This bibliography is intended to include the Dante translations published in this country in 1955, and all Dante studies and reviews published in 1955 that are in any sense American. A few items not recorded in the bibliographies for 1953 and 1954 will be found at the end of the present list as addenda for those years. Again one may call attention to a much increased volume of Dante material over that of the preceding year.

The Divine Comedy of Dante Alighieri. The Prose Translation by Charles Eliot Norton, with Illustrations from Designs by Botticelli. New York, Bruce Rogers and The Press of A. Colish. [1955]

This is a de luxe, limited, folio edition, with very accurate reproductions of thirty-seven of Botticelli's silverpoint drawings.

The Divine Comedy. Translated and edited by T. G. Bergin. New York, Appleton-Century-Crofts. ("Crofts Classics") [1955]

Done in blank verse, except for occasional passages merely summarized in prose, and provided with footnotes, a brief general introduction, a note on Italian pronunciation, a list of significant dates of Dante's life, a diagram of each of the three realms, a chart of the celestial orders and correspondences, and a short selective bibliography. Also, an excerpt on Dante's life is cited in English from Villani's chronicle. The pagination is discontinuous by cantiche, which are also published separately. Bergin's Inferno first appeared in 1948; Purgatory, in 1953; Paradise, in 1954.

The Comedy of Dante Alighieri the Florentine. Cantica II: Purgatory (Il Purgatorio). Translated by Dorothy L. Sayers. Baltimore, Penguin Books. [1955]

Done in iambic pentameter with terza rima (frequently only approximate or imperfect), and arranged in tercet divisions. Editorial aids include an introduction, with special sections on the doctrine and Dante's arrangement of Purgatory; brief summaries preceding, and commentaries ("The Images" and "Notes") following, each canto; five diagrams; a special, cut-out universal clock; five appendixes on particular problems of interpretation (The Needle's Eye, Tithonus' Leman, The Sacra Fame Riddle, Derivation of Law, The Identity of Matilda); a full glossary of proper names; and a selected list of "Books to Read." (For reviews see below.) Miss Sayers' version of the Inferno appeared in 1949.

"Beyond the Sphere." In Anthology of Italian and Italo-American Poetry. Translated into English by Rodolfo Pucelli. Boston, Bruce Humphries, Inc. [1955]

Translation, preserving the sonnet form, of Oltre la spera che più larga gira (Vita nuova, XLI).

Max Bach. "Sainte-Beuve and Italian Literature." In Modern Language Forum, XL, 41-53. [1955]

Culls from Sainte-Beuve's works evidence of his extensive acquaintance with Italian literature and finds that his interest in Dante was long considerable but eventually cooled: Sainte-Beuve was too much a son of the eighteenth century to appreciate Dante properly.

Hans Baron. The Crisis of the Early Italian Renaissance: Civic Humanism and Republican Liberty in an Age of Classicism and Tyranny. 2 vols. Princeton, Princeton University Press. Also a British edition: London, Geoffrey Cumberlege, Oxford University. [1955]

The attitude around 1400 toward Dante's poetry and political thought enters importantly in the author's argument, as is indicated by such self-defining section headings as "Republicanism versus Dante's Glorification of Caesar" (pp. 38-43), "Salutati's Dilemma: Dante's Caesarism and Florentine Liberty" (pp. 132-139), and "Cino Rinuccini's 'Invettiva against Certain Slanderers of Dante, Petrarch and Boccaccio'" (pp. 260-265) and also by further references to Dante, passim, registered in the index.

T. G. Bergin. "On Translating Dante." In 73rd Annual Report of the Dante Society, 3-22. [1955]

Discusses problems the translator of Dante must face--what to do about rhyme, the kind of English to use, the treatment of individual lines, passages, or whole cantos. Many samples are cited from representative translations, including the author's own, to illustrate relative advantages and disadvantages of various approaches.

