state of the animal during winter, or to the sign as entered by the sun at the end of October. Virgil himself twice calls the snake "frigidus."-Eclog. iii. 93; viii. 71. (12.) The five are Virgil, Dante, Sordello, Nino, and Conrad Malespina.

Page 80. (Line 15.) i.e. The pain is that suffered by Progne on being changed into a swallow, after the injury done her by Tereus. See Ovid. Met. vi. 433. (23.) Ganymede was changed into an eagle by Jupiter, on Mount Ida, and carried up to heaven. “Qualem ministrum," &c.—Horace. Carm, iv. 4. “By the eagle,” says Landino, "is to be understood, illuminating Grace, which, carrying Dante up to seraphic love (the sphere of fire), he there becomes inflamed with it." Thus Lucia, see line 55, and the eagle are the same-the one being the figure of the other; for, Landino continues, "as grace is full of light, so is the eagle the only bird that can bear the light of the sun-being also the most lofty in its flight."

Page 81. (Line 43.) "Several circumstances, together with the recollection of the dream, aggravated Dante's terror :-the departure of the other spirits—the advance the sun had made —the view of the sea only—and his ignorance of the place he was in.”—Biagioli, (55.) St. Lucia, or Heavenly grace. See note, Inf. ii. 97.

Page 82. (Line 63.) Imitated from Virgil and Ovid-" Nox Eneam somnusque relinquit." "Discedunt pariter somnusque Deusque." (70.) Together with his subject the poet exalts his style on hearing that his mysterious dream was ratified by the actual fulfilment of the circumstances it typified, and that Lucia, "to deeds of mercy ever given," Inf. ii. 100, had taken compassion upon him, and exalted him to that gate which may be said to form the entrance not only of Purgatory, but of Paradise. (77.) The idea of the "Porter" seems to be

taken from St. John x. 3. "To him the Porter openeth, and the sheep hear his voice," &c. This Porter is the same with "the Angel," line 103; and canto i. 99.

Page 83. (Line 86.) The Angel did not recognise Virgil as a proper guide, and was proceeding to treat Dante as an intruder. (97.) Hence Milton: "Each stair mysteriously was meant."-Par. Lost. iii. 516.

Page 84. (Line 113.) The seven "P.'s" denote the seven sins, (Peccata), from which Dante was to be cleansed one by one, as he passed through the seven rounds of Purgatory. (117.) See Inf.xxvii. 103. Milton has here copied Dante, Lycidas. "Two massy keys he bore of metals twain;

The golden opes, the iron shuts amain."

Page 85. (Line 136.) Lucan relates the forcible entry of Julius Cæsar into the Roman treasury on the Tarpeian rock, when Metellus, who endeavoured to defend it, being overpowered, the ancient doors opened with a dreadful crash, and "the hoarded wealth of ages was displayed."

"Protinus abducto patuerunt templa Metello:
Tunc rupes Tarpeia sonat, magnoque reclusas
Testatur stridore fores, &c."-Lucan, Phars. L. iii. 153.
"On a sudden open fly,

With impetuous recoil, and jarring sound,
Th' infernal doors, and on their hinges grate
Harsh thunder, that the lowest bottom shook
Of Erebus."
Par. Lost, ii. 879.

CANTO X.

ARGUMENT.

THE gate of Purgatory. The first circle is assigned to the punishment of the proud. In the white marble rock are sculptured stories of persons eminent for humility. A troop of spirits arrive, who, bent to the ground under the weight of great stones, are expiating their pride.

ENTER'D within the threshold of that gate,

Of which depraved affection mars the use,

Making the crooked path appear the straight—

I heard it shut behind me with loud sound:
And had mine eyes look'd back, oh! what excuse
Had worthy of so great a fault been found?
Up through a hollow way we urged our feet,

Girt by the shifting rocks on either side,
Like waves that now advance and now retreat.
"No little diligence it will require,”

Exclaim'd the bard, "our wary feet to guide,

As here or there the massive walls retire."

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So slow our steps, as thus with care we tread,
The moon already with diminish'd round
Had sunk to rest within her briny bed,
Ere we emerged from out that narrow track.
But when we freely stood on open ground,
Where the contracted mountain falleth back,

I, wearied out both doubtful of our way,

Halted upon a solitary plain,

Lonelier than ever path through desert lay. This ledge, extending from the void to where The lofty steep begins to rise again,

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With thrice man's stature might in width compare : And far as could mine eyesight wing its aim,

First to the right, then to the other flank,

Its width throughout appear'd to be the same.

To walk thereon we had not yet essay'd,

When I perceived that the surrounding bank,

Which all attempt to scale its sides forbade,

Was marble white, with sculpture so adorn'd,

Polycletes not only it defied,

But Nature too had felt her talents scorn'd.

The Angel who glad tidings brought to man
Of that long wish'd for peace, which open'd wide
The gates of heaven, and brake the ancient ban,

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So sculptured to the full reality,

Seem'd here in attitude sublime to stand,

No silent image he appear'd to be ;

One might have sworn that he was uttering "Hail !” For she was also imaged here, whose hand

Did turn the key, and with high Love prevail; And represented these same words in act, "Behold the handmaid of the Lord"-exprest,

As clearly as on wax a stamp exact. "Confine thy mind not to a single part,"

Said my dear lord, who kept me near his breast,
There where in living persons beats the heart.
Wherefore I turn'd mine eyes, as thus he said,

And saw behind the Virgin (on that side
Where stood the master who my footsteps led)
Another history on the rock impress'd :
Then drew I nearer, passing by my guide,

That it might be more clearly manifest.
In the same marble were engraven there,
Bearing the holy ark, the steers and wain;
Whence man officious duties may beware.
Into sev'n choirs divided, led the way

A multitude, that made my senses twain
Declare, the one, "They sing :" the other "Nay:"

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55

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