be adequately rendered in the most feminine of languages.
Yet in the works of Fauriel, Ozanam, Ampere, and Villemain, France has given a greater impulse to the study of Dante than any other country except Germany.
Into Germany the Commedia penetrated later.
How utterly Dante was unknown there in the sixteenth century is plain from a passage in the Vanity of the Arts and Sciences of Cornelius Agrippa, where he is spoken of among the authors of lascivious stories: There have been many of these historical pandars, of which some of obscure fame, as Aeneas Sylvius, Dantes, and