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 embodiment, or sublimest, of the soul of Christianity. It expresses, as in huge worldwide architectural emblems, how the Christian Dante felt Good and Evil to be the two polar elements of this Creation, on which it all turns; that these two differ not by preferability of one to the other, but by incompatibility absolute and infinite; that the one is excellent and high as light and Heaven, the other hideous, black as Gehenna and the Pit of Hell! Everlasting Justice, yet with Penitence, with everlasting Pity,—all Christianism, as Dante and the Middle Ages had it, is emblemed here. Emblemed: and yet, as I urged the other day, with what entire truth of purpose; how unconscious of any embleming! Hell, Purgatory, Paradise: these things were not fashioned as emblems; was there, in our Modern European Mind, any thought at all of their being emblems? Were they not indubitable awful facts; the whole heart of man taking them for practically true, all Nature everywhere confirming them? So is it always in these things. Men do not believe an Allegory. The future Critic, whatever his new thought may be, who considers this of Dante to have been all got-up as an Allegory, will commit one sore mistake!—Paganism we recognised as a veracious expression of the earnest awe-struck feeling of man towards the Universe; veracious, true once, and still not without worth for us. But mark here the difference of Paganism and Christianism; one great difference. Paganism emblemed chiefly the Operations of Nature; the destinies, efforts, combinations, vicissitudes of things and men in this world; Christianism emblemed the Law of Human Duty, the Moral Law of Man. One was for the sensuous nature: a rude helpless utterance of the first Thought of men,—the chief recognised virtue, Courage, Superiority to Fear. The other was not for the sensuous nature, but for the moral. What a progress is here, if in that one respect only!—

And so in this Dante, as we said, had ten silent centuries, in a very strange way, found a voice. The