There is probably no writer in any language who has presented so many strong pictures to the mind.
Yet there is probably no writer equally concise.

This perfection of style is the principal merit of the Paradiso, which, as I have already remarked, is by no means equal in other respects to the two preceding parts of the poem.

The force and felicity of the diction, however, irresistibly attract the reader through the theological lectures and the sketches of ecclesiastical biography, with which this division of the work too much abounds.

It may seem almost absurd to quote particular specimens of an excellence which is diffused over all his hundred cantos.

I will, however, instance the third canto of the Inferno, and the sixth of the Purgatorio, as passages incomparable in their kind.