on, 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, A8.
The range of Dante's influence is not less remarkable than its intensity.
Minds, the antipodes of each other in temper and endowment, alike feel the force of his attraction, the pervasive comfort of his light and warmth.
Boccaccio and Lamennais are touched with the same reverential enthusiasm.
The imaginative Ruskin is rapt by him, as we have seen, perhaps beyond the limit where critical appreciation merges in enthusiasm; and the matter-of-fact Schlosser tells us that he, who was won