This bibliography is intended to include the Dante translations published in this country in 1965, and all Dante studies and reviews published in 1965 that are in any sense American. The latter criterion is 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 italiana, Studi danteschi, Italian Studies, and Modern Language Review; some random reviews from other foreign periodicals are also included. The listing of reviews in general is selective, particularly in the case of studies bearing only peripherally on Dante. The determining factor here is whether the reviewer deals in some measure with the Dantean element in the study being reviewed.
As expected, the centennial year of 1965 greatly surpassed in number of Dante publications not only the recent annual norm, but also the previous centennial year of 1921. While this reflects a noteworthy growth of interest in Dante in America, on the qualitative side it is even more gratifying to note that scholars and critics have achieved new depths of understanding and appreciation of Dante's work.
Items not recorded in the bibliographies for previous years are
entered as addenda to the present list.
NOTE. The citation of an individual study from a collection in
a volume or a special issue of a periodical is given in brief,
while the main entry is listed fully in its normal order in the
bibliography. The Annual Report of the Dante Society continues
to be cited in the short form of Report.
The Divine Comedy. Text and translation in the meter of the original by Geoffrey L. Bickersteth. . .Cambridge, Massachusetts: Harvard University Press. xliii, 795 p. 17.5 cm. Also, an identical British edition: Oxford: Basil Blackwell. [1965]
Accompanying the Italian text and translation on facing pages,
there are a preface, pp. vii-x; an introduction, pp. xv-xliii;
an appendix, charting the moral system of the three cantiche,
pp. 771-772; and a section of notes, pp. 773-795.
For this translation, some fifty years in the making, Mr. Bickersteth
adopted the text of Manfredi Porena (Bologna: Zanichelli, 1946-1947,
with later reprintings). In the introduction, Mr. Bickersteth
discusses the requirements of a good translation, Dante's own
poetic technique, and the basic inspiration of the Commedia.
For his version, the translator's aim is "to give a faithful
and idiomatic English rendering of the Italian original in the
meter in which this is written." Mr. Bickersteth's translation
appeared in an earlier edition, without the Italian text, as The
Divine Comedy, translated from the Italian into English triple
rhyme (Aberdeen: The University Press, 1955); his Paradiso,
with Vandelli's text on facing pages, was originally published
by the Cambridge University Press in 1932.
"Paradise, Canto I." Translated by John Ciardi. In Italian Quarterly, IX, No. 33 (Spring), 4-20. [1965]
Verse translation and Italian text on opposite pages, with an
introduction, notes, and a diagram. For Mr. Ciardi's translation
of the Inferno (New York: New American Library, 1954) and
the Purgatorio (1961), see 73rd Report, 53-54,
and 80th Report, 22, respectively.
"Paradiso: Canto Five." Translated by John Ciardi. In Poetry, CVII, 2 (Nov.), 75-84. [1965]
Translation in verse, with brief introduction and notes. (See
preceding item.)
Abrams, Fred. "Dante, Unamuno, and the Symbolic Treatment of Death in La sima del secreto." In Italica, XLII (March), 175-183. [1965]
Compares and contrasts with Dante's conception Unamuno's story
of the cave (symbol of death), which seems to have been suggested
by the Divine Comedy.
Aguzzi-Barbagli, Danilo. "Dante e la poetica di Coluccio Salutati." In Italica, XLII (March), 108-131. [1965]
Submits that Coluccio Salutati, seconded by Leonardo Bruni, reveals
in his critical attitude towards the Divine Comedy a poetics
predicated on remarkably modern principles. His letters to Niccolò
da Tuderano and Leongiovanni de' Pierleoni, in particular, contain
ideas on the poet's special status in society, his artistic freedom
of creation, the aesthetic marriage of content and form, the acceptability
of the vernacular (on equal terms with Greek and Latin) as appropriate
vehicle for poetry. Dante's Comedy was recognized as a
"modern classic" by Salutati and Bruni; and Bembo's
violent reaction later implicitly betokened the vitality and importance
of their conception of poetry.
Arce, Joaquin. "The Dantesque Tercet in Spanish Poetry." In Books Abroad, Dante Issue (May), 121-127. [1965]
Contends that the Dantesque tercet did not influence or dominate
Spanish poetry until the 16th century, when it came by way of
Petrarch and his followers; and only later did the true Dantean
form gain currency.
Auerbach, Erich. Literary Language and its Public in Late Latin Antiquity and in the Middle Ages. Translated from the German by Ralph Manheim. New York: Pantheon Books. 405 p. (Bollingen Series, LXXIV.) [1965]
The original German edition, under the title Literatursprache und Publikum in der lateinischen Spätantike und im Mittelalter (Bern: Francke Verlag, 1958), and the Italian version, Lingua letteraria e pubblico nella tarda antichità latina e nel medioevo (Milano: Feltrinelli, 1960), were recorded in the 79th Report, 40 and 56, respectively. (For reviews, see below.)
Auerbach, Erich. "The Survival and Transformation of Dante's Vision of Reality." In Freccero, ed., Dante, pp. 9-13. [1965]
Holds Dante to be the father of modern literature and discoverer
of the Gestalt of European man, representing him, not as an abstraction,
but in his living historical reality. Reprinted from Auerbach's
Dante, Poet of the Secular World (Chicago, 1961), pp. 174-179.
(See 80th Report, 23.)
Badosa, Enrique. "Timeliness and Universality of the Divina Commedia." In Books Abroad, Dante Issue (May), 14-18. [1965]
Assesses the transcendent greatness of the Comedy, which
represents the extreme degree of concomitance of cognitive and
creative activity. The author considers Dante's poem "especially
translatable" and "timely because of its universality,
not vice versa."
Baldner, Ralph W. "Luce, musica e amore nella Divina Commedia." In Proceedings of the Pacific Northwest Conference on Foreign Languages, XVI, 63-66. [1965]
Points out triads by which Dante reflects the Trinity in his poem,
for example, the Pilgrim's addressing Virgil as "duca-signore-maestro,"
which epithets are compared with the attributes of the Trinity;
the concept of society made up of Pope and Emperor as guides to
the third element, Man; light and music as motifs forming a triad
with love in the Paradiso.
Barone, Dino. "Dante e Mazzini." In Parola del popolo, LVIII, No. 76, pp. 69-70. [1965]
Discusses the deep religious sentiment of these two great Italians
as grounded in the myths of their respective times.
Barrows, Mary Prentice. "Translating Dante: The Art of the Impossible." In Italica, XLII (Dec.), 358-370. [1965]
Discusses the translation of Dante in theory and in the practice
of selected translators, noting the difficulties and shortcomings
of various techniques, and tells how she came to her own solution
of using the blank hendecasyllabic line --iambic pentameter with
eleven syllables, or feminine endings, the line used by Dante.
(On Mrs. Barrows' version, see 77th Report, 41-42.)
Batard, Yvonne. "The Role of Clio for Dante and Péguy." In Books Abroad, Dante Issue (May), 151-155. [1965]
States that, although born six centuries apart and of widely different
backgrounds, Dante and Péguy were alike in their "inexhaustible
thirst for truth, justice, and freedom," probing history
and the cosmos for the meaning of human life. The author closes
with a comparison between two pictures of history in Dante's Par.
VI and Péguy's Eve.
Belza, Igor. "Francesco Flora, Dante e la Russia." In Parola del popolo, LVIII, No. 76, pp. 115-117. [1965]
Cites the more significant work done on Dante in the Slavic lands.
Bergin, Thomas G. An Approach to Dante. (See
Bergin, Dante.) [1965]
Bergin, Thomas G. "The Changing Portrait." In Books Abroad, Dante Issue (May), 9-13. [1965]
In this "gallery note" on Dante's image in the English-speaking
world since 1921, the author finds the focus shifted essentially
from the social concerns of the late Victorians to the more personal,
as we have gained a larger appreciation of the poet's learning
and artistry.
Bergin, Thomas G. Dante. New York: Orion Press. 326 p. 1 map, 4 charts. 22 cm. cloth. Also a paperback edition: Boston, Massachusetts: Houghton Mifflin (Riverside Studies in Literature); and a British edition, with the title An Approach to Dante, London: The Bodley Head. [1965]
A comprehensive introduction to Dante's life and works. Contents:
1. Dante's Europe, pp. 1-13; 2. Dante's Florence, 14-29;
3. Dante's Life, 30-44; 4. Dante's Reading, 45-66; 5.
The Vita Nuova, 67-87; 6. The Rime, 88-96;
7. The Convivio (I), 97-123; 8. The Convivio (II),
124-152; 9. De Vulgari Eloquentia, 153-176; 10.
De Monarchia, 177-194; 11. Letters and Lesser Works,
195-212; 12. The Commedia: Narrative, 213-249;
13. The Commedia: Allegory, 250-264; 14. The Commedia:
Doctrine, 265-277; 15. The Commedia: Tools and
Tactics, 278-297; Bibliographical Note, 299-304; Notes,
305-314; Index, 315-326. The illustrations include a
map of Florence in the early fourteenth century and four charts,
of Hell, Purgatory, Dante's cosmos, and the Heavenly Rose.
Bergin, Thomas G. "Dante Shelf." In Italian Quarterly, IX, No. 33 (Spring), 21-29. [1965]
An omnibus review-article covering nine Dante books of recent
vintage, which are separately accounted for below, under Reviews.
Bergin, Thomas G. "Dante's 'Comedy'--Letter and Spirit." In Virginia Quarterly Review, XLI, 525-541. [1965]
A general account of Dante's life in its historical context and
a critical appreciation of the Divine Comedy in its over-all
plan and particular detail.
