whole history of the human race. As we move from the Inferno to the Purgatorio, and pass on to the Paradiso, we read the record of the wandering, the awakening, the disciplining, and the emancipation of a soul.
I find it difficult, if not impossible, to believe that Dante ever sat down to write, first the whole Inferno, then the whole Purgatorio, and finally the whole Paradiso, consecutively one after the other. It is far more likely that when he began to write the first Canto of the Inferno, he had already decided, in his symmetrical mind, that there were to be one hundred Cantos in the Commedia, thirty-three to each Cantica, with Canto I. of the Inferno as the Introduction to the entire subject-matter of the Poem.
He had probably composed many hundreds of verses, including the leading passages, before he took the work in hand as a whole, during the last ten years of his life. In this way some of the now disputed readings may have originated in Dante himself; the earlier reading having been composed during the period of preparation, and the variant substituted later on by himself as better expressing the meaning of the passage. A notable instance of this is to be found in Inf. XIII., 63, where Pier delle Vigne tells Dante that he so gave up his whole being to the faithful discharge of the duties of his great office of Chancellor to the Emperor Frederick II,, that he lost his veins and his pulses (le vene e i polsi). But veins and pulses are practically synonymous terms, and the variant (lo sonno e i polsi) is considered by Dr. Moore to be by far the preferable reading, as it gives a much more appropriate sense to Pietro's speech. His devotion to his noble office was such as to destroy, not his life (lo vene e i polsi), but his repose by night, and his strength and mental power by day. Let us suppose then that lo vene e i polsi may have been composed by Dante during his period of preparation, and lo sonno e i polsi substituted by himself later, as better expressing the special point of his narrative.
