to the domestic and civic relations, carries him with new sympathy into nature, enhances the power of the senses, opens the imagination, adds to his character heroic and sacred attributes, establishes marriage, and gives permanence to human society. The natural association of the sentiment of love with the heyday of the blood, seems to require that in order to portray it in vivid tints which every youth and maid should confess to be true to their throbbing experience, one must not be too old. The delicious fancies of youth reject the least savor of a mature philosophy, as chilling with age and pedantry their purple bloom. And, therefore, I know I incur the imputation of unnecessary hardness and stoicism from those who compose the Court and Parliament of Love. But from these formidable censors I shall appeal to my seniors. For, it is to be considered that this pas sion of which we speak, though it begin with the young, yet forsakes not the old, or rather suffers no one who is truly its servant to grow old, but makes the aged participators of it, not less than the tender maiden, though in a different and nobler sort. For, it is a fire that kindling its first embers in the narrow nook of a private bosom, caught from a wandering spark out of another private heart, glows and enlarges until it warms and beams upon multitudes of men and women, upon the universal heart of all, and so lights up the whole world and all nature with its generous flames. It matters not, therefore, whether we attempt to describe the passion at twenty, at thirty, or at eighty years. He who paints it at the first period, will lose some of its later; he who paints it at the last, some of its earlier traits. Only it is to be hoped that by patience and the muses' aid, we may attain to that inward view of the law, which shall describe a truth ever young, ever beautiful, so central that it shall commend itself to the eye at whatever angle beholden. And the first condition is, that we must leave a too close and lingering adherence to the actual, to facts, and study the sentiment as it appeared in hope and not in history. For, each man sees his own life defuced and disfigured, as the life of man is not, to his imagination. Each man sees over his own experience a certain slime of error, whilst that of other men looks fair and ideal. Let any man go back to those delicious relations which make the beauty of his life, which have given him sincerest instruction and nourishment, he will shrink and shrink. Alas! I know not why, but infinite compunctions embitter in mature life all the remembrances of budding sentiment, and cover every beloved name. Everything is beautiful seen from the point of the intellect, or as truth. But all is sour, if seen as experience. Details are always melancholy; the plan is seemly and noble. It is strange how painful is the actual world,— the painful kingdom of time and place. There dwells care and canker and fear. With thought, with the ideal, is immortal hilarity, the rose of joy. Round it all the muses sing. But with names and persons and the partial interests of to-day and yesterday, is grief. The strong bent of nature is seen in the proportion which this topic of personal relations usurps in the conversation of society. What do we wish to know of any worthy person so much as how he has sped in the history of this sentiment? What books in the circulating libraries circulate? How we glow over these novels of passion, when the story is told with any spark of truth and nature! And what fastens attention, in the intercourse of life, like any passage betraying affection between two parties? Perhaps we never saw them before, and never shall meet them again. But we see them exchange a glance, or betray a deep emotion, and we are no longer strangers. We understand them, and take the warmest interest in the development of the romance. All mankind love a lover. The earliest demonstrations of complacency and kindness are nature's most winning pietures. It is the dawn of civility and grace in the coarse and rustic. The rude village boy teazes the girls about the school-house door;-but to-day he comes running into the entry, and meets one fair child arranging her satchel; he holds her books to help her, and instantly it seems to him as if she removed herself from him infinitely, and was a sacred precinct. Among the throng of girls he runs rudely enough, but one alone distances him: and these two little neighbors that were so close just now, have learned to respect each other's personality. Or who can avert his eyes from the engaging, halfartful, half-artless ways of school girls who go into the country shops to buy a skein of silk or a sheet of paper, and talk half an hour about nothing, with the broad-faced, good-natured shop-boy. In the village, they are on a perfect equality, which love delights in, and without any coquetry the happy, affectionate nature of woman flows out in this pretty gossip. The girls may have little beauty, yet plainly do they establish between them and the good boy the most agreeable, confiding relations, what with their fun and their earnest, about Edgar, and Jonas, and Almira, and who was invited to the party, and who danced at the dancing-school, and when the singing-school would begin, and other nothings concerning which