This bibliography is intended to include the Dante translation published in this country in 1957, and all Dante studies and review published in 1957 that are in any sense American. As announced in the bibliography for 1956, the latter criterion is now construed to include foreign reviews of Dante publications by Americans. Systematic search for such foreign reviews has been restricted to the following Italian and British periodicals: Aevum, Convivium, Giornale Storico della Letteratura ltaliana, Rassegna della Letteratura Italiana, Studi Danteschi, Italian Studies, and Modern Language Review; some random reviews from other foreign periodicals are also included.

Beginning with the present bibliography, the listing of reviews in general has been made much more selective, specifically in the case of studies bearing only peripherally on Dante. The determining factor here is whether the reviewer dwells in some measure on the Dantean element in the study being reviewed.

As usual, items not recorded in the bibliographies for previous years appear as addenda to the present list. It is a pleasure to observe once again that the volume of Dante material in the past year has surpassed that of any prior year since the inception of this annual bibliography in 1953, and what is more, the quality seems to have kept pace also.

Dante Alighieri: Purgatory V. Translated by John Ciardi. In Italian Quarterly, I, 2 (Summer), 3-7. [1957]

From his translation of the Purgatorio now in progress, Mr. Ciardi offers this preliminary version of Canto V for criticism. Like his translation of the Inferno, published in 1954 (See 73rd Report, 53-54, 74th Report, 57 and 62, 75th Report, 30, and see below, under Reviews and under Addenda, pp. 55-56 and 61), his Purgatory is in verse, preserving the original tercet-division, with the first and third verses in approximate rhyme.

(Vita Nuova) "Emerson's Translation of Dante's Vita Nuova." Edited by J. C. Mathews. In Harvard Library Bulletin, XI, 208-244 and 346-362. [1957]

Reproduces Emerson's heretofore unpublished translation of the Vita Nuova from the original manuscript in Houghton Library. The editor's introduction outlines the circumstances of Emerson's undertaking and describes the manuscript. Eight pages of the handwritten text are reproduced in four facsimile plates.

La Vita Nuova. Translated by Mark Musa. New Brunswick (N. J.), Rutgers University Press. [1957]

The translation endeavors to be as literal as possible and "to capture in English something of the simplicity and flow of the original." The verse is translated without rhyme, and each poem is followed by the Italian text. There is a foreword of presentation and a translator's note. (For reviews, see below.)

"Dante's Canzone I: Sestina to the 'stony' lady, Pietra." Translated by Irma Brandeis. In Hudson Review, IX, 567-568. [1957]

Very exact translation of Al poco giorno e al gran cerchio d'ombra, using the same rhyme-scheme and rhyme-words (in English) as the original.

On World-Government, or De Monarchia. Translated by H. W. Schneider. With an Introduction by Dino Bigongiari. [Second (Revised) Edition.] New York, The Liberal Arts Press. ("Tile Little Library of Liberal Arts," 15.) [1957]

According to the preface, "the translation is not 'free' but follows Dante's text scrupulously." The translator has supplied headings to Books and Chapters of the text, which is preceded by the translator's preface, an introduction by Professor Bigongiari focusing on Dante's fundamental theses, a selected bibliography, and note on the text.

Auerbach, Erich. Mimesis: The Representation of Reality in Western Literature. Translated from the German by W. R. Trask. Garden City (N. Y.), Doubleday. ("Anchor Books," A107.) [1957]

This is a new paperback edition of Auerbach's well-known work, containing a chapter on "Farinata and Cavalcante" and a chapter on [Boccaccio's] "Frate Alberto," which includes an extended comparison of Dante and Boccaccio. The original German edition of Mimesis has been extensively reviewed, as has been also the first American edition of Mr. Trask's translation, published by Princeton University Press in 1953. (See 68th-72nd Reports, 43-44, 74th Report, 58 and 62, 75th Report, 30 and 38, and see below, under Reviews and under Addenda, pp. 56 and 59.)

Battista, J. L. "A Journey through Sin." In The Race Institute Pamphlet, XLIV, No. 2 (July), 1-25. [1957]

Contends, against allegorically inclined commentators, whose traditional interpretation makes for confusion and error, that the direction of Dante's poetic journey through Inferno and Purgatorio becomes quite clear when considered according to the natural dictates of the "physical" plan of these realms. The author attempts to prove, with the help of four diagrams, (1) that the direction is not Hell-left and Purgatory-right; (2) that there are no "exceptional" right turns; and (3) that the words right and left have no moral purport. He shows that in Malebolge Dante and Virgil actually reverse direction, and that in Purgatory the direction is to the left.

Berger, Erich. "Eine Dantestelle in Thomas Manns Doktor Faustus." In Monatshefte, XLIX, 212-214. [1957]

Documents two Dante passages adapted by Mann in his novel, Doktor Faustus: Purgatorio, XXII, 67-69, and the commiato of Voi che intendendo il terzo ciel movete.

