arated from each other by great spaces in the infernal abyss. The sins punished in them are,—I. Incontinence. II. Malice. III. Bestiality.
I. Incontinence: 1. The Wanton. 2. The Gluttonous. 3. The Avaricious and Prodigal. 4. The Irascible and the Sullen.
II. Malice: 1. The Violent against their neighbor, in person or property. 2. The Violent against themselves, in person or property. 3. The Violent against God, or against Nature, the daughter of God, or against Art, the daughter of Nature.
III. Bestiality: first subdivision: 1. Seducers. 2. Flatterers. 3. Simoniacs. 4. Soothsayers. 5. Barrators. 6. Hypocrites. 7. Thieves. 8. Evil counsellors. 9. Schismatics. 10. Falsifiers.
Second subdivision: 1. Traitors to their kindred. 2. Traitors to their country. 3. Traitors to their friends. 4. Traitors to their lords and benefactors.
The Divine Comedy is not strictly an allegorical poem in the sense in which the Faerie Queene is; and yet it is full of allegorical symbols and figurative meanings. In a letter to Can Grande della Scala, Dante writes: "It is to be remarked, that the sense of this work is not simple, but on the contrary one may say manifold. For one sense is that which is derived from the letter, and another is that which is derived from the things signified by the letter. The first is called literal, the second allegorical or moral. . . . . The subject, then, of the whole work, taken literally, is the condition of souls after death, simply considered. For on this and around this the whole action of the work turns. But if the work be taken allegorically, the subject is man, how by actions of merit or demerit, through freedom of the will, he justly deserves reward or punishment."
It may not be amiss here to refer to what are sometimes called the sources of the Divine Comedy. Foremost among them must be placed the Eleventh Book of the Odyssey, and the Sixth of the Æneid; and to the latter Dante seems to point significantly in choosing Virgil for his Guide, his Master, his Author, from whom he took "the beautiful style that did him honor."
Next to these may be mentioned Cicero's Vision of Scipio, of which Chaucer says:—
"Chapiters seven it had, of Heven, and Hell,
And Earthe, and soules that therein do dwell."
Then follow the popular legends which were current in Dante's age; an age when the end of all things was thought to be near at hand, and the wonders of the invisible world had laid fast hold on the imaginations of men. Prominent among these is the "Vision of Frate Alberico," who calls himself "the humblest servant of the servants of the Lord"; and who
"Saw in dreame at point-devyse
Heaven, Earthe, Hell, and Paradyse."
This vision was written in Latin in the latter half of the twelfth century, and contains a description of Hell, Pur-