Bergin, Thomas G. "Dante's Provençal Gallery." In Speculum, XL (Jan.), 15-30. [1965]
Studies the symmetrical inclusion of the three Provençal
poets: Bertran de Born in Inferno, because of his obsession
with arms; Arnaut Daniel in Purgatorio, because of Dante's
admiration for his inventiveness (rather than special literary
merit); and Folquet de Marseille in Paradiso, because of
his conversion from poetry to religious zeal. That Dante saw in
the latter a kindred spirit who also passed from lower to higher
forms of love may explain why Folquet replaces in the Comedy
Guiraut de Bornelh of the De vulgari eloquentia. Although
Sordello wrote in Provençal, he has no place in this triad,
because Italian-born, but Professor Bergin discusses separately
at some length his appearance and role in Dante's Purgatorio.
Bergin, Thomas G. "On the Personae of the Comedy." In Italica, XLII (March), 1-7. Also, in Parola del popolo, LVIII, No. 76, pp. 66-68. [1965]
As a first step in the study of the constituent elements of Dante's
poetic world, his manipulation of them, and their inter-relationships,
Professor Bergin here documents the human realism of the Comedy
and the poet's syncretistic purpose by doing a census of the
nomina divided into three general categories: (1) characters
of the narrative itself; (2) figures of reference; and (3) figures
of embellishment.
Bergin, Thomas G. "The Women of the Comedy." In Cesare Barbieri Courier, VII, No. 2 (Spring), 34-41. [1965]
Aside from the allegorical woman-ideal such as Beatrice and
Matelda, Dante's view of woman qua woman is, in accord
with medieval tradition, ambivalent, combining a favorable or
poetic-inspirational attitude with an unfavorable or clerical-realistic
one. In this ambivalence, Dante focuses on few women in his poem
and primarily in the love relationship, reserving to men the representation
of the greater variety of sins, vices, and virtues. The few women
he does treat, notably Francesca, Sapia, Pia, Piccarda, Cunizza,
are unforgettable.
Bernardo, Aldo. "Dante's Divine Comedy: The View from God's Eye." In De Sua and Rizzo eds., A Dante Symposium, pp. 45-58. [1965]
Outlines the general structure, justified as one with the artistic
form as well as spiritual orientation, of Dante's Comedy, showing
that the poet sought faithfully to see from God's perspective
throughout and thus wrote for the greater glory of God and man.
The essay builds directly upon the author's earlier article, "The
Three Beasts and Perspective in the Divine Comedy" (PMLA,
LXXVIII [March 1963] 15-24; see 82nd Report, 48-49).
Bernardo, Aldo. "Flesh, Spirit, and Rebirth at the Center of Dante's Comedy." In Symposium, XIX (Winter), 335-351. [1965]
Examines how the pilgrim, still in the body but endowed with special
grace, can pass into Paradise, focusing particularly on a three-stage
process by which the pilgrim undergoes a rebirth along the way
of transition at the center of the poem from the realm of corruptible
matter to that of pure spirit. The moments of change, enhanced
poetically with various suggestions of rebirth, occur in Purg.
XVI, with Marco Lombardo's lesson on the birth and
nature of the human soul; in Purg. XXV, with Statius'
description of the birth of human flesh and spirit; and in Purg.
XXX ff., with the unfolding of the divine perspective
in the allegorical procession. At the end of Purgatorio, the
insights gained in the process have produced in the pilgrim changes
analogous to an actual rebirth of flesh and spirit, so that with
innocence restored he is ready to proceed unimpeded to the Paradiso.
Bishop, Morris. "Dante's Pilgrimage." In Horizon, VII, No. 3 (Summer), 4-15. [1965]
A brief account and appreciation of Dante's life and works for
the general reader, with many illustrations in color and half-tone
from manuscript illuminations and more recent artists like Delacroix,
Holiday, and Dali.
Books Abroad, Special Issue: "A Homage to Dante" (May). 160 p. 25.5 cm. Also, published as a book in Spanish translation: Dante en su centenario (q.v.).
Devoted entirely to articles on Dante, under the following general
groupings: I. Dante in Profile; II. Dante's Works; III. Dante
in Various Countries; and IV. Dante Compared. The 21 articles,
separately listed in this bibliography, are by Ray, Bergin, Badosa,
Hatzfeld, Mandelstam, Nist, Morawski, Cambon, Hardie, Stambler,
Brandeis, Rheinfelder, Pézard, Frederiksen, Arce, Yelina
and Khlodovsky, Orsini, Whitfield, Nogami, Strauss, and Batard.
(For reviews, see below.)
Bosco, Umberto. "Paradise XXIII." in 83rd Annual Report of the Dante Society, 1-22. [1965]
Contends that the canto's theme is not specifically the triumph
of Christ, but rather the triumph and joy of all the souls in
Paradise, together with the triumph of Mary. Professor Bosco stresses
that from beginning to end the language and tone express maternal
tenderness with regard to the scene described and pious humility
on the part of the poet at his insufficiency to convey his vision
to the reader. One of Dante's stylistically most sustained, the
canto is permeated with floral and circular imagery wrought of
light and melody. The loftiness of theme and simplicity of expression
recall the great culture of classical antiquity, profoundly assimilated
and humanized by Dante. For Professor Bosco, the basic meaning
of the canto lies in the poet's simple piety, which "completes
and conditions . . . the heroic impulse of the imagination that
dares contemplate the entire universe illumined by God."
(The essay was translated from the Italian by Anthony J. De Vito.)
Bottiglia, William F. "Dante at M.I.T.: A New Pedagogical Approach." In Italica, XLII (March), 184-190. [1965]
Describes a two-semester course on Dante tailored to the
special needs and capabilities of students at Massachusetts Institute
of Technology. Preliminary instruction in Italian language is
combined with a literary and critical approach designed to recapture
the lively artistic experience of Dante's poem.
Brandeis, Irma. "'Delectasti me.'" In Books Abroad, Dante Issue (May), 94-99. [1965]
Traces Dante's progress in love from his accord with Amor in Inf.
V, through the Siren of the dream in Purg. XIX
and the Matelda episode, to the ultimate encounter with Beatrice--a
journey from concupiscence to caritas.
Brandeis, Irma. "Glimpses of the Master's Hand: Dante's Ulysses." In Cesare Barbieri Courier, VII, No. 2 (Spring), 6-12. [1965]
Presents a closely reasoned argument, drawing illumination from
other parts of the Comedy, to show the justice of Ulysses'
location in the Inferno. His own speech has fooled many
readers through the ages, according to Professor Brandeis, a speech
full of guile for which he must be condemned. "And it is
for himself he burns . . . while knowledge and virtue fare as
they may, without him."
Briffault, Robert S. The Troubadours. Bloomington: Indiana University Press. xvi, 296 p. illus., maps, plates. 21 cm. [1965]
Contains reference to Dante passim as well as an extended
discussion of Dante in a final chapter on "The Troubadour
Tradition in Italy and England" (pp. 160-203), relating
Dante to the Provençal poets and to Arabian science and
thought in the context of his thesis which holds to the Moorish
origins of troubadour love poetry. The volume includes two maps
and several plates of illustrations; bibliography; notes; and
index. The translation is by the author himself, incorporating
revisions particularly in the final chapter, from the original
French, Les Troubadours et le sentiment romanesque (Paris,
1945).
Brunori, Nicola. "Dante e noi." In Parola del popolo, LVIII, No. 76, p. 88. [1965]
Contends that Dante, who provided inspiration for Italian unification,
can inspire racial and cultural unity to all mankind.
Buscema, Francesco. "Attualità del pensiero di Dante." In Parola del popolo, LVIII, No. 76, pp. 113-115. [1965]
Dwells upon Dante's ideal of universal monarchy, or world government,
which man continues to seek today, in order to insure universal
peace to mankind.
Cambon, Glauco. "Dante's Noble Sinners: Abstract Examples or Living Characters?" In De Sua and Rizzo, eds., A Dante Symposium, pp. 87-98. [1965]
Warns against the stifling of Dante's poetry through an excessive
concern with theological and historical scholarship; suggests
a mobile and subtle relation between pilgrim and narrator in the
poem, not a dogmatic separation of them; sees a self-transcendence
and re-immersion of Dante-author in his past experiences
through a mirroring of himself in the various real-life characters
he encounters on his pilgrimage.
Cambon, Glauco. "Purgatorio, Canto V: The Modulations of Solicitude." In Books Abroad, Dante Issue (May), 69-73. [1965]
Holds that the thematic structure of Purg. V recapitulates
the movement of the whole Comedy, by looking back to earth,
re-echoing the infernal world, and climactically foreshadowing
Paradise. The author shows how the canto is a ceremony in the
progression of solicitude, with cura the key word at this
point of Ante-Purgatory, which is highlighted by the story
of Pia.
Cantarino, Vicente. "Dante and Islam: History and Analysis of a Controversy." In De Sua and Rizzo, eds., a Dante Symposium, pp. 175-198. [1965]
Surveys the historical controversy over possible Oriental influences
in Dante's Comedy from the early opinion of Juan Andres
(1740) to the present, with a fairly detailed discussion of the
various theories, arguments, counter-arguments, and documents
produced by a long line of scholars. The author concludes that
a broader study would probably show that Dante's poem incorporates
Muslim elements which were simply part of the general cultural
background of the European Middle Ages. Includes an extensive
bibliography, pp. 193-198.