the parties cooed. By-and-by that boy wants a wife, and very truly and heartily will he know where to find a sincere and true mate, without any risk such as Milton deplores as incident to scholars and great men. I have been told that my philosophy is unsocial, and that, in public discourses, my reverence for the intellect makes me unjustly cold to the personal relations. But now I almost shrink at the remembrance of such disparaging words. For persons are love's world, and the coldest philo pher cannot recount the debt of the young soul wa dering here in nature to the power of love, without being tempted to unsay, as treasonable to nature, aught derogatory to the social instincts. For, though the celestial rapture falling out of heaven seizes only upon those of tender age, and although a beauty overpowering all analysis or comparison, and putting us quite beside ourselves, we can seldom see after thirty years, yet the remembrance of these visions outlasts all other remembrances, and is a wreath of flowers on the oldest brows. But here is a strange fact; it may seem to many men in revising their experience, that they have no fairer page in their life's book than the delicious memory of some passages wherein affection contrived to give a witchcraft surpassing the deep attraction of its own truth to a parcel of accidental and trivial circumstances. In looking backward, they may find that several things which were not the charm, have more reality to this groping memory than the charm itself which embalmed them. be our experience in particulars what it may, no man ever forgot the visitations of that power to his heart and brain, which created all things new; which was the dawn in him of music, poetry, and art; which made the face of nature radiant with purple light, the morning and the night varied enchantments; when a single tone of one voice could make the heart beat, and the most trivial circumstance associated with one form is put in the amber of memory; when we became all eye when one was present, and all memory when one was gone; when the youth becomes a watcher of windows, and studious of a glove, a veil, a ribbon, or the wheels of a carriage; when no place is too solitary, and Lone But too silent for him who has richer company and sweeter conversation in his new thoughts, than any old friends, though best and purest, can give him; for, the figures, the motions, the words of the beloved object are not like other images written in water, but, as Plutarch said, " enamelled in fire," and make the study of midnight. Thou art not gone being gone, where'er thou art, Thou tear st in him thy watchful eyes, in him thy loving heart. In the noon and the afternoon of life, we still throb at the recollection of days when happiness was not happy enough, but must be drugged with the relish of pain and fear; for he touched the secret of the matter, who said of love, All other pleasures are not worth its pains, and when the day was not long enough, but the night too must be consumed in keen recollections; when the head boiled all night on the pillow with the generous deed it resolved on: when the moonlight was a pleasing fever, and the stars were letters, and the flowers ciphers, and the air was coined into song; when all business seemed an inpertinence, and all the men and women running to and fro in the streets, mere pictures. The passion re-makes the world for the youth. It makes all things alive and significant. Nature grows conscious. Every bird on the boughs of the tree sings now to his heart and soul. Almost the notes are articulate. The clouds have faces, as he looks on them. The trees of the forest, the waving grass and the peeping flowers have grown intelligent; and almost he fears to trust them with the secret which they seem to invite. Yet nature soothes and sympathizes. In the green solitude he finds a dearer home than with men. Fountain heads and pathless groves, Places which pale passion loves, Moonlight walks, when all the fowls Are safely housed, save bats and owls, A midnight bell, a passing groan, These are the sounds we feed upon. Behold there in the wood the fine madman! He is a palace of sweet sounds and sights; he dilates; he is twice a man; he walks with arms akimbo; he soliloquizes; he accosts the grass and the trees; he fee's the blood of the violet, the clover, and the lily in his veins; and he talks with the brook that wets his foot. The causes that have sharpened his perceptions of natural beauty, have made him love music and verse. It is a fact often observed, that men have written good verses under the inspiration of passion, who cannot write well under any other circumstances. The like force has the passion over all his nature. It expands the sentiment; it makes the clown gentle, and gives the coward heart. Into the most pitiful and abject it will infuse a heart and courage to defy the world, so only it have the countenance of the beloved object. In giving him to another, it still more gives him to himself. He is a new man, with new perceptions, new and keener purposes, and a religious solemnity of character and aims. He does not longer appertain to his family and society. He is somewhat. He is a person. He is a soul. MONTAIGNE-FROM REPRESENTATIVE MEN. A single odd volume of Cotton's translation of the Essays