A. S. Bernardo. "Petrarch's Attitude toward Dante." In PMLA, LXX, 488-517. [1955]

From a close analysis of Petrarch's only two references to Dante (in two letters to Boccaccio), his first Eclogue and its accompanying letter to Gerardo, and from a comparison of the Triumphs with the Divine Comedy, the author shows that Petrarch's coolness to Dante's masterpiece is attributable less to scorn of the vernacular or to envy than to a misunderstanding of Dante's art due to their divergent views of poetry. Petrarch disliked Dante's poetry for what he considered its primitiveness, its "popularity," and its vulgarization of theology. Furthermore, although both poets subscribed to the general medieval requirements of didacticism and allegory in poetry, their works reveal irreconcilable differences of poetic conception. Whereas Dante in the Comedy produces an allegory proceeding from the concrete to the abstract and focuses on the World Beyond, Petrarch in the Triumphs goes from the abstract to the concrete by means of personifications and centers the interest on man in this life. Also, in contrast to Dante, who was interested chiefly in the moral content of his poem, Petrarch, imbued with Classical literary ideals, while retaining the moral purpose, sought variety, artistic polish, and human values in poetry.

R. P. Blackmur. The Lion and the Honeycomb: Essays in Solicitude and Critique. New York, Harcourt, Brace. [1955]

In an essay on "Dante's Ten Terms for the Treatment of the Treatise," previously published in Kenyon Review, XIV (1952), 286-300, the author discusses the statement of the ten terms in the Letter to Can Grande in the light of Dante's poetic theory and practice in the De Vulgari Eloquentia and the Convivio, and attempts to explain these otherwise unglossed terms, observing that the first five--poetic, fictive, descriptive, digressive, transumptive-- pertain to the creative process and therefore belong to poetics and rhetoric, while the remaining five--definition, division, proof, refutation, setting forth of examples--have to do with arrangement and the management of words and so belong to logic. The ten terms, and combinations of them, seem to have provided the poet with ready modes for making full use of his inspiration. (For reviews see below.)

C. M. Bowra. Inspiration and Poetry. New York, St. Martin's Press. Also, a British edition: London, Macmillan. [1955]

In a chapter on "Dante and Arnaut Daniel," originally published in Speculum, XXVII (1952), 459-474, the author studies the references to Arnaut in Dante's works and finds enough in common between them to justify Dante's preference for Arnaut among the troubadours, e.g., certain conceptual parallels with respect to love's ennobling and inspiring influence in the Vita nuova and some of Arnaut's lyrics; a common predilection for the trobar ric; and Dante's recognition that certain poetical problems bothersome to him had been faced and solved by Arnaut. Occasional references to Dante in other chapters are registered in the index. (For reviews see below.)

J. N. Carman. "Purgatorio, I and II, and the Queste del Saint Graal." In Romance Philology, IX, 119-126. [1955]

Notes marked parallels of general setting, broad sequence of events, and spiritual orientation between Purgatorio, I-II and part of III, and the Perceval portion of the Queste del Saint Graal.

Cyril Clemens. "Laurence Binyon on Translating." In Dalhousie Review, XXXV, 168-174. [1955]

Publishes a letter received from Binyon in 1943, in which the translator of Dante in terza rima airs his interesting views of translating in general, on the versions of the Comedy by Cary an Longfellow, and on the importance of preserving Dante's rhythm as well as the rhyme-scheme.

Wayne Conner. "Inferno, XVIII, 66 ('femmine da conio') and 51 ('pungenti salse')." In Italica, XXXII, 95-193. [1955]

Examines the various meanings proposed for femmine da conio, and on analogy with the double sense of pungenti salse--basically "sauces" (metaphorical) and secondarily "Salse" (the ravine near Bologna)--submits that da conio bears multiple meanings, suggesting primarily selling and secondarily--perhaps also with over tones of inganno--the coarse metaphor based on conio as "wedge' or "die for stamping coins." Hence da conio would best be renderer as "to be minted," "to be stamped into coin."

G. G. Coulton. Medieval Panorama: The English Scene from Conquest to Reformation. New York, Noonday Press. ("Meridian Books," MG 2) [1955]

Contains a general chapter on "Dante's Commedia" as an epitome of medieval thought and in its broad historical context, a well as extensive further reference to Dante passim. (Medieval Panorama was originally published in 1938 by Cambridge University Press.)