Cecchetti, Giovanni. "Il peregrin e i naviganti di Purgatorio, VIII, 1-6: saggio di lettura dantesca." In De Sua and Rizzo, eds., a Dante Symposium, pp. 159-174. [1965]
Examines the pilgrim and sailing figure of nostalgia here and
in many other instances in the Commedia to show how the
basic figure, far from being ornamental, analogically informs
the whole poem, conceptually as well as expressively. The reference
to the pilgrim and the sailors in earthly terms actually represents
the anxiety of the souls in Purgatory to return to their "proprio
sito" in God, herein lying the "pilgrimage" of
the poet's focus. This is another instance evincing the extraordinary
compactness and consistency, both structural and expressive, of
Dante's poem.
Cesare Barbieri Courier, VII, No. 2 (Spring): "A Special Issue Honoring Dante Alighieri, 1265-1965." 47 p. illus. [1965]
The four articles, separately listed in this bibliography, are
by Brandeis, Rossi, Klein, and Bergin.
Ceserani, Remo. "Criticism and the Classics." In Italian Quarterly, IX, Nos. 34-35 (Summer-Fall), 23-49. [1965]
In the context of his examination of scholarly criticism in contemporary
Italy, the author appraises the contributions of recent work on
Dante (pp. 31-33).
Ciardi, John. "The Relevance of the Inferno." In Dante Alighieri: Three Lectures (Washington: Library of Congress), pp. 35-53. [1965]
Attempts to account for his undertaking to translate Dante's Comedy
into modern English verse and touches on various aspects of
the poem to explain why it has such attraction for so many 20th-century
readers.
Ciardi, John. "700 Years After: The Relevance of Dante." In Saturday Review, May 15, pp. 16-18, and May 22, pp. 51-53. [1965]
"Originally prepared for a symposium on Dante that was presented
May 1 [1965] by the Library of Congress." (See preceding
item and Dante Alighieri: Three Lectures.)
Clements, Robert J. "European Literary Scene." In Saturday Review, May 15, pp. 26-27 and 56. [1965]
Considers the present significance of Dante and suggests that,
unlike the l9th, the 20th century cannot embrace him as a contemporary,
because of the four influences of Marx, Darwin, Einstein, and
Freud. His value to us today is personal, not social. (This is
the last part of the concluding talk, given by Professor Clements,
during the eight-day celebration of Dante's 700th anniversary,
which took place in Florence, Verona, and Ravenna, in April 1965.)
Contini, Gianfranco. "Introduction to Dante's Rime." In Freccero, ed., Dante, pp. 28-38. [1965]
Dante's rime are not a unified canzoniere, but simply
a collection of divers compositions, of varying style and inspiration,
elusive of any chronological ordering. From the canon of the Comedy
as ideal reference, the rime reflect the exploratory
workings of Dante's mind and his technical efforts. Translated
by Yvonne Freccero from Contini's introduction to his edition
of Le rime di Dante (2nd ed., Torino, 1946).
Cunningham, Gilbert F. The Divine Comedy in English: ,q Critical Bibliography, 1782-1900. New York: Barnes and Noble. Same as the British edition: Edinburgh and London: Oliver and Boyd. xi, (1), 206 p. 23 cm. [1965]
An account of the translations, classified by types and including
a bibliographical account of each translator. Comes with three
tables: Chronological List of Translators; Formal Analysis of
Translations; and British and American Translators. (For reviews,
see below.)
Damon, Phillip W. "Dante's Ulysses and the Mythic Tradition." In William Matthews, ed. Medieval Secular Literature: Four Essays (Berkeley and Los Angeles: University of California Press), pp. 25-45. [1965]
Shows how in Inferno XXVI Dante effected a highly
suggestive synthesis of various, even diverse, mythic elements
associated with ancient tradition and with Ulysses in particular
and also subsequent Christian parallels. Dante is seen to relate
Ulysses' voyage to the Fall of Man in the transgression of divinely
set limits (cf. Inf. XXVI, 107 ff.; Par. XXVI,
115 ff.; XXVII, 46 ff. and 82 ff.). Ulysses' sinking in darkness
towards the sunset, as a type of fallen man, contrasts with Elijah's
ascent in light in association with the rising sun, as a type
of man redeemed. The ambivalent view of the wandering Ulysses
as a paragon of virtue and archetype of trickery has a supporting
parallel in Dante's view of Lucan's Cato as symbol of God and
notorious suicide. Ulysses and Cato journeyed through equally
unknown regions, but Cato observed the divine limits set to human
knowledge and was saved, while Ulysses did not and was lost. The
first canto of Purgatorio, therefore, suggestively contrasts
Ulysses' journey with that of Cato as well as the wayfarer, who
is also saved.
Dante Alighieri: Three Lectures . . . by J. Chesley Mathews . . . Francis Fergusson [and] . . . John Ciardi. Washington: Published for the Library of Congress by the Gertrude Clarke Whittall Poetry and Literature Fund, 1965. vii, 53 p. illus. 23.5 cm. [1965]
The three pieces are separately listed in this bibliography.
Dante en su centenario. Madrid: Taurus. 381 p. 21 cm. (Persiles, 29.) [1965]
Spanish version of the Dante issue of Books Abroad (q.?/.).
Dante: Seventh Centennial, 1265-1965. Resource Materials for Teachers. [New York:] Board of Education of the City of New York. xii, 99 p. illus. 21 cm. (Curriculum Bulletin: 1965-66 Series, No. 16.) [1965]
A manual on the life, times, and works of Dante, with teaching
suggestions for instructing students at the elementary and secondary
school levels. Includes illustrations and diagrams, lesson plans,
bibliography, and an appendix containing "Dante and Beatrice:
A Play with Music."
Davis, Charles T. "Dante and Italian Nationalism." In De Sua and Rizzo, eds., A Dante Symposium, pp. 199-213. [1965]
Dante's political faith rested in universal Empire, not an independent
Italian state (though Italy would, in any case, remain seat of
the Empire and the Papacy). But during the l9th and 20th centuries
he has been hailed successively as (1) anti-clerical; (2)
Catholic and patriotic Guelf; (3) prophet of Italian unity; and
(4) herald of a greater Italy and a totalitarian state. He will
no doubt continue to be invoked on ad hoc political grounds by
patriots and politicians.
Davis, Charles T. "Education in Dante's Florence." In Speculum, XL (July), 415-435. [1965]
Describes the general educational situation in late 13th-century
Florence, with particular reference to the studium of Santa
Croce (Franciscan), emphasizing the neo-Platonist doctrines
of Bonaventure, and the studium of Santa Maria Novella
(Dominican), emphasizing the Thomistic synthesis of Aristotle
and scholastic thought. While the exact relationship of Dante's
intellectual development to these two convents is difficult to
determine, their influence was definitely complementary (cf. Par.
XI-XII). This early Florentine education owed much to
France, where such great teachers as Brunetto Latini, Peter Olivi,
and Remegio de' Girolami received their training. In particular,
Professor Davis cites many striking parallels of Dante's philosophical
and political thought in Remigio, who in his long term as lector
at Santa Maria Novella held to a theologically oriented educational
theory borrowed largely from Aristotle, Augustine, Isidore, and
Hugh of St. Victor.
De Sacco, Giuseppe. "Un dannato dell'Inferno dantesco." In Parola del popolo LVIII, No. 76, pp. 75-77. [1965]
Short account of the historical Pier delle Vigne, who is vindicated
and immortalized in Inferno XIII.
De Sua, William, and Gino Rizzo, eds. A Dante Symposium in Commemoration of the 700th Anniversary of the Poet's Birth (1265-1965). Sponsored by The 1965 Dante Centenary Committee, Dante Society of America, South Atlantic Region. Chapel Hill: The University of North Carolina Press. 213 pp. 23 cm. (University of North Carolina Studies in the Romance Languages and Literatures, No. 58.) [1965]
The thirteen essays, separately listed in this bibliography, are
by Montano, Leo, Bernardo, Hatzfeld, Gifford, Cambon, Gilbert,
Rizzo, Mahoney, Musa, Cecchetti, Cantarino, and Davis.
Donno, Daniel J. "Dante's Argenti: Episode and Function." In Speculum, XL (October), 611-625. [1965]
Contends that the pilgrim's harsh attitude toward his former compatriot
Argenti (Inf. VIII) is entirely reasonable not only in
the immediate context, but also within the poem as a whole, if
we distinguish between Dante-poet and Dante-protagonist.
The Argenti episode at the end of Upper Hell is, along with the
Alberigo episode (Inf. XXXIII) at the end of Lower Hell,
one of two important milestones marking the progressive conformity
of the pilgrim's viewpoint with that of divine justice. For aesthetic
reasons, these instances are staged abruptly and deliberately
designed to create tension between reason and feeling, hence they
shock the reader.
Duncan, Robert. The Sweetness and Greatness of Dante's Divine Comedy, 1265-1965. . . San Francisco: Open Space. Pamphlet (pages unnumbered) 24 cm. [1965]
Lecture given October 27, 1965, at the Dominican College of San
Rafael, as a tribute to Dante whose great work continues to inspire
poets today.
Elina, Tamara. "Dante in Russia." In Parola del popolo, LVIII, No. 76, pp. 9193. [1965]
Reviews the course of translation and study of Dante's works in
Russia from the end of the 18th century to the present.
Eliot, T. S. "The Vita Nuova." In Freccero, ed., Dante, pp. 23-27. [1965]
This is the final part of Eliot's essay on "Dante" in
which he focuses on the Vita Nuova as showing some of the
method, design, and intention of the Comedy and thus important
for a fuller understanding of the latter. Reprinted from Eliot's
Selected Essays (New ed.; New York, 1950).