Bloomfield, M. W. "Joachim of Flora: A Critical Survey of his Canon, Teachings, Sources, Biography and Influence." In Traditio, XIII, 249-311. [1957]

Contains a section on Dante (pp. 303-306) and some further mention passim in which the author discusses previously documented influences of Joachim on Dante and suggests two more possible Joachimite influences in the Commedia. While admitting the points are not uniquely Joachim's, Professor Bloomfield yet feels that (1) Joachim's according of a high position to Saint Bernard influenced Dante's choice of the latter as the highest and final guide in the poem and (2) his emphasis on monasticism as the pattern of heaven and perfection prompted the poet's concept of the "beato chiostro" (e.g., in Paradiso XXV; also Paradiso III, in Piccarda's speech; and Purgatorio XV, 57, and XXVI, 127ff.).

Bosanquet, Bernard. A History of Aesthetic. New York, Meridian Books. ("The Meridian Library," ML 8.) [1957]

This is a paperback edition of Bosanquet's well-known work (London, 1892 and 1904; New York, 1932), which contains a chapter (pp. 151-165) on "A Comparison of Dante and Shakespeare in Respect of Some Formal Characteristics." In Dante's case, the author points out, the poet created his own original poetic form for the Comedy.

Davis, C. T. Dante and the Idea of Rome. Oxford, Clarendon Press. [1957]

Explores Dante's idea of Rome in its multiform aspects, literal and allegorical, but without losing sight of its unitary value; for, the author observes in his introduction, the most remarkable thing about Dante's Rome is how it "united the pagan and Christian cities, and the imperial and papal, in a perfect fusion." The book concludes on the note, that "history is therefore for Dante, as he thought it to be for Virgil, saga and prophecy; and its central theme is the unfolding of God's providence through the instrumentality of Rome." The composition of the work is as follows: a long introduction, including a critical review of the subject as treated by such students as Graf, Solmi, Zingarelli, Nancy Lenkeith, Pietrobono, and Renucci; a major section on "Dante and the Roman Past"; a chapter on "Dante and the Empire"; and a concluding chapter on Dante and the Papal City."

De Sanctis, Francesco. De Sanctis on Dante. Essays Edited and Translated by Joseph Rossi and Alfred Galpin. Madison, University of Wisconsin Press. [1957]

This is the first available English version of the following seven Dantean essays of De Sanctis: "The Subject of the Divine Comedy," "Character of Dante and His Utopia," "Francesca da Rimini," "Farinata," "Pier delle Vigne," "Ugolino," and "The Divine Comedy: Translation by F. Lamennais." A "Translators' Introduction" locates De Sanctis in his time and traces his development as "the founder of modern Italian literary criticism."

Falconieri, J. V. "Il Saggio di T. S. Eliot su Dante." In Italica, XXXIV, 75-80. [1957]

While recognizing the inestimable value of Eliot's essay on Dante, the author criticizes certain of Eliot's statements concerning Dante's Satan, the treatment of Brutus and Cassius, and the last canto of Inferno, which are obviously considered out of their historical and/or textual context.

Fergusson, Francis. "The Human Image." In Kenyon Review, XIX, 1-14. [1957]

Contains a glowing page on the unique historic value of Dante as the supreme example of "the understanding of literature as both temporal and perennial, both local and universal," through a method rooted in analogy. (This essay also serves as preface in the following item.)

Fergusson, Francis. The Human Image in Dramatic Literature: Essays. Garden City (N. Y.), Doubleday. ("A Doubleday Anchor Original," A 124.) [1957]

Contains (1) the preceding item as preface and, also pertaining in some respect to Dante, (2) an essay on " 'Myth' and the Literary Scruple," originally published in Sewanee Review, LXIV (1956), 171-185, and in Italian translation in Delta (Naples), N. S., No. 9 (1956), 7-16, and (3) a review essay, "Two perspectives on European Literature"--E. R. Curtius, European Literature and the Latin Middle Ages and Erich Auerbach, Mimesis, originally published in Hudson Review, VII (1954), 119-127. (For the last two, see 75th Report, 21-22, and 74th Report, 62, respectively.)

Fitzgerald, Robert. "The Style that Does Honor." In Letterature Moderne, VII, 397-401. [1957]

Defining classic art in terms of right ordering, with "style" and "effect" as functions of over-all construction as well as local elements, the author considers Dante along with Sophocles and Oxford University Press. Virgil as the supreme examples of classic art in Italian, Greek, and Latin poetry, respectively.

Giamatti, Valentine. Dante Illustrated. A listing of illustrated editions of the Divine Comedy and illustrated books on Dante. Also music, photographs, and original paintings inspired by the poet. A private collection of Prof. Valentine Giamatti. South Hadley, Massachusetts. [1957]

Lists 107 editions in various languages and 82 other items, with brief annotations in most cases. Anyone interested in this material for exhibition or research is invited to get in touch with Professor Giamatti at Mount Holyoke College.

Gicovate, Bernardo. "Dante y Dario." In Hispania, XL, 29-33. [1957]

Discusses the problem of Dantean influence on earlier Spamish literature, examines the revived Dantean influence in Ruben Dario, noticeable particularly in his El Canto errante and later poems, and finds the latter less an imitator of Dante than one imbued with Dante's emotional accent, which he transmits to modern Spanish poetry.