A. J. De Vito. An Outline of Dante The Divine Comedy. Boston, Student Outline Company. ("Hymarx Outlines") [1955]

Contains a brief general introduction, a preliminary note to each realm, and a summary of each cantica. Originally appeared in 1950 in mimeographed form.

Giorgio Del Vecchio. "Dante as Apostle of World Unity." In 73rd Anneal Report of the Dante Society, 23-30. [1955]

Professor Del Vecchio (University of Rome) emphasizes that in the Monarchia Dante envisioned, beyond particularist entities of city and country, a divinely predicated universalis civilitas of all mankind. Necessary for safeguarding the essential bond of brotherhood and peace would be a supreme, unitary authority, or Imperio, dedicated to justice and liberty for all.

J. K. Fleck. "A Dante Collection." In Princeton University Library Chronicle, XVI, 187. [1955]

Notices a "small but exceptionally interesting" Dante collection (160 volumes) recently acquired by Princeton. Included are the Venice edition of 1477, with the first appearance of Boccaccio's Vita di Dante, and the first Florence edition (1481), the only Florentine edition with the Landino commentary.

Marcel Françon. "Dante et Jean Lemaire de Belges à la lumière d'un livre récent." In Revue de Littérature Comparée, XXIX, 346-349. [1955]

Utilizes an interpretation by A. Pézard (Dante sons la pluie de fen: Enfer, chant XV, Paris, 1950) to the effect that Brunetto is in Dante's Hell for writing in a tongue not his own (French, in the Trésor), a blasphemous act equivalent to sodomy according to medieval tradition, to support, in part, his contention that, contrary to general opinion, La Concorde des deux langages by Jean Lemaire de Belges does contain a basic unity in its two parts devoted, respectively, to Venus and Minerva.

C. T. Harrison. "The Poet as Witness." In Sewanee Review, LXIII, 539-550. [1955]

Discusses the close relationship of Dante and Shakespeare as representatives of two great stages of a single cultural epoch, that hypostatized by the Christian humanism which was the orthodoxy of European culture from the twelfth through the seventeenth

centuries. With faith in the dignity and reason of man, the interest of both poets is in the drama of human action, conceived on a cosmic stage, morally articulated, and governed by rationally intelligible laws. (The essay is reprinted from the Bulletin of The General Theological Seminary, New York, and was originally delivered as a Commencement address at the Seminary.)

Jacques Maritain. Creative Intuition in Art and Poetry (The A. W. Mellon Lectures in the Fine Arts). New York, Noonday Press. ("Meridian Books," M 8) [1955]

This is a new paperback edition. (See 73rd Annual Report of the Dante Society, 1955, pp. 65-66.)

J. A. Mazzeo. "Analysis of the Paradiso of Dante in Relation to Medieval Neoplatonic Doctrines of Light and Love, the Two Basic Themes in Terms of Which the Paradiso is Articulated." In American Philosophical Society Yearbook--1954, Philadelphia, 294-295. [1955]

Brief report of research.

J. A. Mazzeo. "Dante, the Poet of Love: Dante and the Phaedrus Tradition of Poetic Inspiration." In Proceedings of the American Philosophical Society, XCIX, 133-145. [1955]

Considering the articulation of the Divine Comedy in terms of the correlates of love and beauty, manifested as light and through vision, the author examines some meanings of these concepts in Dante's work and finds that, without knowing the Phaedrus directly, Dante reconstituted, in medieval form, the Phaedrus doctrine of "salvation," love, and poetic inspiration. Particular parallels are drawn between Dante and Plato, for whom love of beauty and love of wisdom lead to the same supernatural end of supreme reality. One difference noted is that, whereas in the Phaedrus the poet's ascent is distinguished from the lover's, in the Comedy the poet and lover rise as one: here can be seen a triumphant affirmation by Dante, against his time, of the nobility of poetry and the poet. The author pays special attention to Dante's ladder of light, material and spiritual, in its various significances as the great chain of being, the ladder of truth, and the ladder of beauty with its correlate of love, and he considers light, in its several roles, as the key to Dante's amorous journey through higher and higher levels of reality and awareness.

