The death of T. S. Eliot in the first month of the seventh centenary of Dante's birth could be an occasion for examining a particular poetic influence; or, more generally, for reflecting on Dante's contemporary ‘image'. The subject, however, of the present note is an aspect of Dante's poetry in itself—though considered, as befits the occasion, with an eye to its general relevance to us today. That it has some such relevance is no doubt already implied in allowing this of Eliot's work – in particular of the Four Quartets; for no one, I suppose, would deny that these poems have a contemporary importance, and certainly they, like Ash Wednesday and Animula and even The Waste Land, are inconceivable without the influence and example of Dante. Yet one may doubt whether Eliot's own example has been much followed, in this respect, by more recent poets. Eliot did his best, certainly, and to re-read now the famous essay of 1927 is to be struck once more by its admirable concentration on Dante as artist and a master in his art. The essay was not addressed to scholars, nor even primarily, I think, to the common reader, but to the writer's fellow-poets. The emphasis was all on Dante ‘the master', ‘the greatest master of the simple style', from whom ‘more can be learned about how to write poetry’ than from any English poet. How many of our contemporaries, I wonder, look to Dante in this way? For the modern educated public the Comedy— that epitome of Western pre-Renaissance thought and feeling – remains an important historical document; it is hardly felt as a stimulus to fresh creative writing.