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 make the Divina Commedia comprehensible. In fact we can never understand any poet without some knowledge of the culture that produced him, and what is true of Dante may be expected to prove still more applicable to one who is removed from us by oceans and continents, as well as by the complex civilising centuries.

Indeed it may be questioned whether the apparent artlessness of Oriental expression is not always somewhat misleading. Into four lines of landscape, we are told, the Chino-Japanese can slip the whole theory of his national existence, without ever a European suspecting double purpose; and much the same is the case with the Hindu. A wealth of such associations goes for instance to the appreciation of the great line describing the mountain-forests against the snow,—"They make eternal sati on the body of Mahadev."

What is said of the Japanese artist is pre-eminently true of Ram Prasad, only it is in the broken toys