Hassan Osman. "Dante in Arabic" In 73rd Annual Report of the Dante Society, 47-52. [1955]

Reviewing the Dante literature in Arabic, Prof. Osman (Cairo University) cites briefly several articles and a book published since 1927, which deal primarily with the possible influence of Al Maari's Treatise of Pardon on Dante's poem, and the few Arabic translations of the Comedy, wholly or in part, published since 1911, including his own recent version of the Inferno in Arabic prose.

A. L. Pellegrini. "American Dante Bibliography for 1954." In Report of the Dante Society, 53-66.

With brief analyses. [1955]

F. M. Rogers. "The Vivaldi Expedition." In 73rd Annual Report of the Dante Society, 31-45. [1955]

Summarizes critically the literature on the Vivaldi expedition (1291) and, against the possibility of its having inspired Dante's Ulysses canto, submits that more likely reminiscence of the latter romanticized the edition in the minds of historians.

L. R. Rossi. "Dante and the Poe ic Tradition in the Commentary of Benvenuto da Imola." In Italica, XXXII, 215-223. [1955]

Analyzes Benvenuto's commentary from the standpoint of his preoccupation with certain literary themes--Dante the Modern as opposed to the Ancients, the stark and language of the Commedia, and the problem of literary creation faced by Dante--and concludes that, although Benvenuto's exegetical apparatus remains medieval, based upon theological values, this, along with his ingenious allegorical method, subserves his primarily literary interest in a quite humanistic manner.

A. L. Sells. The Italian Influence in English Poetry from Chaucer to Southwell. Bloomington, India University Press. Also, a British edition: London, Allen and Unwin. [1955]

Includes an account of Dante's influence during the period covered. The book is well indexed. (For reviews see below.)

Barbara Seward. "Dante's Mystic Rose." In Studies in Philology, LII, 515-523. [1955]

Studies the symbolism of Dante's rose image and finds that it combines all meanings associated with the flower by tradition: as earthly woman (Beatrice for Dante, and hence the key for reconciling mortal and immortal love); then, on the four levels of interpretation outlined in the Letter to Can Grande, as the literal image of Paradise; as the allegorical representation of Christ's mission to humanity; as Mary's flower, the moral symbol of spiritual love, which brings salvation; and as God's flower, the anagogical symbol of the created universe.

C. S. Singleton. "La Giustizia nel Paradiso Terrestre." In Delta (Naples), N. S., Numero 7-8, 1-25. [1955]

Italian version by G. Vallese of "Justice in Eden," originally published in 68th-72nd Annual Reports of the Dante Society, 1954, 3-33. (See the Bibliography in 73rd Annual Report, 1955.)

Leo Spitzer. "The Addresses to the Reader an the Commedia." In Italica, XXXII, 143-165. [1955]

Re-studying Dante's addresses to tile reader, the author rejects Auerbach's interpretation of the poet's relationship to his reader as prophet to disciple (Romance Philology, VII, 268-278), and submits that the relationship is, rather, one of friendly companionship in a common endeavor to understand what is experienced on the poetic journey.

Leo Spitzer. "The 'Ideal Typology' in Dante's De Vulgari Eloquentia." In Italica, XXXII, 75-94. [1955]

Shows that, although working from different suppositions, Dante, in his theoretic definition of the vulgare illustre on which he based his morphological classification of the Italian dialects, anticipated the modern concept of Ideal Type as worked out by Max Weber and other recent sociologists. To Dante the concept came through the idea of God as the Ideal Type of all creatures. Dante failed, however, to distinguish this topology from that based upon abstractive logic. In contrast to his abstractive hierarchy of Italian dialects, he actually had in mind, for the vulgare illustre, a concrete Gestalt, viz., Florentine as ennobled by Cino and himself. But for artistic reasons--manifest even in the imagery employed, yet generally missed by students of the De Vulgari Eloquentia--Dante did not declare openly his intended identity of the vulgare illustre with Florentine.

J. M. Steadman. "Dante's Commedia and Milton's Paradise Lost: A Consideration of the Significance of Genre for Source Studies and Comparative Literature." In Dissertation Abstracts, XV, 593-594. (Dissertation, Princeton, 1949.) [1955]

Submits that criticism and scholarship on the relation between these two works must be reoriented in light of Milton's awareness of their generic differences, under the influence of Italian Renaissance literary theory, according to which the Commedia belonged to the comic genre and Paradise Lost to the heroic.