Fergusson, Francis. "On Reading Dante in 1965: The Divine Comedy as a 'Bridge Across Time.' " In Dante Alighieri: Three Lectures (Washington: Library of Congress), pp. 23-34. [1965]
Argues that the phrase from Shelley is even more significant today,
that the Comedy's speaking to us still is attributable
to Dante's vision of order in the world, his understanding of
the human psyche, and overall, his poetry itself. Dante felt at
one with poets a century before him; he wrote for the future as
well.
Fletcher, Jefferson Butler. Dante. With an introduction by Mark Musa. [Notre Dame, Indiana:] University of Notre Dame Press. 181 p. 20.5 cm. In cloth and in paper. [1965]
An interpretative outline of Dante's works, under the following headings: I. Dante's Personal Confessions, pp. 15-57; II. The Teaching of Dante, 61-117; III. The Art of Dante, 121-163; Conclusion, 167-177. The introduction is a critical presentation of Fletcher's work, originally published in 1916 (New York: Home University Library, 101).
Foster, Kenelm, O. P. "The Mind in Love: Dante's Philosophy." In Freccero, ed., Dante, pp. 43-60. [1965]
While Dante was first a poet, he was also a philosopher in a non-technical
sense, with a passion for discovering order in things and connecting
one truth with another. His "natural thirst" for God,
relating more with operatio than with esse, is
met through the two ways of love and knowledge and in the
convergence of these in the Paradiso. Reprinted from a
paper read to the Aquinas Society of London (Blackfriars, 1956).
Freccero, John, ed. Dante: A Collection of Critical Essays. Englewood Cliffs, New Jersey: Prentice-Hall. 182 p. 21 cm. Cloth; also available in paper. (Twentieth Century Views. A Spectrum Book, S-TC-46.) [1965]
Contains thirteen essays, an introduction by the editor, a chronology
of important dates, notes on the editor and authors, and a selected
bibliography. In his introduction (pp. 1-8), Professor Freccero
presents Dante's poem as a spiritual autobiography, in a union
of exemplum and esperienza analogous to the Incarnation.
The essays, separately listed in this bibliography, are by Auerbach,
Pirandello, Eliot, Contini, Nardi, Foster, Poggioli, Spitzer,
Singleton, Kaske, Passerin d'Entrèves, Poulet, and Williams.
(For reviews, see below.)
Freccero, John. "Dante's Novel of the Self." In Christian Century, LXXXII, No. 40 (Oct. 6), 1216-1218. [1965]
Contends that the pilgrim's frustration in Inf. I dramatizes
the insufficiency of a purely intellectual conversion and that
the journey to virtue required first a descent (Inferno) to
humility, involving a spiritual death of the old self and the
birth of a new self. The subject of conversion is central to the
very literary structure. The Comedy is itself an
exemplum of the poet's conversion experience on the pattern
of biography mixed with symbolism set by St. Augustine in the
Confessions. Dante's naming himself in the poem, in defiance
of medieval convention, lends to the exemplum the force
of vero testimonio. Finally, the duality of the prologue
scene is resolved in the unity of the incarnation at the end of
the poem, where Dante's "word" (his conversion experience)
is made flesh by the convergence of the self that was (pilgrim)
and the self that is (poet).
Freccero, John. "Infernal Inversion and Christian Conversion (Inferno XXXIV)." In Italica, XLII (March), 35-41. [1965]
Contends the pilgrim's turning upside-down on the hide of
Satan derives from a blending of a passage in Plato's Timaeus
concerning the spiritual disorientation of the newly incarnate
soul, which needs righting through education, and the Christian
doctrine of the crucifixion, involving death and resurrection.
Aristotelian thought (De Caelo) furnished the added detail
of right and wrong (left) direction, absolute up and down, in
the cosmos. Also cited is St. Peter's choice to be crucified upside-down,
like the "first man" who fell "head downward,"
in contrast to Christ. Thus, in Inf. XXXIV, 82-84,
the pilgrim's inversion on the crux diaboli represents
a fusion of the Platonic motif of paideia with a suggestion
of imitatio Christi, marking the transition from sin to
penance through a first "conversion."
Freccero, John. "The Sign of Satan." In Modern Language Notes, LXXX (Jan.), 11-26. [1965]
Contends that the Satan depicted in Inferno XXXIV is
not the Satan we expect, made in our image; that the
figure is intended, rather, as a sign for the Pilgrim, not for
us. Dante represents Satan as a parodic crux diaboli--a
zero point between the leaving behind of sin and the movement
to grace in a paradox of conversion.
Frederiksen, Emil. "Dante and Denmark." In Books Abroad, Dante Issue (May), 108-120. [1965]
Reviews Dante's renown and influence in Danish religious, political,
and literary life. In particular, the author cites Dante's influence
on such poets as Paludan-Müller and credits Molbech's
translation of the Comedy with the currency of Dantean
allusions in contemporary Danish literature.
Frigieri, Francesco, and Pierfrancesco Listri. "Dante is Still in Exile." In Italian Quarterly, IX, No. 33 (Spring), 78-87. [1965]
Assays the importance of Dante today among young Italians, who
are required to "study" the Divina Commedia with
"reverential exaltation," but who find their interest
whetted independently by the essays of T. S. Eliot and the more
recent "lecturae Dantis." The authors lament, meanwhile,
that Italy has lagged in honoring her national poet, while the
rest of the world has been actively honoring Dante in the 700th
anniversary of his birth.
Fucilla, Joseph G., and Remigio U. Pane. "Italian Language and Literature." [Section of the "1964 MLA International Bibliography of Books and Articles on the Modern Languages and Literatures," compiled by Paul A. Brown and Harrison T. Meserole, etc.] In PMLA, LXXX, No. 2 (May), 210-238. [1965]
Includes a section on Dante, entries 9272-9432.
Gable, Sister Mariella, O.S.B. "The Concept of Fame in Teilhard de Chardin and Dante." In American Benedictine Review, XVI, 341-358. [1965]
Illuminates with concrete examples from Dante's Comedy, especially
Par. I and VI, Chardin's ideas concerning work and the
pursuit of fame as a good thing from the standpoint of his cosmogenetic-Christogenetic
theory of the universe.
Gennaro, Luigi. "Dante sarà beatificato?" In Parola del popolo, LVIII, No. 76, pp. 73-74. [1965]
Contends there is a good case for the eligibility of Dante for
sainthood.
Gifford, George H. "Metrical Patterns in the Divine Comedy." In De Sua and Rizzo, eds., A Dante Symposium, pp. 75-85. [1965]
Presents a statistical analysis of various kinds of deviations
from the strict tercet rhythm in the Comedy, noting that
the deviations, while employed more frequently, with dramatic
effect, in the Inferno, grow progressively fewer in succeeding
canticles, as the tone becomes more meditative.
Gilbert, Allan H. "Beatrice in Dante's Plot." In De Sua and Rizzo, eds., Dante Symposium, pp. 99-113. [1965]
Submits that the mention and presence of Beatrice forward the
action in the Comedy and that Dante may even have inserted
appropriate tercets to this purpose. The scene of Beatrice's unaccountable
haughtiness towards Dante at the top of Purgatory is construed
by Professor Gilbert as high comedy.
Gilbert, Allan H. Dante's Conception of Justice. New York: AMS Press, Inc. ix, 244 p. 20.5 cm. [1965]
Reprint of the well known work, first published in 1925 (Durham,
North Carolina: Duke University Press). According to the author
in his preface: "As the basis for my discussion I have taken
the commentary of St. Thomas Aquinas on the fifth book of the
Ethics of Aristotle, which is wholly concerned with justice."
In an appendix (pp. 183-231) are given "The Originals
of Passages Given in English in the Body of the Work." Indexed.
Gilbert, Allan H. "Spirit and Flesh in Dante's Commedia." In Italica, XLII (March), 8-20. Also in Parola del popolo, LVIII, No. 76, pp. 100-104. [1965]
Reviews the various ways in which Dante handles his characters
in the world beyond and concludes that while defining them as
shades or souls, more often than not he treats them as real persons
of flesh and blood, as they were on earth. Dante's poetic technique
deliberately embraces such inconsistency in the interest of varied
narrative effect.
Gilson, Etienne. "A la recherche de l'Empyrée." In Revue des études italiennes, XI, Nos. 1-2-3 (jan.-sep.) [Special number: Dante et les mythes: tradition et rénovation (Paris: Didier)], pp. 147-161. [1965]
Points out that on his poetic journey to God Dante uses the term
empireo but a single time, in Inf. II, 21, while
he defines the concept very late in the poem, in Par. XXVII,
109-111.
Gilson, Etienne. "Vérité et beauté dans la Comédie." In Osservatore romano, 4 luglio, p. 5. [1965]
Seeking and achieving truth as well as beauty in his art, Dante
is the perfect philosopher-poet.
Giraldi, Riccardo. "Dante esule: orgoglio del mondo." In Parola del popolo LVIII, No. 76, pp. 64a-65. [1965]
Focuses on Dante the man of humanity who emerges from the drama
of political action and eventual exile an even greater man.
Goldstein, Harvey D. "Enea e Paolo: A Reading of the 26th Canto of Dante's Inferno." In Symposium, XIX (Winter), 316-327. [1965]
Contends that just as Poggioli saw in the Paolo and Francesca
episode an anti-romance, so must we see in Ulysses' last
voyage an anti-epic. In Inferno XXVI, the author finds
an over-riding ingredient of irony, patently directed against
Florence of great "fame," against Ulysses whose "epic"
voyage ends but in Hell, and against even Dante himself who must
take care that his genius be guided by virtue. Several nautical
passages in Purgatorio I and II and Paradiso
II and XXVII, as well as Inferno XXVI, are cited
in support of the ironic recall of Ulysses' unsuccessful journey
in contrast to the poet-wayfarer's own poetic journey which
leads successfully to virtù.