Green, R. H. "Dante's 'Allegory of Poets' and the Mediaeval Theory of Poetic Fiction." In Comparative Literature, IX, 118-128. [1957]

Argues, from the larger context of medieval theory of poetic fiction and allegory, that in the Divine Comedy Dante employs, not the "allegory of theologians," as Professor Singleton maintains, but the "allegory of poets," just as in the Convivio, the only difference being one of quality. The author discusses the similarities and differences between poetry and Sacred Scripture and their modes of expression, and points out that, although the writer of Scripture sometimes uses the locutions of poetry and the poet, since his subject too was truth, was considered a kind of theologian, the main difference lay in the nature of the literal sense, which in Scripture actually true, while in poetry, however imitative of the other was strictly fictional.

Guerard, Albert [L.]. Fossils and Presences. Stanford, Stanford University Press. [1957]

Contains a chapter (pp. 112-134) on "Dante and the Renaissance," which was originally published in Rice Institute Pamphlet, VIII, No. 2 (April, 1921). The author considers Dante as belonging to the Middle Ages, although he did hold in common with Renaissance his essential italianità, his virtù, and his many-sidedness. But in conclusion the author stresses Dante's universality: although his creed and thought are alien to us now, his art and his idea human liberty endure.

Highet, Gilbert. The Classical Tradition: Greek and Roman Influences on Western Literature. New York, Oxford University Press. ("A Galaxy Book," GB 5.) [1957]

This is a paperback edition of Highet's work, originally published in 1949 (New York and London, Oxford University Press which contains a chapter (pp. 70-80) on "Dante and Pagan Antiquity," as well as further mention of Dante passim, in the context of the classical tradition.

Kantorowicz, E. H. The King's Two Bodies: A Study Mediaeval Political Theology. Princeton, Princeton University Press. [1957]

Contains a long, final chapter on "Man-Centered Kingship: Dante" (pp. 451-495), a remarkably pithy interpretation of Dan's political thought in the Monarchia and the Commedia. While noting how Dante as political philosopher and poet assimilated political doctrines of his time, the author emphasizes the unconventional, e.g., anti-Thomistic, and original aspects of Dante's moral-political outlook. There are valuable discussions of many specific matters, as for instance: Dante's distinction between the institutional phenomenon and the individual officer; his conception a humana universitas, embracing all men, independent of pope Church, even of the Christian religion, and actualized in the symbol of the terrestrial paradise; his distinguishing of the four intellectual virtues, separate from the divinely infused ones and available to the whole humana universitas for the pursuit of this-worldly happiness and attainment of the terrestrial paradise; and his conception of a collective or universal intellect (not in the Averroistic sense) by which is achievable the perfect actuation of all man's intellectual possibilities.

Leo, Ulrich. Sehen und Wirklichkeit bei Dante, wit einem Machtrag über das Problem der Literaturgeschichte. Frankfurt am Main, Vittorio Klostermann. ("Analecta Romanica: Beihefte den Romanischen Forschungen," Heft 4.) [1957]

Underlying his studies reprinted here is Professor Leo's conviction of the unitary inspiration of Dante's Commedia and therefore of the demonstrability of its aesthetic unity, notwithstanding the diversity of content and form. He is persuaded that this aesthetic unity is but the expression of the two closely related fundamental moments of the poem: a divinely illuminated vision in its encounter with the supernatural Divine Reality. The eight essays bearing directly on Dante are: "Sehen und Schauen bei Dante"; "Dante's Way through Earthly Paradise"; "The Unfinished Convivio and Dante's Rereading of the Aeneid"; "Dante in Germany, II"; "Luzifer und Christus" (See 73rd Report, 65); "Das Purgatorio und der 'New Criticism"' (See 73rd Report, 57); "Das Sonett mit zwei Anfangen" (See 73rd Report, 57); and "Der siebenundzwanzigsten Gesang des Purgatorio. Lectura Dantis." Indication of the original places of publication of these essays is duly given.

Lyon, H. T. "A Florentine Englishman Translates the 'Inferno'." In Italica, XXXIV, 137-141. [1957]

Examines the reasons for failure of Eugene Lee-Hamilton's verse translation of Dante's Inferno, published in 1898. Lee-Hamilton's completed translation of the Purgatorio was not published.

Mathews, J. C. "Dr. Oliver Wendell Holmes and Dante." In Italica, XXXIV, 127-136. [1957]

Documents the evidence of Holmes's "moderate" familiarity with Dante's Comedy and of his interest in it.

Mathews, J. C. "Whittier's Knowledge of Dante." In Italica, XXXIV, 234-238. [1957]

Attempts to determine, from the rather meager evidence, the extent of Whittier's familiarity with Dante.

Mazzeo, J. A. "The Analogy of Creation in Dante." In Speculum, XXXII, 706-721. [1957]

Outlines briefly the medieval views regarding creation analogy on the three levels of creation, generation, and making--with God, nature, and man, respectively, as auctores, in descending order--and goes on to show how Dante, whose creation doctrine is based on the Timaeus adapted to Christian theism, analyzes the three levels of creation in the Divine Comedy: (I) divine creation of the four coevals of primal matter, time, the heavens, and the angelic intelligences--a divine act that continued only in the creation of each human soul; (2) the process of nature, which is usually autonomous and, except by divine intervention (as in Adam and Christ), works defectively in actualizing the Idea that exists in the mind of God; and (3) human industry and art, in which activity, necessitated by his needs for survival, man imitates nature. It is beauty of all the levels and kinds of creation that lures the pilgrim through the universe of the poem.