Florence Street. "The Allegory of Fortune and the Imitation of Dante in the Laberinto and Coronaçion of Juan de Mena." In Hispanic Review, XXIII, 1-11. [1955]

Takes issue with the opinion that Mena owed nothing to Dante. By considering the Laberinto and Coronaçion together alongside the Comedy, the author finds that, despite the fifteenth century aversion to vernacular sources, Mena's work does reveal some reminiscences of Dante's poem both in certain details and in general configuration, e.g., the pattern of concentric circles, the symbolic geography of a gloomy river of sin, a mountaintop to represent the maximum of human achievement, and the contrasting visions of Heaven and Hell.

Wylie Sypher. Four Stages of Renaissance Style: Transformations in Art and Literature, 1400-1700. Garden City (N.Y.), Doubleday. ("Anchor Books Original," A 45) [1955]

Contains a chapter on "The Gothic System: Problems," focusing considerably on the Divine Comedy in the context of the author's thesis based on the analogical relationship between literature and art as two of the major forms of cultural expression. Dante's poem is seen to reflect Gothic art and thought, e.g., by the double vision of reality, a strong current of empiricism and humanization, the logic of interrelation and articulation found in medieval architecture as well as in scholastic thought, pictorial episodes, dramatic environment, and a linear time-space perspective. (For reviews see below.)

Allen Tate. The Man of Letters in the Modern World. Selected Essays: 1928-1955. New York, Noonday Press. ("Meridian Books," M 13) [1955]

In an essay on "The Symbolic Imagination: The Mirrors of Dante," previously published in Kenyon Review, XIV (1952), 256-277, the author distinguishes the symbolic imagination in its effect of bringing together various meanings at a single moment of action (illustration: Beatrice's appearance to Dante in Purgatorio, XXX-XXXI), and emphasizes the poetic necessity of its being grounded in concrete experience. He considers the symbolic problem in the Comedy to lie in the progression, literally and allegorically, from the Dark Wood, the negation of light, to the anagogical transfiguration of vision in the Triune Circles of pure light. Mr. Tate's discussion of Dante's light imagery dwells, in particular, upon the reflections and their dramatic implications in the poet's cosmic two-way analogy (heaven like the world, the world like heaven). A key to the process is found in Dante's mirror figure, which, already discernible in essence in Beatrice's eyes (Purgatorio, XXXI), may be seen in its full analogical development from the literal mirrors of Paradiso, II, to the climactic God-man reflection and final vision in. Another essay, on "Tension in Poetry," previously published in Southern Review, IV (1938-1939), 101-1l5, contains an interpretation (pp. 76-77) of Inferno V, 97-99, according to which the tributaries pursuing the Po and the sibilant verses themselves constitute a visual and auditory image, echoing the bufera infernal, of Francesca's sin of lust.

W. Y. Tindall. The Literary Symbol. New York, Columbia University Press. [1955]

Touches substantially on Dante in two chapters: "Roses and Calipers" (p. 28 ff.), in which Dante serves as an example for distinguishing symbolism and allegory as used by recent writers; and "Strange Relations" (p. 191 ff.), in which the author illustrates the importance of the Divine Comedy as one of the principal parallels for James Joyce's Ulysses.

René Wellek. A History of Modern Criticism: 1750-1950. Vol. I: The Later Eighteenth Century. Vol. II: The Romantic Age. New Haven, Yale University Press. [1955]

Contains ample reference to Dante, passim, in relation to the history of literary criticism and taste. Well indexed. (For reviews see below.)

E. H. Wilkins. "Dante's Celestial Scaleo: Stairway or Ladder?" In Romance Philology, IX, 216-222. [1955]

Studies the question of just what Dante visualized in the scaleo of Paradiso, XXI-XXII, and finding the available evidence inconclusive in the Comedy itself, in Genesis 18:12, and in certain medieval references to it submits, both on the basis of greater majesty of concept cult on the obvious parallelism with the stairways of the Purgatorio, that most probably Dante had in mind a stairway.