Governa, Sergio Carlo. "Dante Alighieri." In Parola del popolo, LVIII, No. 76, pp. 95-96. [1965]
A tribute to Dante, his genius, and his art, by a poet and painter.
Hardie, Colin G. "A Note on Purgatorio IX, 16-18." In Books Abroad, Dante Issue (May), 74-80. [1965]
Troubled by the body-soul separation suggested by these lines,
the author explores the possible variants, by reversing the positions
of the più and men in v. 17, according to
Pietro Alighieri's reading, or by having men in both positions.
Harrington, David V. "Benedetto Croce's Dante Criticism: A Review." In Western Humanities Review, XIX (Winter), 3-16. [1965]
Submits that by his own example Croce impressed upon students
and critics of Dante the importance of an aesthetic approach to
the Commedia.
Hatzfeld, Helmut. "About Direct Aesthetic Approaches to the Commedia." In Books Abroad, Dante Issue (May), 19-24. [1965]
Surveys a number of recent commentators whom Dante has dragged
existentially into his spell and concludes that, despite the myopia
of many modern critics, the Comedy touches us profoundly,
even beyond the aesthetic catharsis, since we today "are
bound to hate, love, suffer the same way and under similar conditions
as he." Given our modern sensitivity to art, we also respond
to Dante's painterly and sculptural effects.
Hatzfeld, Helmut. "Features of the Poetic Language of the Divina Commedia." In De Sua and Rizzo, eds., Dante Symposium, pp. 59-73. [1965]
Drawing parallels with Giotto's style, the author remarks briefly
on Dante's, under the following headings: adjectival segmentation,
gerund constructions, key expressions, individual rhythm, classical
solemnity, verbal metaphors, fusion of the real and the metaphysical,
and paradox of static dynamism.
Healy, Elliot D. "Some Aspects of the Troubadour Contribution to the Dolce Stil Nuovo." In John Mahoney and John Esten Keller, eds., Mediaeval Studies in Honor of Urban Tigner Holmes, Jr. (University of North Carolina Studies in the Romance Languages and Literatures, No. 56; Chapel Hill: University of North Carolina Press), pp. 89-102. [1965]
Shows there is less of a gap between troubadour and stilnovisti
poets, Dante included, than so often assumed, by citing selected
texts which indicate the later troubadours, particularly after
the Albigensian Crusade, "were moving rapidly toward a sweet
new style of their own in their changing attitude toward love,
in the sweetness and suavity of their verse, and in the increasing
tendency toward a transfiguration of the image of the lady."
Italian Quarterly, IX, No. 33 (Spring). [Dante number.] 87 p. illus. [1965]
The six pieces, listed separately in this bibliography, are by
Ciardi, Bergin, Radcliff-Umstead, Speroni, Le Guin, and Frigieri
and Listri. The issue also contains "A Selection from Dante's
Iconography," consisting of fourteen portraits of Dante (all
but one in full color) from various epochs.
Italica, XLII, No. 1 (March). Special Number: "A Homage to Dante." 211 p. [1965]
The thirteen articles, separately listed in this bibliography,
are by Bergin, Gilbert, Rossi, Freccero, Paolucci, Stambler, Scott,
Aguzzi-Barbagli, Sinicropi, Mathews, Musa, Abrams, and Bottiglia.
Jacob, E. F. "The Giants (Inferno XXXI)." In F. Whitehead, A. H. Diverres, and F. E. Sutcliffe, eds., Medieval Miscellany Presented to Eugène Vinaver by Pupils, Colleagues and Friends (Manchester: Manchester University Press; New York: Barnes and Noble), pp. 167-185. [1965]
Explores the Classical, Biblical, and early medieval background
to Dante's giants in Inferno XXXI and also in the
Comedy generally. For example, the author traces the image
of Nimrod from a hunter before the Lord to a hunter against
the Lord, a tyrant, and sower of pagan worship. The other
giants in the canto are also discussed in terms of the previous
literature available to Dante. Tribute is paid to Dante's skill
in hiding the legendary derivations of the giants in the texture
of his poetry.
Jones, Leroi. The System of Dante's Hell. New York: Grove Press. 154 p. [1965]
Autobiographical novel about the author's early years, lyrically
narrated in a series of spiritual states represented under the
sign of various Dantean categories, such as incontinence, violence,
fraud, etc.
Kantorowicz, Ernst H. Selected Studies. Locust Valley, New York: J. J Augustin. xv, 458 p. front., 157 figs. on 40 plates. 31 cm. (25 studies reprinted here.) [1965]
Includes two studies relating to Dante: (1) "Dante's 'Two
Suns'," pp. 325339, reprinted from Semitic and Oriental
Studies Presented to William Popper (University of California
Publications in Semitic Philology, XI; Berkeley and Los Angeles:
University of California Press, 1951), pp. 217-231; and (2)
"The Sovereignty of the Artist: A Note on Legal Maxims and
Renaissance Theories of Art," pp. 352-365, reprinted
from De artibus Opuscula XL: Essays in Honor of Erwin Panofsky,
ed. Millard Meiss (New York: New York University Press, 1961),
pp. 267-279. In the first, the author finds already current
in Dante's time and traceable to Byzantine origins the image in
Purgatorio XVI, 106-108, of the two suns to
represent Pope and Emperor with equal sovereignty over men--in
contrast to the hierarchical sun-moon symbolism denied by
Dante in the Monarchia as well. For the second study, see
below, under Addenda.
Kappler, Frank. "The Divine Poet's Totality." In Life, LIX, No. 25 (17 Dec.), 38-64. [1965]
A general essay on Dante and his works in words and pictures.
Kaske, R. E. "Dante's DXV." In Freccero, ed., Dante, pp. 122-140. [1965]
An abridgement of the first two parts of his "Dante's 'DXV'
and 'Veltro'," in Traditio, XVII (1961), 185-254.
(See 80th Report, 29.)
Klein, Jacob. "On Dante's Mount of Purgation." In Cesare Barbieri Courier VII, No. 2 (Spring), 24-33. [1965]
Considers the duality of Dante's Purgatorio; the interlocking
not only of verse, but also of theme from circle to circle; and
the punishments as inversions of sins. While penitence provides
effective expulsion of sin, the opposite virtue is but a formal
substitute for the given vice. Finally, true philosophy is seen
possible only when willing of the good unites with intellection
of the true.
Le Guin, Charles A. "Michelangelo's Florence and Dante's: An Essay in Comparative History." In Italian Quarterly, IX, No. 33 (Spring), 56-77. [1965]
In an attempt to write history backwards as a means of causal
analysis, the author first sketches a comparative study of the
changing Florentine skyline between Michelangelo's and Dante's
times, concluding that the Renaissance palazzi are, symbolically,
but "medieval fortress towers gone ripe," and then traces
the death of the Republic in 1530 to the birth of the oligarchical
Republic in the Ordinances of 1293, which marked the abandonment
of Florentine attempts at democracy.
Leo, Ulrich. "Ueber die 'Vita Nuova'." In De Sua and Rizzo, eds., A Dante Symposium, pp.35-44. [1965]
In this essay, which first appeared as a "Nachwort"
to Dante, Vita Nuova: Das neue Leben (Frankfurt-am-Main:
Fischer, 1964), Professor Leo discusses the general composition
of the Vita Nuova, its intimate relationship to and importance
for the understanding of the Commedia. He also rejects
the classification of the Vita Nuova, and the Commedia
too, as allegory; reaffirms his theory of a later rifacimento,
demonstrated in an earlier article, "Zum 'Rifacimento'
der Vita Nuova" (Romanische Forschungen, LXXIV [1962];
see 81st Report, 25-26); and briefly outlines the
architectonic structure of the work.
Levy, Bernard S. "Chaucer's Wife of Bath, the Loathly Lady, and Dante's Siren." In Symposium, XIX (Winter), 359-373. [1965]
In the course of his interpretation of the Wife of Bath's Tale,
Professor Levy shows that the Wife's Prologue and the
pillow lecture of the loathly lady in the Tale are analogues
to Dante's hag-siren and her song in Purgatorio, XIX,
1-33.
Locke, F. W. "Dante's Perilous Crossing." In Symposium, XIX (Winter), 293-305. [1965]
Construes "sulla fiumana" (Inferno II, 108) as
literally "on the river" to imply an equally
figurative bridge on which the Heavenly Ladies observe Dante from
above attempting to cross over the perils of Hell to the Earthly
Paradise and Heaven. The author cites from Saint Gregory, the
Saint Patrick's Purgatory, and Rainerus of Liège
passages containing elements of the same figure, by which Dante
could expect his reader aware of the circumambient tradition to
recognize a microcosm of the poem's structural movement here in
this initial pattern of the crossing of a perilous bridge to a
land of light.
Lograsso, Angeline H. "From the Ballata of the Vita Nuova to the Carols of the Paradiso: A Study in Hidden Harmonies and Balance." In 83rd Annual Report of the Dante Society, 23-48. With four plates. [1965]
Contends that in Vita Nuova XII the motif of circularity
of the ballata (a round dance) forms a subtle balance and
harmony with the figure of the circle in the prose (Ego tanquam
circuli . . . ) relating to the traditional figure
of Love. Miss Lograsso finds a further intimate relationship with
the images of circularity, harmony, and balance in the Commedia
at such significant loci as Purgatario XXIX, 121-132,
and XXXI, 130-135; in the many rounds of dance and song in
the Paradiso, such as in Cantos XII-XIV; and in the
final circle image at the very end of the poem, where Dante's
will achieves perfect harmony with divine love.