remained to me from my father's library, when a boy. It lay long neglected, until, after many years, when I was newly escaped from college, I read the book, and procured the remaining volumes. I remember the delight and wonder in which I lived with it. It seemed to me as if I had myself written the book, in some former life, so sincerely it spoke to my thought and experience. It happened, when in Paris, in 1833, that in the cemetery of Père la Chaise, I came to a tomb of Auguste Collignon, who died in 1830, aged sixty-eight years, and who, said the monument, "lived to do right, and had formed himself to virtue on the Essays of Montaigne." Some years later, I became acquainted with an accomplished English poet, John Sterling; and, in prosecuting my correspondence, I found that, from a love of Montaigne, he had made a pilgrimage to his chateau, still standing near Castellan, in Perigord, and, after two hundred and fifty years, had copied from the walls of his library the inscriptions which Montaigue had written there. That Journal of Mr. Sterling's, published in the Westminster Review, Mr. Hazlitt has reprinted in the Prolegomena to his edition of the newly-discovered autographs of William ShakeEssays. I heard with pleasure that one of the speare was in a copy of Florio's translation of Montaigne. It is the only book which we certainly know to have been in the poet's library. And, oddly enough, the duplicate copy of Florio, which the. British Museum purchased, with a view of protecting the Shakespeare autograph (as I was informed in the Museum), turned out to have the autograph of Ben Jonson in the fly-leaf. Leigh Hunt relates of Lord Byron, that Montaigne was the only great writer of past times whom he read with avowed satisfaction. Other coincidences, not needful to be mentioned here, concurred to make this old Gascon still new and immortal for me. his In 1571, on the death of his father, Montaigne, then thirty-eight years old, retired from the practice. of law at Bordeaux, and settled himself on his estate. Though he had been a man of pleasure, and sometimes a courtier, his studious habits now grew on him, and he loved the compass, staidness, and inde pendence of the country gentleman's life. He took up economy in good earnest, and made his farms yield the most. Downright and plain-dealing, and abhorring to be deceived or to deceive, he was esteemed in the country for his sense and probity. In the civil wars of the League, which converted every house into a fort, Montaigne kept his gates open, and his house without defence. All parties freely came and went, his courage and honor being universally esteemed. The neighboring lords and gentry brought jewels and papers to him for safekeeping. Gibbon reckons, in these bigoted times, but two men of liberality in France,-Henry IV. and Montaigne. Montaigne is the frankest and honestest of all writers. His French freedom runs into grossness; but he has anticipated all censure by the bounty of his own confessions. In his times, books were writtento one sex only, and almost all were written in Latin; so that, in a humorist, a certain nakedness of statement was permitted, which our manners, of a literature addressed equally to both sexes, do not allow. But, though a biblical plainness, coupled with a most uncanonical levity, inay shut his pages to many sensitive readers, yet the offence is superficial. He parades it: he makes the most of it: nobody can think or say worse of him than he does. He protends to most of the vices; and, if there be any vir tue in him, he says, it got in by stealth. There is no man, in his opinion, who has not deserved hanging five or six times; and he pretends no exception in his own behalf. Five or six as ridiculous stories," too, he says, "can be told of me, as of any man living." But, with all this really superfluous frankness, the opinion of an invincible probity grows into every reader's mind. 66 When I the most strictly and religiously confess myself, I find that the best virtue I have has in its some tincture of vice: and I am afraid that Plato, in his purest virtue (I, who am as sincere and perfect a lover of virtue of that stamp as any other whatever), if he had listened, and laid his ear close to himself, would have heard some jarring sound of human mixture; but faint and remote, and only to be perceived by himself." Ilere is an impatience and fastidiousness at color or pretence of any kind. He has been in courts so long as to have conceived a furious disgust at appearances; he will indulge himself with a little cursing and swearing; he will talk with sailors and gipsies, use flash and street ballads: he has stayed in-doors till he is deadly sick; he will to the open air, though it rain bullets. He has seen too much of gentlemen of the long robe, until he wishes for cannibals; and is so nervous, by factitious life, that he thinks, the more barbarous man is, the better he is. He likes his saddle. You may read theology, and grammar, and metaphysics elsewhere. Whatever you get here, shall smack of the earth and of real life, sweet, or smart, or stinging. He makes no hesitation to entertain you with the records of his disease; and his journey to Italy is quite full of that matter. He took and kept this position of equilibrium. Over his name, he drew an