Mazzeo, J. A. "The Augustinian Conception of Beauty and Dante's Convivio." In Journal of Aesthetics and Art Criticism, XV, 435-448. [1957]

To explain Dante's ideas on beauty, with particular reference to Convivio, III, 8, the author examines Saint Augustine's theory of beauty (adapted from Plotinus) as forma, or species, whose primary function is to make known the Creator, and relates it to medieval speculations on love and light-metaphysics. The ensuing revaluation of human beauty reached its greatest expression in Dante, for whom beauty is an external light making manifest an internal splendor, the divinely ordained light of the soul. This is related to the operation of love as that universal principle which inclines all things to love and be loved.

Mazzeo, J. A. "Dante and the Pauline Modes of Vision." In Harvard Theological Review, L, 275-306. [1957]

Examines the mystical and theological speculations on the exact nature of Paul's rapture (2 Corinthians xii, 24), the supreme example of early Christian mystical experiences, in the writings of Gregory, Augustine, Bernard, Richard of Saint Victor, and Thomas Aquinas. Some writers judged Paul's experience of God to be only per speculum, while others, including Augustine and Thomas, considered the possibility of direct vision (facie ad faciem or per speciem) by both Paul and Moses. Dante assumes that Paul had seen God in His essence and identifies himself with Paul in claiming that he too had seen God "face to face." Structurally, the first twenty-nine cantos of the Paradiso constitute an imaginative rendering of the vision of God per fidem and per speculum or aenigma, while the last four cantos render the seeing of God facie ad faciem, or in His very essence.

Mazzeo, J. A. "Dante's Conception of Love." In Journal of the History of Ideas, XVIII, 147-160. [1957]

Relates love in Dante to Saint Augustine's notion of amor-pondus and the common Aristotelian doctrine of the schools conceiving love as a gravitational force according to a hierarchical scale of natural place, with the difference that Dante carries the equation of gravity through the whole scale of creatures, without distinguishing between corporeal and spiritual substances, and emphasizes the fact that man is, in a dynamic way, a microcosm of all these loves. Moreover, love in Dante appears as nostalgia, the Platonically conceived natural human desire to return to God. Peculiar to man is the measureless desire, as a function of the rational soul, for eternal possession of good or beauty.

Mazzeo, J. A. "Light, Love, and Beauty in the Paradiso." In Romance Philology, XI, 1-17. [1957]

From medieval light-metaphysics with God as the source of all light which is radiated and differentiated throughout the universe by the process of multiplicatio, Dante fashioned Paradiso in such a way that he achieved a fusion of the ladders of light, being, love, knowledge, and beauty, thus permitting the wayfarer to ascend to God as poet, lover, philosopher, and mystic seer all at once. A circular movement through the Paradiso is noted, as moments of increasing light-beauty are followed by a growth of love and knowledge, and then a fresh desire which demands greater beauty.

O'Malley, Glenn. "Literary Synesthesia." In Journal of Aesthetics and Art Criticism, XV, 391-411. [1957]

Concludes with a short discussion (pp. 409-411) of Dante's Commedia as "one of the best illustrations of a philosophic or spiritual use of intersense metaphor and of synesthetic conceptions." The poet's handling of literary synesthesia reflects the symbolic refining of sensory perception which parallels the spiritual progress developed in the three cantiche.

Orsini, Napoleone. "Ezra Pound, critico letterario." In Letterature Moderne, VII, 34-51. [1957]

Takes exceptional and violent issue with Pound's generally undiscriminating admirers. While acknowledging his powers as a poet, Orsini thinks much less of Pound's literary criticism, as exemplified, among other things, by his treatment of Dante (The Spirit of Romance, Chapter VII: "Dante") in which he considers Pound's deficiencies most manifest--e.g., no sense of proportion, dwelling on the superficial and the minor at the expense of major elements, outright misinterpretation, and so forth.

Patch, H. R. "Symbolism of the Supernatural in the Divine Comedy." In Romance Philology, X, 204-209. [1957]

A fairly theoretical discussion of symbolism, pointing out that Dante employs three kinds of symbolic method available to a poet of his time: imitative symbolism, which exalts the natural sufficiently to the supernatural for the matter of background; arbitrary symbolism, which involves a greater clash between symbol and idea; and, related to the latter, incongruous symbolism, which combines together violently inharmonious elements for extraordinarily abnormal effect. Examples cited of the last are the figures of Satan in Inferno, the Griffon in Purgatorio, and the circle symbol of the Trinity in Paradiso.

Pellegrini, A. L. "American Dante Bibliography for 1956." In 75th Annual Report of the Dante Society, 19-40. [1957]

With brief analyses.

Peyton, M. A. "Auzías March as Transmitter of de Dante Heritage in Spain." In Italica, XXXIV, 83-91. [1957]

Singles out the fifteenth-century poet Auzías March, for his recognized affinities with Dante's genius, as most instrumental of the Catalan poets that served as medium for transmission of Italian culture in general and Dante influence in particular to the literature of Spain. A short appendix lists a "Practical Bibliography of Works Useful to the Study of Dante's Influence in Spain."