Lucrezi, Bruno. "Dante e l'Italia." In Parola del popolo, LVIII, No. 76, pp. 63a-64. [1965]
A tribute to Dante's cardinal role in the spiritual formation
of Italy.
Maggioni, Sister M. Julie. "The Paradiso and Richard of St. Victor." In Romance Notes, VII (Autumn), 87-91. [1965]
Examines the frequency and significance of verbs used by Dante
in the Paradiso which are compounded with the prefix in-
and derived from unusual radicals; and discusses them in relation
to the final book of Richard of St. Victor's Benjamin Major.
Mahoney, John. "The Altra Via and Guido as Attendant Lord." In De Sua and Rizzo, eds., a Dante Symposium, pp. 141-149. [1965]
Contends that our puzzled response to Ulysses (Inf. XXVI)
and Guido da Montefeltro (Inf. XXVII) is resolved and
enriched by Tennyson and T. S. Eliot, whose Ulysses and
Prufrock, taken together, reinforce Dante's intended effect
by showing that Ulysses and Guido contrast with one another and,
taken together, mutually identify their flaws. Dante in turn contrasts
with these two figures: he took the same road as Ulysses and turned
away from the same course as Guido-Prufrock, with the guidance
of Christian Revelation making all the difference.
Mandelstam, Osip. "Talking about Dante." In Books Abroad, Dante Issue (May), 25-47. [With "A Note on Osip Mandelstam" by Gleb Struve, pp. 47-48.] [1965]
In this heretofore unpublished essay written in the 1930's, the
Russian poet ranges broadly through the Comedy, revealing
a sincere appreciation of Dante's art in its complexity of form,
meter, and simile and of the poem's structural whole. He considered
Dante "the greatest, the uncontested master of reversible
and convertible poetic material."
Mangravite, Peppino G. "Dante Through Three Artists'
Eyes." In Columbia Library Columns, XV, No.
1,17-27. [1965]
Discusses Botticelli, William Blake, and Robert Rauschenberg,
who in their translations of Dante's words "into visual vernacular
of their time" represent three views of art--the classical
imitative, the moralistic, and the exalted.
Marraro, Howard R. "Bibliografia dantesca americana dal Settecento al 1921." In Atti dell'Istituto veneto di scienze, lettere ed arti (Classe di scienze morali e lettere), CXXIII (1964-65), 189-277. [1965]
Alphabetical listing of 1191 entries, including "addenda."
"Index of Names," pp. 267-277.
Marraro, Howard R. "Dante e la cultura americana." In Parola del popolo, LVIII, No. 76, p. 78. [1965]
Outlines briefly the growth of Dante studies in America from the
early l9th century to the present.
Mathews, J. Chesley. "Dantean Influence in the Poems of T. W. Parsons." In Italica, XLII (March), 135-168. [1965]
To enhance our already established knowledge of Parsons' profound
interest in Dante and of his translations, Professor Mathews here
documents the extensive influence of, and reference to, Dante
in his own poetry.
Mathews, J. Chesley. "The Interest in Dante Shown by Nineteenth-Century American Men of Letters." In Dante Alighieri: Three Lectures (Washington: Library of Congress), pp. 1-22. [1965]
Traces the earliest awakenings of American interest in Dante and
summarizes this interest in each major American writer of the
l9th century in turn, as attested in his writings. The authors
covered are: Irving, Bryant, Emerson, Hawthorne, Whittier, Poe,
Holmes, Thoreau, Melville, Whitman, Lowell, and Longfellow.
Meiss, Millard. "An Illuminated Inferno and Trecento Painting in Pisa." In Art Bulletin, XLVII (March), 21-34. [1965]
An article drawn from his contribution to the forthcoming volume
The Illuminated Manuscripts of the Divine Comedy (Bollingen
Series), in collaboration with Peter Brieger and Charles S. Singleton.
Here Professor Meiss studies the superb Chantilly Ms. 1424 (Musée
Condé) containing the Inferno with Latin commentary
and dichiarazione poetica by Fra Guido da Pisa.
The Trainesque illuminations are particularly important for the
development of 14th-century painting in Pisa. Includes 36 halftone
figures, with several from the Chantilly codex.
Montano, Rocco. "Dante's Style and Gothic Aesthetic." In De Sua and Rizzo, eds., A Dante Symposium, pp. 11-33. [1965]
Rejecting many commonly held views, Professor Montano contends
that the Renaissance was not a turn toward secularism, but a revolt
against the irrepressible intellectualism which characterized
theological speculation of the 13th and 14th centuries and the
Gothic aesthetic as well. He construes a number of selected texts
as showing that, far from being imbued with mysticism, the Gothic
world had led to excesses of rational complexities, ingenuity,
technicalities, and subtleties; that art, even as Dante himself
understood it, was concerned with form, style, and invention,
not with content or morality; that the Gothic cathedral itself
was not symbolically or metaphysically inspired, but determined
by artistic ingenuity and technical necessity. Professor Montano
refers to Dante's Convivio and De vulgari eloquentia
and dwells particularly on Purg. XXIV, 52-54,
as a statement of the scientific treatment of love, not a romantic
interpretation of love as inspiration.
Morawski, Kalikst. "The Tragic Aspect of the Farinata Episode in the Inferno." In Books Abroad, Dante Issue (May), 58-68. [1965]
Defines classical tragedy and its components in Aristotelian terms
and demonstrates how, even though Dante never read the Poetics,
the elements of the tragic hero are contained in the Farinata
episode (Inf. X), which is easily convertible into
a small drama.
Musa, Mark. "'There Is a Place down There . . .' (Inferno, XXXIV)." In De Sua and Rizzo, eds., A Dante Symposium, pp. 151-158. [1965]
Resolves apparent difficulties of logic and grammar in Inf.
XXXIV, 121-127, by establishing a spatial relationship
with respect to Mount Purgatory and taking luogo voto as
the antecedent of là giù. Virgil's speech
can thus be construed to end with v. 132, instead of the customary
v. 126, while Dante's policy of auctorial intervention and the
thematic consistency are preserved.
Musa, Mark and John Porter Houston. "Dante, 'La Beatrice,' and Baudelaire's Archaism." In Italica, XLII (March), 169-174. [1965]
Asserting it is time to recognize Baudelaire as an archaizing
poet who drew on a large body of religious symbolism, the authors
contend that he draws on Dante too, for example, in the poem "La
Beatrice," but with a demonic reversal of his imagery.
Musacchio, Enrico. "Gramsci, Dante and Literary Criticism." In Proceedings of the Pacific Northwest Conference on Foreign Languages, XVI, 18-26. [1965]
Discusses Gramsci's Marxist criticism of Croce's distinction between poetry
and structure and briefly examines Inferno X, Gramsci's
own test case, to underscore the importance of structure so long
as it is considered in its aesthetical relevance.
Nardi, Bruno. "Dante and Medieval Culture." In Freccero, ed., Dante, pp. 39-42. [1965]
Contends that Dante's philosophy is not simply Thomism, but is
drawn from many other sources as well, including Platonist thought.
Translated by Yvonne Freccero from Nardi's introduction to his
Dante e la cultura medievale (Bari, 1942).
Nicotra di Leopoldo, Giovanni. "L'attualità di Dante Alighieri: 1265-1965." In Parola del popolo, LVIII, No. 76, pp. 89-90. [1965]
Homage to Dante as standard-bearer of freedom and justice
for mankind.
Nist, John. "The Impurities in Dante's Commedia." In Books Abroad, Dante Issue (May), 49-57. [1965]
Cites some of the "prejudices" that have favorably disposed
critics towards Dante's Comedy until now and proceeds to
play Devil's Advocate by taking the poet to task for his many
"impurities" against which the greatness of his work
must be considered. For example, the author contends that Dante's
desire to become laureate mars his creation; that without church
or state to sing, he sings Scholasticism; that the latter is saved
from theological deadness only by the infusion of Courtly Love
through Beatrice; that the poem is all-too-human, not
divine; that Dante prefers to know about, rather than to
know; that this Odyssean triumph of Zeus-Athena over Apollo-Aphrodite
at the plains of Troy entails the failure of Western civilization
itself; that Dante fails to achieve conviction of God because
he must concentrate on his highly rationalized system, which is
a Western system, not the truly divine poetry of the Christ, which
is Eastern and based on Paradoxical Logic.
Nizeteo, Antun. Dante i Hrvati. U povodu sedamstote godišnjice pjesnikova rodjenja, 1265-1965. Buenos Aires. [28] p. 22 cm. Reprinted from Hruatske Revije, XV, No. 3, 189-207, with an added summary in English, p. [27]. [1965]
Surveys the considerable Croatian interest in Dante from the Renaissance
to date, beginning with the magnificent Brescia Dante of 1487,
credited to the master printer Dobri Dobri evi (Boninus de Boninis,
1454-1528). Dante's influence is noted in earlier Croatian
writers, while some l9th- and 20th-century translations
of the Commedia in Croatian are discussed. Himself a poet,
Mr. Nizeteo (of the Cornell University Library) has appended his
own versions in Croatian of Per una ghirlandetta and Così
nel mio parlar, pp. [23-25].
Nogami, Soichi. "Dante nel Giappone." In Parola del Popolo, LVIII, No. 76, pp. 70-71. [1965]
Brief historical account of scholarly interest in Dante in Japan.
