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Updated: May 24, 2025
We have compared no farther; ex uno omnes. Now and then Mr. Peabody gives us a note of his own. In the First Canto, for instance; he explains the allegorical greyhound as "A looked for reformer. 'The Coming Man." The appropriateness and elegance of which commentary will be manifest to all readers familiar with the allusion.
The second canto, invariably employed to depict the manner of using "the object," explaining how to exhibit it in society and before women, and the benefit to be derived therefrom, will be readily conceived by the friends of this virtuous literature from the following quotation, which depicts the player going through his performance under the eyes of his chosen lady:
This part of the work Filippo Brunelleschi, being overtaken by death, had not been able to execute; and although he had made designs even for this, they had been lost or destroyed through the negligence of those in charge of the building. Baccio, then, having made the design and model for this gallery, carried into execution all the part that is to be seen facing the Canto de' Bischeri.
If the singer has the patience to work the problem out in this way he can apply the principles of bel canto to dramatic singing. The road to this achievement is long, longer than most people suspect, but if one is industrious and persevering it may be accomplished. But there remains yet to be mentioned the most important element of artistic singing.
This of course refers to the condition of public affairs and of court-life in the reign of Charles II. The inversion in this passage is not a very serious one, although, for the sense, slightly embarrassing. Occasionally Shelley conceded to himself great latitude in inversion: as for instance in the Revolt of Islam, canto 3, st. 34,
The clock pointed to three long before the bard had penned his fifth canto; and sadly and regretfully he and his fellow-candidates gathered together and handed in their papers, for better or worse. Among the last to finish up was Oliver, who had been working hammer and tongs during the whole examination. "How did you get on?" said Wraysford, as they walked back to the Fifth.
"Without departing at all from natural forms, I thought to make it suggest the Purgatorio to anyone who remembered the description given of the place ab extra by Ulysses, in the end of the twenty-sixth canto of the Inferno. Of course, that thing there is a mere rock, yet it has certain mountain forms about it.
He was afterwards tutor to the Earl of Dalkeith, and he became the friend of Walter Scott, who dedicated to him the Second Canto of Marmion; and having ready and graceful poetical talent, he contributed several ballads to the Minstrelsy of the Scottish Border, The Feast of Spurs, and Archie Armstrong's Aith.
In the comment on Canto XIX. of the "Purgatory" occurs the following striking passage: "Summus Pontificatus, si bene geritur, est summus honor, summum onus, summa servitus, summus labor. Si vero male, est summum periculum animae, summum malum, summa miseria, summus pudor. Ergo dubium est ex omni parte negotium.
But the most remarkable quality in the third canto is the deep, low bass of thought which runs through several passages, and which gives to it, when considered with reference to the circumstances under which it was written, the serious character of documentary evidence as to the remorseful condition of the poet's mind.
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