Poggioli, Renato. "Tragedy or Romance? A Reading of the Paolo and Francesca Episode in Dante's Inferno." In PMLA, LXXII, 313-358. [1957]

A very close, sensitive reading of the episode (Inferno, V, 25-142), which, with the moral detachment and artistic involvement on the poet's part, is considered to be "based on a continuous tension between the ethos of contemplation and the pathos of experience." Professor Poggioli finds clues to the significance and power of this poetic episode in a further detailed analysis of "Virgil's catalogue" of souls in this first circle of Hell, Francesca's courtly speech and manner, and Paolo's silence. He shows that Dante has created, not a tragedy, but a compassionate story written in the key of the medieval love romance and dominated by the feminine point of view. However, the poet has artistically combined this with his didactic purpose, with the effect of an implicit moral condemnation of the romantic love and its literature exemplified by the episode.

Pound, Ezra. Saggi letterari. (Literary Essays of Ezra Pound.) A cura e con introduzione di Thomas Stearns Eliot. Traduzione dall'inglese di Nemi D'Agostino. Milan, Garzanti. ("Saggi Garzanti.") [1957]

Italian translation of Pound's Literary Essays, first published in 1954 (Norfolk, Conn., New Directions). The collection contains an essay on "Hell," as well as other mention of Dante. (See 73rd Report , 58, and 74th Report, 63.)

Rand, K. Founders of the Middle Ages. New York, Dover Editions. ("Dover Books," T 369.) [1957]

This is a paperback edition of the work, originally published in 1928, (Cambridge, Harvard University Press), which contains a chapter on "St. Augustine and Dante" (pp. 251-284). The author here focuses on Augustine's influence on Dante, particularly through his contributions to the medieval conception of the Holy Roman Empire and to the allegorical reading of Virgil.

Read, Forrest. "The Pattern of the Pisan Cantos." In Sewanee Review, LXV, 400-419. [1957]

Pound himself has characterized his Cantos as epic, with analogy to the Divina Commedia in the spiritual movement through three realms and in the evolving of a "hierarchy of values" to provide guides to volitional action. Professor Read, however, finds these patterns applicable, not to the Cantos as a whole, but only to that part known as the Pisan Cantos, which he analyzes in comparison with Dante's poem.

Rivers, E. L. "Dante and the Notary." In Italica, XXXIV, 81-82. [1957]

Points out and emphasizes the resemblances between Dante's sonnet, Amor e 'l cor gentil sono una cosa (Vita Nuova, XX) and Giacomo da Lentino's sonnet, Amore è un desio che ven dal core, while taking into account the differences too, e.g., Dante's incorporation of the Guinizellian concept of the "cor gentil."

Rivers, E. L. "Dante at Dividing Sonnets." In Symposium, XI, 290-295. [1957]

Briefly relates Dante's analysis of sonnets in the Vita Nuova to its scholastic origins and discusses the variety of Dante's sonnet divisions and their justification. Also, the author feels that Dante's formal divisions were designed to violate the sonnet's autonomy for better assimilation into the larger organic whole of the Vita Nuova. He concludes that the sonnet is nevertheless an essentially autonomous form and invites analysis on that basis.

De Rougemont, Denis. Love in the Western World. Translated by Montgomery Belgion. Revised and Augmented Edition. Garden City (N. Y.), Doubleday. ("Anchor Books," A 121.) [1957]

This is a paperback edition of the work. (See 75th Report, 27.)

Santayana, George. Interpretations of Poetry and Religion. New York, Harper. ("Torchbooks," TB 9.) [1957]

This is a paperback edition of the work, originally published in 1900 (New York, Scribner), which contains a discussion of Dante in relation to the chapter on "Platonic Love in Some Italian Poets" (pp. 118-146). Santayana dwells on Dante's "sentimental history" as an object-lesson in Platonism.

Sayers, Dorothy L. Further Papers on Dante. New York, Harper. (Also, a British edition: London, Methuen.) [1957]

Like Miss Sayers' Introductory Papers on Dante (See 74th Report, 61), these papers, excepting the first, were originally delivered as lectures to non-specialists. The present series is more heterogeneous in subject-matter and bears more on the literary and poetic aspects of Dante's work, with comparisons with other poets. The eight papers are entitled: "... And Telling You a Story," The Divine Poet and the Angelic Doctor, Dante's Virgil, Dante's Cosmos, The Eighth Bolgia; The Cornice of Sloth, Dante and Milton, The Poetry of the Image in Dante and Charles Williams. (For reviews, see below.)

Seward, Barbara. "The Artist and the Rose." In University of Toronto Quarterly, XXVI, 180-190. [1957]

Draws parallels, both direct and inverse, with Dante in James Joyce's substantial and recurrent use of rose symbolism in A Portrait of the Artist as a Young Man, in which the rose is associated with woman, religion, and art, with its ultimate meaning in Eternal [earthly] Beauty.

Singleton, C. S. "The Irreducible Dove." In Comparative Literature, IX, 129-135. [1957]

Pointing out his essential agreement with Professor Green (see above) as to the fictive quality of Dante's Comedy, the author extends his original contention that the mode of expression in the poem is from the reader's focus, the "allegory of theologians," on Holy Scripture, not the "allegory of poets," as in the Convivio. The difference between these two works, it is maintained goes beyond that of quality: while the reading of the canzoni in the Convivio requires the focus of the allegory of poets, such a focus is inadequate to the Comedy with its double vision supported by the Incarnation.

