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1 Convito, Tr. III. c. 12.
2 Convito, Tr. III. c. 15. Recalling how the eyes of Beatrice lift her servant through the heavenly spheres, and that smile of hers so often dwelt on with rapture, we see how Dante was in the habit of commenting and illustrating his own works. We must remember always that with him the allegorical exposition is the true one (Convito, Tr. IV. c. 1), the allegory being a truth which is hidden under a beautiful falsehood (Convito, Tr. II. c. 1), and that Dante thought his poems without this exposition ‘under some shade of obscurity, so that to many their beauty was more grateful than their goodness’ (Convito, Tr. I. c. 1), ‘because the goodness is in the meaning, and the beauty in the ornament of the words’ (Convito, Tr. II. c. 12).
3 Convito, Tr. III. c. 14.
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