[E. H. Wilkins, ed.] A Summary of the First Fifteen Annual Reports of the Dante Society. Cambridge (Mass.). [1955]

Contains very detailed summaries which may be valuable for anyone desiring a complete view of the Society's history, since many of these early Reports are now either scarce or unavailable.

Floyd Zulli. "Gide and Dante." In French Review, XXIX, 9-12. [1955]

Demonstrates that Gide, in his works, reveals significant influences from Dante, in whom he found considerable intellectual affinity.

Dante Alighieri. The Divine Comedy. Translated by H. R Huse. (See 73rd Report, 53.) Reviewed by:

T. G. Bergin, in Yearbook of Comparable and General Literature (Chapel Hill), IV, 89-90.

Dante Alighieri. The Inferno. Translated by John Ciardi. See 73rd Report, 53-54, and see below, under Addenda.) Reviewed by:

H. W. Hilborn, in Queen's Quarterly, LXII, 135-136.

Dante Alighieri. Purgatory. Translated by Dorothy L. Sayers. (See above.) Reviewed by:

Dudley Fitts, in N. Y. Times Book Review, 6 Nov., p. 59.

Dante Alighieri. The Purgatorio from the Divine Comedy. Translated by S. F. Wright. Edinburgh and London, Oliver and Boyd, 1954. Reviewed by:

A. L. Pellegrini, in Modern Language Notes, LXX, 307-308.

Monarchy and Three Political Letters. Translated by Donald Nicholl and Colin Hardie. (See 73rd Report, 54-55.) Reviewed by:

I. J. Semper, in The Month (London), CXCIX (N.S. XIII), 185-186.

Erich Auerbach. Mimesis. (See 68th-72nd Reports, 43-44, and see below, under Addenda.) Reviewed by:

A. J. George, in Symposium, IX; 152-154.

Michele Barbi. Life of Dante. (See 73rd Report, 55, and see below, under Addenda.) Reviewed by;

A. L. Pellegrini, in Modern Language Notes, LXX, 307-308.

R. P. Blackmur. The Lion and the Honeycomb. (See above.) Reviewed by:

Kenneth Burke, in Accent, XV, 279-292;

Howard Nemerov, in Sewanee Review, LXIII, 655-664.

C. M. Bowra. Inspiration and Poetry. (See above.) Reviewed by:

William Barrett in N. Y. Times Book Review, 14 Aug., p. 4;

Y. M. [Yakov Malkiel], in Romance Philology, IX, 267-268.

Francis Fergusson. Dante's Drama of the Mind. (See 68th-72nd Reports, 45-46, and 73rd Report, 64, and see below, under Addenda.) Reviewed by:

Erich Auerbach, in Romance Philology, VIII, 237-240;

Vincenzo Cioffari, in Symposium, IX, 356-359;

J. F. Fulbeck, in The Personalist, XXXVI, 210-211;

Marie P. Hamilton, in Arizona Quarterly, XI, 87-89;

H. H. [Helmut Hatzfeld], in Comparative Literature, VII, 64-67.

W. P. Friederich. Outline of Comparative Literature. (See 73rd Report, 56.) Reviewed by:

Herbert Lindenberger, in Modern Language Quarterly, XVI, 285-286.

Nancy Lenkeith. Dante and the Legend of Rome. (See 73rd Report, 64.) Renewed by:

Edward Williamson, in Journal of Philosophy, LII, 21-23.

Ewart Lewis. Medieval Political Ideas. (See 73rd Report, 57.) Reviewed by:

G. P. Cuttino, in American Historical Review, LX, 871-872;

Erich Voegelin, in Yale Review, XLIV, 616-618.

Lyric Poetry of the Italian Renaissance. Collected by L. R. Lind. (See 73rd Report, 54.) Reviewed by:

Edward Williamson, in Italica, XXXII, 269-270.

A. S. Roe. Blake's Illustrations to the Divine Comedy. (See 68th-72nd Reports, 47, and see below, under Addenda.) Reviewed by:

Vincenzo Cioffari, in Italica, XXXII, 129-132;

Edward Williamson, in Modern Language Notes, LXX, 450-453.