emblematic pair of scales, and wrote Que sçais je? under it. As I look at his effigy opposite the title-page, I seem to hear him say, 'You may play old Poz, if you will; you may rail and exaggerate,-I stand here for truth, and will not, for all the states, and churches, and revenues, and personal reputations of Europe, overstate the dry fact, as I see it; I will rather mumble and prose about what I certainly know,-my house and barns; my father, my wife, and my tenants; my old lean bald pate; my knives and forks; what meats I eat, and what drinks I prefer; and a hundred straws just as ridiculous, than I will write, with a fine crowquill, a fine romance. I like gray days, and autumn and winter weather. I am gray and autumnal myself, and think an undress, and old shoes that do not pinch my feet, and old friends who do not constrain me, and plain topics where I do not need to strain myself and pump my brains, the most suitable. Our condition as men is risky and ticklish enough. One cannot be sure of himself and his fortune an hour, but he may be whisked off into some pitiable or ridiculous plight. Why should I vapor and play the philosopher, instead of ballasting, the best I can, this dancing balloon? So, at least, I live within compass, keep myself ready for action, and can shoot the gulf, at last, with decency. If there be anything farcical in such a life, the blame is not mine: let it lie at fate's and nature's door." The Essays, therefore, are an entertaining soliloquy on every random topic that comes into his head; treating everything without ceremony, yet with masculine sense. There have been men with deeper insight; but, one would say, never a man with such abundance of thoughts: he is never dull, never insincere, and has the genius to make the reader care for all that he cares for. The sincerity and marrow of the man reaches to his sentences. I know not anywhere the book that seems less written. It is the language of conversation transferred to a book. Cut these words, and they would bleed; they are vascular and alive. One has the same pleasure in it that we have in listening to the necessary speech of men about their work, when any unusual circumstance gives momentary importance to the dialogue. For blacksmiths and teamsters do not trip in their speech; it is a shower of bullets. It is Cambridge men who correct themselves, and begin again at every half sentence, and, moreover, will pun, and refine too much, and swerve from the matter to the expression. Montaigne talks with shrewdness, knows the world, and books, and himself, and uses the positive degree: never shrieks, or protests, or prays: no weakness, no convulsion, no superlative: does not wish to jump out of his skin, or play any antics, or annihilate space or time: but is stout and solid; tastes every moment of the day; likes pain, because it makes him feel himself, and realize things; as we pinch ourselves to know that we are awake. He keeps the plain; he rarely mounts or sinks; likes to feel solid ground, and the stones underneath. His writing has no enthusiasms, no aspiration; contented, self-respecting, and keeping the middle of the road. There is but one exception,-in his love for Socrates. In speaking of him, for once his cheek flushes, and his style rises to passion. 1592. Montaigne died of a quinsy, at the age of sixty, in When he came to die, he caused the mass to be celebrated in his chamber. At the age of thirtythree, he had been married. "But," he says, "might I have had my own will, I would not have married Wisdom herself, if she would have had me: but 'tis not to much purpose to evade it, the common custom and use of life will have it so. Most of my actions are guided by example, not choice." In the hour of death, he gave the same weight to custom. Que scais je? What do I know? This book of Montaigne the world has endorsed, by translating it into all tongues, and printing seventy-five editions of it in Europe: and that too, a circulation somewhat chosen, namely, among courtiers, soldiers, princes, men of the world, and men of wit and generosity. Shall we say that Montaigne has spoken wisely, and given the right and permanent expression of the human mind, on the conduct of life? GEORGE HENRY CALVERT Was born at Baltimore, in Maryland, in 1803. His grandfather, Benedict Calvert of Mount Airy, Prince George's county, was a son of Lord Baltimore, and an intimate friend of General Washington. After the resignation of his commission at Annapolis, Washington passed the first night of his journey homeward at Mount Airy with the tory Benedict Calvert,—a circumstance severely commented on by the political enemies of the great Patriot.