e 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 Petrarch, Boccace, Pontanus, etc.
Ed. Lond. 1684, p. 199. The first German translation was that of Kannegiesser (1809). Versions by Streckfuss, Kopisch, and Prince John (late king) of Saxony followed.
Goethe seems never to have given that attention to Dante which his ever-alert intelligence might have been expected to bestow on so imposing a moral and aesthetic phenomenon.
Unless the conclusion of the second part of Faust be an inspiration of the Paradiso, we remember no adequate word from him on this theme.
His remarks on one of