dge seems to have been familiar only with the Inferno. In America Professor Ticknor was the first to devote a special course of illustrative lectures to Dante; he was followed by Longfellow, whose lectures, illustrated by admirable translations, are remembered with grateful pleasure by many who were thus led to learn the full significance of the great Christian poet.
A translation of the Inferno into quatrains by T. W. Parsons ranks with the best for spirit, faithfulness, and elegance.
In Denmark and Russia translations of the Inferno have been published, beside separate volumes of comment and illustration.
We have thus sketched the steady growth of Dante's fame and influence to a universality unparalleled except in the case of Shakespeare, perhaps more remarkable if we consider the abstruse and mystical nature of his poetry.
It is to be noted as characteristic that the veneration of Dantophilists for their master is that of disciples for their saint.
Perhaps no other man could