* The father of Calvert was George Calvert of Riverdale, an estate near Washington, now held and occupied by an eminent agriculturist, the brother of our author, Charles Calvert, and a favorite resort of Henry Clay, an intimate friend of the family. George Calvert, the parent, married Rosalie Eugenia Stier d'Artrelaer of Antwerp, a lineal descendant of Rubens, of a family of rank and antiquity. The chateau d'Artrelaer, a castellated mansion of the thirteenth or fourteenth century, is still in the possession of the family. Calvert's maternal grandfather came to America about the close of the last century, with his daughter, to escape the spoliations of the French emperor. Napoleonism is not one of his descendant's traits. Few writers have hit that assumption of power with more severity than our author in many of his philosophical reflections. The birth of Calvert thus ascends in an honorable lineage in both the colonial and Europeau In Sparks's Correspondence of Washington there is a letter to Benedict Calvert relative to a projected marriage between his daughter and a member of Washington's family Motalert. field. He was educated at IIarvard and at Gottingen, where he became thoroughly imbued with German literature. On his return to Maryland he was for several years the editor of the Baltimore American, at that time a neutral paper. While thus engaged he published in 1832 a volume, Illustrations of Phrenology, a collection of passages from the Edinburgh Phrenological Journal, with an introduction giving an analysis of the system. It is noticeable as the first book published in America on the subject. The same distinction belongs to his notice of the water cure, which he announced to his countrymen in a let-ter from Boppert, on the Rhine, August, 1843, which was published in the Baltimore American. His Volume from the Life of Herbert Barclay was published at Baltimore in 1833; a translation of Schiller's Don Carlos, in 1836; Count Julian, an original tragedy, in 1810; Arnold and André, a dramatic fragment; and two cantos of Cabiro, a poem in the Don Juan stanza, with a better earnestness, in the same year. In 1845 he published a translation in New York of a portion of the Goethe and Schiller Correspondence; in 1846, on his return from a tour abroad, a first series of Scenes and Thoughts in Europe, in which Hydropathy, the system of Fourier, and other favorite topics, were ably discussed; followed by a second in 1852. With an episode of foreign travel in 1850, the fine spirit of which is chronicled in the last mentioned production, Mr. Calvert has been since 1843 a resident of Newport, Rhode Island, where, on the revival of its charter, he became the first mayor of the city in 1853. When the fortieth anniversary of the battle of Lake Erie was celebrated in that city the same year, he delivered the oration on the occasion-a graphic historical sketch of the battle. Mr. Calvert has also been a contributor to the New York Review, the North American, the New York Quarterly, and other publications. The literary productions of Mr. Calvert are marked by their nice philosophical speculation, their sense of honor and of beauty, and their pure scholastic qualities. There is a certain fastidiousness and reserve of the retired thinker in the manner, with a fondness for the aphorism; though there is nothing of the selfish isolation of the scholar in the matter. The thought is original, strongly conceived, and uttered with firinness. The topics are frequently of every-day life, it being the author's motive to affect the public welfare by his practical suggestions from the laws of health, philosophy, and art. Of these he is at once a bold and delicate expounder, a subtle and philosophical critic. That the Great Spirit hovered over him; 'Twas at the fight near Princeton. In quick march, That crash of deadly music, and the burst Had not withstood that onset. Thus does he ALFIERI AND DANTE. Alfieri tells, that he betook himself to writing, be cause in his miserable age and land he had no scope for action; and that he remained single because he would not be a breeder of slaves. He utters the despair, to passionate tears, which he felt, when young, and deeply moved by the traits of greatness related by Plutarch, to find himself in times and in a country where no great thing could be either said or acted. The feelings here implied are the breath of his dramas. In them, a clear nervous understanding gives rapid utterance to wrath, pride, and impetuous passion. Though great within his sphere, his nature was not ample and complex enough for the highest tragedy. In his composition there was too much of passion and too little of high emotion. Fully to feel and perceive the awful and pathetic in human conjunctions, a deep fund of sentiment is needed. A condensed tale of passion is not of itself a tragedy. To dark feelings, resolves, deeds, emotion must give breadth, and depth, and relief. Passion furnishes crimes, but cannot furnish the kind and degree of horror which should accompany their commission. To give Tragedy the grand compass and sublime significance whereof it is susceptible, it is not enough that through the storm is visible the majestic figure of Justice: the blackest clouds must be fringed with the light of Hope and Pity; while through them Religion gives vistas into the Infinite, Beauty keeping watch to repel what is partial or deformed. În Alfieri, these great gifts are not commensurate with his power of intellect and passion. Hence, like the French classic dramatists, he is obliged to bind his personages into too narrow a circle. They have not enough of moral liberty. They are not swayed merely, they are tyrannized over by the passions. Hence they want elasticity and color. They are like hard engravings. In Alfieri does not cut deep into character: he gives a clean outline, but broad flat surfaces without finish of parts. It is this throbbing movement in details, which