Nogami, Soichi. "The Dantean and Buddhist Versions of Hell." In Books Abroad, Dante Issue (May), 141-143. [1965]
Outlines the penal system of Inferno and describes the
Buddhist Naraka, according to the book of Gusharon. As points
of difference in the Buddhist hell, the author notes a lack of
exact retribution and the slaying of animals as a grave sin.
Novelli, Gino. "Dante scrittore." In Parola del popolo, LVIII, No. 76, pp. [1965]
Discusses Dante the writer, the unique instrument of the terza
rima which he himself created for his masterpiece, and his
inimitable art.
Orsini, G. N. G. "Dante and Anglo-American Critics." In Books Abroad Dante Issue (May), 134-135. [1965]
Asserts that the line, "la sua volontade e nostra pace"
(Par. III, 85), beginning with its praise by Matthew Arnold,
has been a favorite among Anglo-American critics, reflecting their
greater concern with Dante as a moral thinker and believer than
as a poet.
Paolucci, Anne. "Art and Nature in the Purgatorio." In Italica, XLII (March), 42-60. [1965]
Delineates Dante's theory of progression in the fine arts, as
exemplified in the Purgatorio, from the material and tangible
to the immaterial and intangible, articulated by human agents.
Poetry likewise passes from the narrative and epic to the lyrical,
and on to synthesis in the dramatic. The culmination of all art
is the restored natural beauty of the garden at the top of Purgatory,
and Dante struggles to match his poetry to the task at hand.
La Parola del popolo. (Chicago) [Dante issue:] "Omaggio a Dante." LVIII, No. 76, pp. 55-120. [1965]
An international miscellany of articles, tributes, testimonials,
and statements, with many illustrations of various kinds. Selected
pieces of some length are separately listed in this bibliography.
Passerin d'Entrèves, Alessandro. "Civitas." In Freccero, ed., Dante, pp. 141-150. [1965]
Submits that Dante considered the city the "typical"
form of human association and only later enlarged the scope of
this notion to include the Empire as likewise rational and natural.
He rejected the Papal claim to supreme authority, but recognized
the need for some higher authority to prevent anarchy and assure
the blessings of civic life. Reprinted from Passerin d'Entrèves'
Dante as a Political Thinker (Oxford, 1955).
Pastorello, Domenico. "Dante commemorato nel 1903 da quattro accademici." In Parola del popolo, LVIII, No. 76, pp. 107-109. [1965]
Submits a 308-line poem written 62 years before by an adolescent
rebelling against the study of Dante's Commedia in school.
Pellegrini, Anthony L. "American Dante bibliography for 1964." In 83rd Annual Report of the Dante Society, pp. 49-66. [1965]
With brief analyses.
Pézard, André. "Saint Peter's Needle (Convivio, IV, xvi, 6)." In Books Abroad, Dante Issue (May), 105-107. [1965]
Examines Dante's usage of San Piero and San Pietro and
suggests a Florentine church of that name as the subject of much
talk at the time, by which mocking allusion Dante wished to stress
that notoriety is not nobility, his subject in Convivio IV.
Pirandello, Luigi. "The Poetry of Dante." In Freccero, ed., Dante, pp. 14-22. [1965]
A review of Croce's La poesia di Dante (1921), rejecting
the latter's aesthetics which reduced the Comedy to isolated
fragments of lyricism in a structure of non-poetry. Croce
failed to see the poetic synthesis in which allegory forms an
integral part of the poem. Originally published in L'idea nazionale,
Sept. 14, 1921; the translation, by Gian Paolo Biasin, is
based on the text in Pirandello's Saggi, poesie e scritti vari
(Mondadori, 1960).
Poggioli, Renato. "Paolo and Francesca." In Freccero, ed., Dante, pp. 61-77. [1965]
This well known essay originally appeared under the title, "Tragedy
or Romance? A Reading of the Paolo and Francesca Episode in Dante's
Inferno," in PMLA, LXXII, 3 (June 1957), 313-358.
(See 76th Report, 50.)
Poggioli, Renato. The Spirit of the Letter: Essays in European Literature. Cambridge, Mass.: Harvard University Press. xi, 373 p. 24 cm. [1965]
Contains his essay, "Tragedy or Romance? A Reading of the
Paolo and Francesca Episode in Dante's Inferno" (pp.
50-102). (See preceding item. For reviews, see below.)
Poulet, Georges. "The Metamorphoses of the Circle." In Freccero, ed., Dante, pp. 151-169. [1965]
Traces the changing concepts of circle and sphere as originally
applied to God, but changed during the Renaissance to include
man; finally, in the eighteenth century, man embraces within his
gaze no longer the sphere of God, but the sphere of scientific
knowledge. Translated from Poulet's introduction to his Les
Métamorphoses du cercle (Paris, 1961).
Provenzal, Dino. "Abbiamo scoperto il volto della sposa di Dante." In Parola del popolo, LVIII, No. 76, p. 94. [1965]
Describes a 15th-century portrait, presumably copied from
a medieval source, of Dante's wife, Gemma Donati, which was recently
discovered in the castle of the Stecchini family.
Radcliff-Umstead, Douglas. "Dante on Light." In Italian Quarterly, IX, No. 33 (Spring), 30-43. [1965]
Contends that the basis of the Comedy is in light; reviews
some of the background tradition of light metaphysics from Plato
to Plotinus and St. Augustine to Duns Scotus' translation of St.
Denis (Dionysius the Areopagite); comments on the light imagery
in Purg. XVI; and briefly traces the development
of the "two suns" as metaphor of Pope and Emperor.
Ray, Lila. "Dante." In Books Abroad, Dante Issue (May), 6-8. [1965]
Places Dante in a line of explorers of the underworld. His great
Christian poem accommodated the enlargement of human consciousness
of his time; now, the author suggests, a new poet is needed to
comprehend the greater freedoms of today.
Rheinfelder, Hans. "Dante's Goal Achieved: Vision of the Essence of the Trinity." In Books Abroad, Dante Issue (May), 100-104. [1965]
Treats the theological conception of the Trinity and Dante's handling
of it in the final canto of the Comedy. The author suggests
sources of the epithets to Mary as her mediation is sought to
permit Dante a direct vision of God.
Rizzo, Gino. "Dante and the Virtuous Pagans." In De Sua and Rizzo, eds., Dante Symposium, pp. 115-139. [1965]
Examines against the theological background Dante's treatment
of virtuous pagans and finds that Dante differs from Aquinas in
placing pagans in Limbo (Inf. IV), for he considered them,
as exemplified by his chosen guide, Virgil, without sin, but only
lacking in the three holy virtues. Cato (Purg. I) is
saved through his "implicit" faith in divine Providence;
Statius (Purg. XXI-XXII) was converted by the unknowing
light bearer, Virgil, as an instrument of God; Ripheus (Par.
XX) attains salvation, as an example of God's "hidden"
judgment, through special grace. By means of this sequence of
examples the pilgrim gradually comprehends the problem of the
salvation of virtuous pagans and the theme itself represents an
essential structural element of Dante's itinerarium mentis
in Deum.
Rossi, Joseph. "Dante and What the American Undergraduate Has Taught Me about Him." In News Letter of Phi Sigma Iota, XXXVII (Nov.), pp. 1, 3, 4, 24. [1965]
Reports that his thirty-odd years of teaching Dante have
revealed that what in the Commedia is most important to
students is the sense of moral responsibility.
Rossi, Louis R. "The Devouring Passion: Inferno VI." In Italica, XLII (March), 21-34. [1965]
Construes the central image of the canto in terms of disintegration
and dissolution, with which are associated physical gluttony and
political avarice as allied devouring passions. The figure of
Ciacco, with his prophecy, in Inf. VI, which initiates
the theme of the City, is reflected in another glutton, Forese
Donati, and his prophetic vision in Purg. XXIV, while the
image of a corrupting downpour recurs with the political theme
of instability in Purg. XX and in the last political canto,
Par. XXVII.
Rossi, Louis R. "The Fox Outfoxed (Inferno XXVII)." In Cesare Barbieri Courier, VII, No. 2 (Spring), 13-23. [1965]
Treats of Guido da Montefeltro, a fox as military strategist and
opposed to the Pope. Even after having become a Franciscan late
in life, he could not resist abetting a new pope with foxy counsel;
thus he suffers the effects of his total character. The author
also touches on the nature of Guido's tragedy in the light of
Auerbach, Bradley, and Aristotle, and applies a concept of spiritual
waste to other characters in the Inferno.
Saly, John. "Keats's Answer to Dante: The Fall of Hyperion." In Keats Shelley Journal, XIV (Winter), 65-78. [1965]
Contends that Keats not only knew more of Dante's work than the
Inferno, but also must have read some of the poem in the
original Italian.
Saner, Reginald. "Inferno X: Guido and the città partita." In Philological Quarterly, XLIV (Jan.), 1-16. [1965]
While acknowledging previous interpretations of individual passages,
the author contends that undue focus on the figure of Farinata
results in a distorted reading of Inferno X. He stresses,
rather, the canto's important thematic current of "civil
chaos and its tragic consequences," as poignantly evinced
in the conversation of Dante, Farinata, and Cavalcante (including
Guido), three victims of Florentine upheaval.
Sapegno, Natalino. "Commento al primo canto del Purgatorio." In Parola del popolo, LVIII, No. 76, pp. 84-85. [1965]
The Italian text of Purg. I and brief outline of
the argument.
Saragat, Giuseppe. "Il più grande degli italiani." In Parola del popolo, LVIII, No. 76, pp. 58-59. [1965]
A commemorative appreciation of Dante and an exhortation to read
him.