Dorothy L. Sayers. Introductory Papers on Dante. (See below, under Addenda.) Reviewed by:

John Ciardi, in New Republic, CXXXIII, 8 (22 Aug.), 18-20;

Serge Hughes, in Commonweal, LXII, 452-453;

Paolo Milano, in N. Y. Tames Book Review, 29 May, p. 7;

I. J. Semper, in The Month (London), CXCIX (N.S. XIII), 185-186;

C S. Singleton, in Kenyon Review, XVII, 656-661.

Cesare Segre. La Sintassi del periodo nei primi prosatori italiani (Guittone, Brunetto, Dante). Atti dell'Accademia Nazionale dei Lincei. Memorie. Classe di scienze morali, storiche e filologiche. Serie VIII, Vol. IV, fasc. 2. Rome, Accademia Nazionale dei Lincei, 1952. Reviewed by:

Aldo Scaglione, in Romance Philology, IX, 44-45.

A. L. Sells. The Italian Influence in English Poetry from Chaucer to Southwell. (See above.) Reviewed by:

Douglas Bush, in Comparative Literature, VII, 283-285;

C S. Singleton. Dante Studies 1. (See 73rd Report, 60-61.) Reviewed by:

F. F. [Francis Fergusson, in Comparative Literature, VII, 79-80;

Helmut Hatzfeld, in Italica, XXXII, 194-196.

Wylie Sypher. Four Stages of Renaissance Style. (See above.) Renewed by:

Klaus Berger, in Renaissance News, VIII, 147-149;

W. K. Ferguson, in N. Y. Times Book Review, 19 June, p. 3.

Giuseppe Toffanin. History of Humanism. (See 73rd Report, 61-62.) Reviewed by:

M. P. Gilmore, in Renaissance News, VIII, 140-142;

H. H. [Helmut Hatzfeld], in Comparative Literature, VII, 280-281.

Aldo Vallone. La Critica dantesca contemporanea. Pisa, Nistri-Lischi, 1953. Reviewed by:

J. G. Fucilla, in Comparative Literature, VII, 68-73.

René Wellek. A History of Modern Criticism. (See above.) Reviewed by:

M. H. Abrams, in Yale Review, XLV, 146-149.

E. H.Wilkins. A History of Italian Literature. (See 73rd Report, 62.) Reviewed by:

W. P. Friederich, in Yearbook of Comparative and General Literature (Chapel Hill), IV, 76-78;

H. W. Hilborn, in Queen's Quarterly, LXII, 135-136;

F. W. Locke, in Catholic Historical Review, XLI, 239-240;

A. T. MacAllister, in Romanic Review, XLVI, 44-48;

K. C. M. Sills, in Speculum, XXX, 131-132;

Bernard Weinberg, in Modern Philology, LIII, 129-130.

George Santayana. Three Philosophical Poets: Lucretius, Dante, Goethe. Garden City (N. Y.), Doubleday. ('Doubleday Anchor Books," A 17) [1953]

Contains Santayana's famous essay on Dante. (Three Philosophical Poets was originally published in 1910 by Harvard University Press, Cambridge, Mass.)

Dorothy L. Sayers. Introductory Papers on Dante. With a Preface by Barbara Reynolds New York, Harper ant Brothers. Also, a British edition: London, Methuen. [1954]

In these eight papers, originally given as lectures, from 1947 o 1949, to non-specia1ists, the author treats the Comedy comprehensively, striving to make the poem as meaningful as possible to the modern reader. She deals specifically with the following: Dante's imagery in its symbolic, allegorical, and pictorial relations; the meaning of the three separate realms; the fourfold interpretation of the Comedy; the City of Dis in its moral significance at the level of the individual soul and of human society in general; the "comedy" of the Comedy; and a number of troublesome "paradoxes" of Dante's work, e.g., the poets treatment of the dual nature of Christ and the theology of atonement, the ambivalence between Dante-the-poet and Dante-the-man, the Vita nuova-Convivio relationship respecting Lady Philosophy, the reconciliation of the Dominican and Franciscan orders and the presence of Sigier of Brabant in the Paradiso. There is also an introduction by the author and a complete index. (For reviews see above.)