imparts buoyancy and expression. Wanting it, Alfieri is mostly hard. The effect of the whole is imposing, but does not invite or bear close inspection. Hence, though he is clear and rapid, and tells a story vividly, his tragedies are not life-like. Alfieri there is vigorous rhetoric, sustained vivacity, fervent passion; but no depth of sentiment, no play of a fleet rejoicing imagination, nothing" visionary," and none of the "golden cadence of poetry." But his heart was full of nobleness. He was a proud, lofty man, severe, but truth-loving and scornful of littleness. He delighted to depict characters that are manly and energetic. He makes them wrathful against tyranny, hardy, urgent for freedom, reclaiming with burning words the lost rights of man, protesting fiercely against oppression. There is in Alfieri a stern virility that contrasts strongly with Italian effeminateness. An indignant frown sits ever on his brow, as if rebuking the passivity of his countrymen. His verse is swollen with wrath. has the clangor of a trumpet that would shame the soft piping of flutes. It Above Alfieri, far above him and all other Italian greatness, solitary in the earliness of his rise, ere the modern mind had worked itself open, and still as solitary amidst the after splendors of Italy's fruitfulness is Dante. Take away any other great poet or artist, and in the broad shining rampart wherewith genius has beautified and fortified Italy, there would be a mournful chasm. Take away Dante, and you level the Citadel itself, under whose shelter the whole compact cincture has grown into strength and beauty. Three hundred years before Shakespeare, in 1265, was Dante born. His social position secured to him the best schooling. He was taught and eagerly learnt all the crude knowledge of his day. Through the precocious susceptibility of the poetic temperament, he was in love at the age of nine years. This love, as will be with such natures, was wrought into his heart, expanding his your g being with beautiful visions and hopes, and making tuneful the poetry within him. It endured with his life, and spiritualized his latest inspirations. Soberly he afterwards married another, and was the father of a numerous family. In the stirring days of the Guelfs and Ghibellines, he became a public leader, made a campaign, was for a while one of the chief magistrates of Florence, her an.bassador abroad more than once, and at the age of thirty-six closed his public career in the common Florentine way at that period, namely, by exile. Refusing to be recalled on condition of unmanly concessions, he never again saw his home. For twenty years he was an impove rished, wandering exile, and in his fifty-sixth year breathed his last at Ravenna. But Dante's life is his poem. Therein is the spirit of the mi, hty man incarnated. The life after earthly death is his theme. What a mould for the thoughts and sympathies of a poet, and what a poet, to fill all the chambers of such a mould! Man's whole nature claims interpretation; his powers, wants, vices, #18[irations, basenesses, grandeurs. The imagination of semi-Christian Italy had strained itself to bring before the sensuous mind of the South an image of the future home of the soul. The super mui.dane thoughts, fears, hopes of his time, Dante condensed into one vast picture-a picture cut as upon adamant with diamond. To enrich Hell, and Purgatory, and Paradise, he coined his own soul. His very body became transfigured, purged of its flesh, by the intensity of fiery thought. Gaunt, pale, stern, rapt, his visionary" eyes glari under his deep furrowed brow, as he walked the streets of Verona, he heard the people whisper, “That is he who has been down into Hell." Down into the depths of his fervent nature he had been, and kept himself lean by brooding over his passions, emotions, hopes, and transmuting the essence of them into everlasting song. Conceive the statuesque grand imagination of Michael Angelo united to the vivid homely particularity of Defoe, making pictures out of materials drawn from a heart whose rapturous sympathies raged with Orphean power through the whole gamut of human feeling, from the blackest hate up to the brightest love, and you will understand what is meant by the term Dantesque. In the epitaph for himself, written by Dante and inscribed on his tomb at Ravenna, he says:-"I have sung, while traversing them, the abode of God, Phlegethon and the foul pits." Traversing must be taken literally. Dante almost believed that he had traversed them, and so does his reader too, such is the control the poet gains over the reader through his burning intensity and graphic picturesqueness. Like the mark of the fierce jagged lightning upon the black nightcloud are some of his touches, as awful, as fearfully distinct, but not as momentary. In the face of the contrary judgment of such critics as Shelley and Carlyle, I concur in the commou opinion, which gives preference to the Inferno over the Purgatorio and Paradiso. Dante's rich nature included the highest and lowest in humanity. With the pure, the calm, the tender, the ethereal, his sympathy was as lively as with the turbulent, the passionate, the gross. But the hot contentions of the time, and especially their effect upon himself,— through them an outcast and proud mendicant, |