f the reader in the development of the plot, and moreover
pertains properly to the critics, to whom 'The Undivine Comedy' is
especially commended. It is so full of original and subtile thoughts, of
profound truths, of metaphysical deductions and psychological
divinations, that it cannot fail to repay any consideration they may
bestow upon it. A few general remarks, however, seem necessary to
introduce it, in its proper light, to the reader.

It was published in 1834, and, although it appeared anonymously, it at
once succeeded in attracting the attention of the readers and thinkers
of Poland, Russia, France, and Germany. Its author is now known to have
been Count Sigismund Krasinski, a member of one of the most ancient and
distinguished families of Poland. He was equally eminent as poet,
patriot, and statesman. He took an active and important part in the
social and political questions of his day, many of which are ably
discussed in this drama; questions which have so long disturbed the
peace of Europe, and whose solution is perhaps to be finally given in
our land of equality and freedom.

'The Undivine Comedy' was not intended for the stage, and, as if to
sever it as widely as possible from all scenic associations, Count
Krasinski makes no use of the terms 'scenes' or 'acts.' This omission
gives a somewhat singular appearance to what is, in fact, a drama; the
translator has, however, remained faithful throughout to the original
form. As the hero, the count, is styled 'The Man' throughout the
original, the name has been preserved, in spite of its awkward
appearance in English: the spirit of a poetic work, full of mystic
symbolism, evaporates so readily in the process of translation, that no
sacrifice of the literal meaning has been made to grace or elegance.

'The Undivine Comedy,' so called in contradistinction to 'The Divine
Comedy' of Dante, is the first purely _prophetic_ play occurring in the
world of art. Its scenes are indeed all laid in the _time to come_; its
persons, actions, and events are _yet to be_. The struggle of the dying
Past with the vigorous but immature Future, forms the groundwork of the
drama. The coloring is not local, nor characteristic of any country in
particular, because the truths to be illustrated are of universal
application, and are evolving their own solutions in all parts of the
civilized world.

The soul of the hero, 'The Man,' is great and vigorous; he is by nature
a poet. Belonging