not a bad preparation for that of Dante's vision of the world behind the veil.
I heard from time to time that others were anticipating me. Versions of the whole or part of the Commedia in triple rhyme appeared, and met with at least a partial acceptance, by Rev. James Ford (1870), E. R. Ellaby (1874), C. Tomlinson (1877), Warburton Pike (188 1), J. R. Sibbald (1884), J. T. Minchin (1885). Of these I know little or nothing beyond the fact that I have, within the last few months, transcribed from them, as from all other English versions to which I could gain access, the rendering of the dread inscription of JT. iii. 1-9. But did I know more, it would, I feel, be at once unbecom- ing and unwise to express any opinion on their merits. There can, I believe, be no worse introduction to a translator's work than that he should sit in judgment on the labours of his predecessors. It may be easy to point to this faulty rhyme and that obscure construction, to meanings imperfectly apprehended and special beauties turned into commonplace mediocrities, but then there comes the thought, common alike to Horace and St. Paul, "Mutato nomine, de te fabula narratur," "Thou that judgest doest the same things." I have no doubt that each of these versions has, like my own, its special merits and defects. I hope and believe that each of the translators has found in his work, as I have found in mine, its own best reward. Each, perhaps, has had the added comfort of a small select circle of sympathising friends.
But it is, at any rate, true of each and all of these versions, that not one of them can be said to be in possession of the field. Practically, as far as circulation goes, Gary is still, I take it, ahead of all competitors.