Singleton, C. S. "Stars over Eden." In 75th Annual Report of the Dante Society, 1-18. [1957]

Finds authority for Dante's geography, with Eden located symmetrically opposite Jerusalem, in the Septuagint version of Genesis, which contains the phrase contra paradise to denote where Adam and Eve were translated from paradise. The author also considers this the best gloss on Purgatorio I, 22-27, which evidently focuses on the moment of expulsion from Eden. Adam and Eve (the prima gente) alone of humankind enjoyed not only the delights of Eden and the sight of the four bright stars in the southern hemisphere, but also the divine gifts of perfect justice and immortality. The passage, with its lamenting tone, reminds us of the great loss suffered by the banishment to the northern hemisphere.

Stambler, Bernard. Dante's Other World: The 'Purgatorio' as Guide to the 'Divine Comedy.' New York, New York University Press. [1957]

This guide to Dante's Comedy is based on an exegesis of the Purgatory, because this canticle "best exhibits the movement and process of thought that the reader must come to comprehend in the entire poem." A long opening chapter deals with "those aspects of medieval thought and art that need particular elaboration for an understanding of the Divine Comedy," including such sample topics as Dante's universe and its relation to the poem, Dante and theology, the philosophy and poetry of love, the various levels of meaning of the Comedy, the form of the poem; Chapters 2-14 constitute a systematic and detailed analysis of the Purgatory, organize under a series of significant headings; and the final chapter is

general backward glance over certain major points connected wit the preceding itinerary.

Swiggett, G. L. The Holy Spirit's Seven Gifts and Other Sonnets, with Fertile Fields: On Reading Dante. Sewanee (Tennessee), The University of the South Press. [1957]

"Fertile Fields: On Reading Dante" (pp. 53-69) is a vision in verse of the Heavenly City, inspired by the Divine Comedy and in religious context. The beginning incorporates the author's translation in terza rima of Purgatorio, XI, 1-21.

Vittorini, Domenico. The Age of Dante: A Concise History of Italian Culture in the Years of the Early Renaissance. Syracuse, Syracuse University Press. [1957]

Contains three chapters (pp. 85-128) dealing specifically with Dante: "Dante Alighieri: His Minor Works," on the Vita Nuova and rime; "Dante as a Thinker," on the Convivio, De Vulgari Eloquentia, and De Monarchia; and "The Divine Comedy." The book is furnished with illustrations by Fred Haucke.

Vittorini, Domenico. Attraverso i secoli: Ritratti di illustri italiani. New York, Holt. ("Sponsored by The Curtis Institute of Music.") [1957]

Contains a general "portrait" of Dante (pp. 26-33), accompanied by black-and-white reproductions of Giotto's Dante and Holiday's "Meeting of Dante and Beatrice," as well as other Dantean illustrations. (For reviews, see below.)

Wieruszowski, Helene. "Brunetto Latini als Lehrer Dantes and der Florentiner (Mitteilungen aus Cod. II, VIII, 36 der Florentiner Nationalbibliothek)." In Archivio Italiano per la Storia della Pietà (Rome) II, 171-198. [1957]

Examines a late thirteenth-century manuscript in the Biblioteca Nazionale of Florence, Codex II, VIII, 36, which contributes to our better understanding of Brunetto as a public figure and teacher and is therefore relevant to his relationship to Dante and the latter's tribute to him in Inferno XV. The manuscript contains an incomplete copy of the Tesoro in Bono Giamboni's translation, with two very interesting sections, also by Brunetto, interpolated in the text and evidently designed to illustrate the parts of the Tesoro on cosmology and on rhetoric: one, comprising astronomical and astrological diagrams, tables, and text, the other, a short manual on letter-writing, entitled Sommetta ad amaestramento di componere volgarmente lettere.

Wilkins, E. H. "An Analysis of Paradiso VII." In Romance Philology, X, 210-212. [1957]

Analyzes in outline form the thought-structure of Paradiso VII, following the example of Dante's own analytical commentaries on the poems of the Vita Nuova and the Convivio and the Prologue of the Paradiso.

Wilkins, E. H. "A Note on Translations of the Divine Comedy by Members of the Dante Society." In 75th Annual Report of the Dante Society, 41-44. [1957]

Lists chronologically eleven translations of the entire Comedy and four of the Inferno only; indicates the form of each; and quotes, in each case, the translation of the first tercet of the Inferno.

Williams, Charles. The Figure of Beatrice: A Study in Dante. New Edition. New York, Hillary House. [1957]

As the author states in the introduction, "this study is intended to pay particular attention to the figure of Beatrice and to the relation which that figure bears to all the rest." There are three general themes with which the book is concerned: " (i) the general Way of the Affirmation of Images as a method of process towards the inGodding of man, (ii) the way of romantic love as a particular mode of the same progress, (iii) the involution of this love with other images, particularly (a) that of the community--that is, of the city, a devotion to which is also a way of the soul, (b) that of poetry and human learning." The Figure of Beatrice was originally published in 1943 (London, Faber and Faber) and subsequently reprinted several times in England.

Dante Alighieri. La Divina Commedia. A cura di Natalino Sapegno. Vol. I: Inferno. Florence, "La Nuova Italia," 1955. Reviewed by:

Lienhard Bergel, in Italica, XXXIV, 116-118.

Dante Alighieri. The Divine Comedy. Translated and Edited by T. G. Bergin. (See 74th Report, 45.) Reviewed by:

Theodore Holmes, in Comparative Literature, IX, 275-283.

Dante Alighieri. The Divine Comedy. Translated from the Italian into English Triple Rhyme by G. L. Bickersteth. Aberdeen, The University Press, 1955. Reviewed by:

Theodore Holmes, in Comparative Literature, IX, 275-283.

Dante Alighieri. The Inferno. Translated by John Ciardi. (See 73rd Report, 53-54, 74th Report, 57 and 62, and 75th Report, 30, and see below, p. 60.) Reviewed by:

Theodore Holmes, in Comparative Literature, IX, 275-283.

Dante Alighieri. Purgatory. Translated by Dorothy L. Sayers. (See 74th Report, 45-46 and 57, and 75th Report, 30 and 38, and see below, p. 61.) Reviewed by:

Theodore Holmes, in Comparative Literature, IX, 275-283.

Dante Alighieri. La Vita Nuova. Translated by Mark Musa. (See above.) Reviewed by:

H. W. Hilborn, in Queen's Quarterly, LXIV, 455-456;

C. S. [Charles Speroni], in Italian Quarterly, I, 3 (Fall), 82-84.

Annual Report of the Dante Society, 74. With Accompanying papers. Cambridge (Mass.). Reviewed by:

r.s., in Rassegna delta Letteratura Italiana, Serie VII, Anno 61, l00.

Erich Auerbach. Mimesis. Il Realismo nella letteratura occidentale. (See below, under Addenda.) Reviewed by:

Mario Marti, in Rassegna delta Letteratura Italians, Serie VII, Anno 61, 88-90.

J. G. Fucilla. Saggistica letteraria italiana. (See 75th Report, 23 and 32.) Reviewed by:

Vincent Luciani, in Comparative Literature, IX, 188-189.

Robert Gittings. The Mask of Keats. (See 75th Report, 23-24, and see below, p. 61.) Reviewed by:

Marie Borroff, in Yale Review, XLVI, 606-607;

R. H. Fogle, in Virginia Quarterly Review, XXXIII, 472-475;

Lionel Stevenson, In South Atlantic Quarterly, LVI, 401-402.

Ulrich Leo. Sehen and Wirklichkeit bei Dante. (See above.) Reviewed by:

Aldo Vallone, in Studi Danteschi, XXXIV, 256-261.

J. A. Mazzeo. "Dante's Sun Symbolism." (See 75th Report, 25.) Reviewed by:

r. s., in Rassegna della Letteratura Italiana, Serie VII, Anno 61, 279.

Rocco Montano. Suggerimenti per una lettura di Dante. Naples, Conte, 1956. Reviewed by:

J. A. Mazzeo, in Comparative Literature, IX, 165-170.

Gioacchino Natoli. Dante rivelato nella Vita Nova. Rome, Società Editrice Dante Alighieri, 1953; and Dante rivelato gel Convivio. Rome, Società Editrice Dante Alighieri, 1954. Reviewed by:

Pietro La Cute, in Italica, XXXIV, 179-180.

Paul Renucci. Dante disciple et Huge do monde greco-latin. Paris, Les Belles Lettres, 1954. Reviewed by:

Giuseppe Billanovich, in Romance Philology, XI, 75-80.

Elisabeth von Roon-Bassermann. Die Weissen and die Schrvarzen van Florenz: Dante and die Chronik des Dino Compagni. Preface by Clemens Bauer. Freiburg im Breisgau, Verlag Herder, 1954. Reviewed by:

Aldo Scaglione, in Romance Philology, XI, 80-83.

Dorothy L. Sayers. Further Papers on Dante. (See above.) Reviewed by:

T. G. Bergin, in N. Y. Times Book Review, 22 Sept., p. 29;

Mary Shiras, in Commonweal, LXVI, 524-525.

A. L. Sells. Italian Influence in English Poetry. (See 74th Report, 53 and 60, and 75th Report, 32, and see below, p. 61.) Reviewed by:

A. A. [Andres Avelino], in The Personalist, XXXVIII, 317-318;

J. H. Hagstrum, in Italica, XXXIV, 115-116;

J. L. Lievsay, in Modern Language Quarterly, XVIII, 73-74.

Leo Spitzer. "The Addresses to the Reader in the Commedia." See 74th Report, 53, and 75th Report, 33.) Reviewed by:

r. s., in Rassegna della Letteratura Italiana, Serie VII, Anno 61, 530-531.

W. B. Stanford. The Ulysses Theme. (See 75th Report, 33, and 36-37.) Reviewed by:

Northrop Frye, in Comparative Literature, IX, 180-182;

R. J. Schoeck, in Renascence, X, 42-46.

W. Y. Tindall. The Literary Symbol. (See 74th Report, 56, and 75th Report, 33.) Reviewed by:

Helaine Newstead, in Romance Phglology, X, 273-277.

Giuseppe Tusiani. Dante in licenza. Verona, Editrice Nigrizia, 52. Reviewed by:

F. D. Maurino, in Italica, XXXIV, 65-66.

Aldo Vallone. Del Veltro dantesco. Lectura Dantis Siciliana. Edizioni Accademia di Studi "Cielo D'Alcamo," 1955. Reviewed by:

[T H. [Helmut Hatzfeld], in Comparative Literature, IX, 188.

Aldo Vallone. Studi sulla Divina Commedia. Florence, Olschki, 955. Reviewed by:

H. H. [Helmut Hatzfeld], in Comparative Literature, IX, 85.

Domenico Vittorini. Attraverso i secoli. (See above.) Reviewed by:

Vincent Luciani, in Modern Language Journal, XVI, 401-402.

Anceschi, Luciano. "Due lettere su Dante" [by Ezra Pound]. In Nuova Corrente (Genoa), Nos. 5-6, pp. 58-69. [1956]

Publishes two letters by Pound to R. L. Binyon on translating the Purgatorio.

Auerbach, Erich. Mimesis. Il Realismo nella letteratura occidentale. [Translated from the German by Alberto Romagnoli and Hans Hinterhauser.] Con un saggio introduttivo di Aurelio Roncaglia. Turin, Einaudi. [1956]

Italian translation of Professor Auerbach's well-known work. (See above, pp. 41 and 56, and see below, under Reviews.)

Borgese, G. A. "Della critica dantesca." In Acme, Annali della Facoltà di Lettere e Filosofia aell'Università di Milano, VI, 15-76. [1953]

Italian translation (by Giulio Vallese) of Borgese's study, "On Dante Criticism," originally published in 52nd-54th Annual Reports of the Dante Society, 1936, pp. 19-70.

Fremantle, Anne, J. A. Mazzeo, and Lyman Bryson. "Dante, La Vita Nuova." In The Invitation to Learning Reader, V, 134-142. [1955]

Transcription of a critical discussion, as originally broadcast by the Columbia Broadcasting System, May 1, 1955.

Grumbach, Doris. "Dante for Moderns." In Books on Trial, XIV, 226-228 and 275-276. [1956]

A brief general introduction to Dante for the lay reader, with an annotated list of available English translations and three illustrations.

Mazzeo, J. A. "Plato's Eros and Dante's Amore." In Traditio, II, 315-337. [1956]

Analyzes and compares in some detail the ideas on love in Plato's Phaedrus and Symposium and in Dante's Convivio and Divina Commedia. The similarities are striking, especially in the common pattern of a ladder of beauty as the means of ascension to the transcendent goal of Beauty, Goodness and Truth. For Plato, however, the poet and the lover, as also the philosopher and the prophets each take separate paths to the one goal, while for Dante, the poet, lover, and thinker are one. But where the Dantean pattern differs crucially from the Platonic is in the death, transformation and elevation of the lady and her retention to the very end of the process. Furthermore, whereas Plato's eros provided only the movement from "here" up, the personal nature of Dante's Christian God involved also the descent of His Love to the individual as grace, the key being the individualized beauty of the beloved as a reflection and lure of the Divine. Dante fused and synthesized elements of two traditions: the ladder of love and beauty to God of philosophical and theological speculation, and the image of the ennobling beloved of courtly love tradition.

Read, Herbert. The Nature of Literature. New York, Horizon Press. [1956]

Includes a chapter on "The Nature of Metaphysical Poetry" (pp. 69-88), containing a discussion of Dante's Commedia as the most obvious illustration of the nature of metaphysical poetry, defined by the author as a fusion of thought and emotion, or "the emotional apprehension of thought." This work was originally published in London in 1938 as Collected Essays in Literary Criticism.

Dante Alighieri. The Inferno. Translated by John Ciardi. (See above, p. 39.) Reviewed by:

Edmund Fuller, in American Scholar, XXIII [1954], 482-484.

Dante Alighieri. Purgatory. Translated by Dorothy L. Sayers. (See above, p. 56.) Reviewed by:

P. G. Ruggiers, in Books Abroad, XXX, 334.

Erich Auerbach. Mimesis. (Italian translation. See above, p. 59.) Reviewed by:

Mario Fubini, in Giornale Storico della Letteratura Italiana, CXXXIII, 280-281.

G. A. Borgese. "Della critica dantesca." (See above, p. 59.) Reviewed by:

Giulio Vallese, in Delta (Naples), N. S., No. 4 [1953], 74.

Irma Brandeis. "On Reading Dante Whole." (See 68th-72nd Reports, 44.) Reviewed by:

Giulio Vallese, in Delta (Naples), N. S., No. 4 [1953], 72-73.

J. G. Fucilla. Studies and Notes. (See 68th-72nd Reports, 46.) Reviewed by:

Karel Svoboda, in Delta (Naples), N. S., No. 7-8 [1955], 112-113.

Robert Gittings. The Mask of Keats. (See above, p. 56.) Reviewed by:

[Anon.], in Times Literary Supplement (London), 26 Oct., p. 630.

A. L. Sells. Italian Influence in English Poetry. (See above, p. 57.) Reviewed by:

Mario Praz, in Shakespeare Quarterly, VII, 248-250.

C. S. Singleton. Dante Studies 1. (See 73rd Report, 60-61, 74th Report, 60, and 75th Report, 33 and 39.) Reviewed by:

Cesare Foligno, in Delta (Naples), N. S., No. 6 [1954], 57-61.

C. S. Singleton. "End of a Poem." (See 68th-72nd Reports, 48.) Reviewed by:

Giulio Vallese, in Delta (Naples), N. S., No. 4 [1953], 73-74.