Scott, J. A. "Dante's 'Sweet New Style' and the Vita Nuova." In Italica, XLII (March), 98-107. [1965]
To clear up historical misconceptions, the author asserts that
the dolce stil nuovo is not to be identified with
a school of poets, but with Dante's own discovery of a purely
disinterested love with praise of Beatrice: she inspires the love
and is its terminus.
Singleton, Charles S. "In Exitu Israel de Aegypto." In Freccero, ed., Dante, pp. 102-121. [1965]
Reprinted from 78th Annual Report of the Dante Society (1960),
1-24. (See 79th Report, 48-49.)
Singleton, Charles S. "Inferno XIX: O Simon Mago!" In Modern Language Notes LXXX (Jan.), 92-99. [1965]
Contends that the story of Simon Magus's headlong fall and broken
shank as found in the apochryphal Acts of Peter and in
many iconographical renderings in cathedral sculpture must have
provided the master pattern for Dante's central scene in the ditch
of the Simonists. Two sample sculptures, shown in the accompanying
plates, include the figures of Peter and Paul alongside the upturned
Simon, thus forming a total scene which is exactly mirrored in
that of Dante and Virgil standing over the shank-kicking
Nicholas III.
Singleton, Charles S. "The Poet's Number at the Center." In Modern Language Notes LXXX (Jan.), 1-10. [1965]
Focuses on Purgatorio XVII as the central canto in the
Comedy numerically and thematically, with its exposition
of Love which informs both God's world and the poet's world. This
central canto is marked off and framed by matching canto lengths
in a seven-canto pattern of 151, 145, 145, 139, 145, 145,
and 151 verses, respectively. The number 7 is seen as the poet's
own number imitating God in analogy. Professor Singleton sketches
out various significances of the number 7, indicating that there
is more to be done here. For example, we have at the center of
the poem another pivotal point of conversion, extending from Canto
XIV to Canto XX, with XVII at the center of the sequence.
Singleton, Charles S. "The Vistas in Retrospect." In Atti del Congresso Internazionale di Studi Danteschi . . . (20-27 aprile 1965), Vol. I (Firenze: G. C. Sansoni), pp. 279-304. [1965]
Asserts that for full experience of Dante's Comedy we must
live the poem from within, sympathetically and imaginatively.
Using the analogy of a simple sentence, moreover, Professor Singleton
contends that full understanding of the poem on its own terms
of evolving meaning, or revelation, is realized in retrospect,
by looking back, in memory, from the end and also from certain
"pivotal points" along the way. The christocentric structure,
for example, can be seen not only at the poem's end, but also
at the end of Purgatorio and even in Inferno. He
interprets in particular the christocentric pattern of three allusions
to the ruina in Inferno V, XII, and XXI (with
completion of the "sentence" in XXIII). Dante's "ideal
reader," experiencing the poem for the first time, comes
into full awareness of the goal of the journey through the Inferno
as a descent into humility, and also full meaning of the ruina,
when the wayfarer girds the rush in Purgatorio I.
The events at the top of Purgatory as another goal are seen
to complete a process of justification. Only by recapturing certain
modes and patterns of Christian thought long since lost, but assumed
by Dante on our part, can we experience the evolving meaning of
the Comedy in depth according to the poetic intent.
Sinicropi, Giovanni. "Di un commento al Paradiso erroneamente attribuito al Sercambi." In Italica, XLII (March), 132-134. [1965]
Recounts the vicissitudes by which the commentary on the Paradiso
in Ms. 74, Laur.-Medic.-Pal., came to be
attributed to Sercambi in Bandini's catalogue of 1793 and
only later was discovered by Novati to be actually copied from
Jacopo della Lana.
Slonim, Marc. "The Miracle of Dante." In New York Times Book Review, Aug. 29, p. 6. [1965]
Reviews some recent Dante scholarship and the centenary observances
in Italy.
Spada, Nello, and Carol Z. Rothkoph. The Divine Comedy: Hell, Purgatory, Paradise. Analytic Notes and Review. . . New York: American R. D. M. Corporation. 147 p. illus. 21 cm. (Study Master. Olympian Edition, 0-42). [1965]
Paperback manual containing sections on the following: biographical
information on Dante; notes on Italian pronunciation; introduction
to the form and structure of Dante's poem; canto-by-canto
summaries; index to names in the canto summaries; some notes on
Dante criticism; suggested study topics; annotated bibliography;
and index. Comes with a diagram of each of Dante's three cantiche.
Speroni, Charles. "The Motif of the Bleeding and Speaking Trees of Dante's Suicides." In Italian Quarterly, IX, No. 33 (Spring), 44-55. [1965]
While noting that Dante probably drew more immediately from classical
sources--Seneca's Hercules furens and especially Virgil's
Aeneid, for his treatment of suicides and squanderers in
Inf. XIII, the author cites various other instances of
soul-inhabited trees from popular animistic traditions in
many cultures of East and West both before and after Dante.
Spivack, Charlotte K. "The Journey to Hell: Satan, the Shadow, and the Self." In Centennial Review, IX, No. 4, 420-437. [1965]
Examines the tropological aspects of Dante's hell as depicting a state of mind that is hell in this life. Evil actions bring on enslavement, futility, bestiality, and isolation, while evil itself is illusory and hell, the refusal to assert reality. Dante's journey to redemption is paralleled in the 20th-century search for integration of the self and personal salvation.
Spitzer, Leo. "Speech and Language in Inferno XIII." In Freccero, ed., Dante, pp. 78-101. [1965]
The essay originally appeared in Italica, XIX (1942),
81-104, and has been reprinted. (See 77th Report, 61,
and 79th Report, 58-59.)
Stambler, Bernard. "The Confrontation of Beatrice and Dante: Purgatorio XXX." In Italica, XLII (March), 61-97. [1965]
Construes the benedictus qui venis as referring to Dante,
who does not realize he is the expected bridegroom
and thus provokes Beatrice's upbraiding. In the Comedy, moreover,
Dante has superseded his earlier consideration of the earthly
paradise; to the beatitudo huius vitae he would add the
virtues of Faith, Hope, and Charity as attainable in this life.
The three cantiche would then represent three "utopias"
relating to life on earth. For example, the Paradiso contains
not those who have achieved all their highest desires, but rather
an accurate and productive relationship to those about them, with
the "qualities" of God that must be imaged in human
society. Dante is seen to place and rank his personae according
to their utility to society. Thus, Professor Stambler here holds
to a social interpretation of the Comedy and suggests we
concern ourselves more with the "why" of Dante's writing,
in order to understand what he is saying.
Stambler, Bernard. "Three Dreams." In Books Abroad, Dante Issue (May), 81-93. [1965]
Examines the three dreams in Purgatorio with respect to
their vatic, mythic, sexual, and personal (and functional) significance
and discusses the fourfold method of allegory in relation to Dante's
Comedy.
Stearns, Monroe. Dante, Poet of Love. New York: Franklin Watts. 249 p. illus. 22 cm. (Immortals of Literature.) [1965]
Presents a biographical portrait of Dante from the point of view
of the modern reader. Contents: Preface, pp. 1-7;
I. A Shepherd and a Peacock, 8-31; II. Days of Wine and Roses,
32-54; III. A Soldier and a Mystic, 55-77; IV. The Ordeal,
78-105; V. Salt Bread and Steep Stairs, 106-132; VI.
The New Messiah, 133-152; VII. Peace at Last, 153-177;
VIII. The Divine Comedy--I, 178-214; IX. The Divine
Comedy--II, 215-232; Chronology, 233-236; Bibliography,
237-241; Index, 243-249.
Strauss, Walter A. "New Life, Tree of Life: The Vita Nuova and Nerval's Aurélia." In Books Abroad, Dante Issue (May), 144-150. [1965]
Pointing out that the Romantic poets re-discovered the Vita
Nuova because of its theme of rebirth, the author shows how
Nerval has incorporated elements of Dante's libello in
his autobiographical Aurélia, ending up, however,
not with a Beatrice, but an Isis-Aurélia.
Toselli, Tommaso. "Dante Alighieri nel settimo centenario della sua nascita: 1265-1965." In Parola del popolo, LVIII, No. 76, pp. 60-63. [1965]
Short general account of Dante's life and work.
Toynbee, Paget. Dante Alighieri: His Life and Works. Edited with an Introduction, Notes, and Bibliography by Charles S. Singleton. New York: Harper & Row, Publishers. xxiii, 316 p. illus. 21 cm. (Harper Torchbooks: The Academy Library, TB1206L.) [1965]
Toynbee's well known work, here made available in a paperback
reprint from the fourth edition of 1910, is a classic of its kind.
Professor Singleton has provided an explanatory introduction;
an updated bibliography consisting of modern editions of Dante's
works and some modern critical studies, along with all works cited
by Toynbee himself; and a number of editorial footnotes at appropriate
points where some slight revision was necessary. Comes with fourteen
halftone illustrations.
Tusiani, Joseph. Dante's Inferno as Told for Young People. New York: Obolensky. 90 p. illus. [1965]
An interpretative re-telling of Dante's poem in simple prose.
Tusiani, Joseph. Envoy from Heaven. New York: Obolensky--World. [1965]
A humorous novel based on the imagined experience of Dante when
he returns to this world.
Tusiani, Joseph. "Perverted Love." In Parola del popolo, LVIII, No. 76, pp. 79-81. [1965]
A chapter on the proud, the envious, and the wrathful, reprinted
from the author's recently published Dante's Purgatorio as
Told for Young People (New York: Obolensky).
Vance, Thomas. "Dante, Yeats, and Unity of Being." In Shenandoah, XVII, No. 2 (Winter), 73-85. [1965]
Contends that Yeats reveals an "underlying visionary structure"
similar to Dante's; that he associated unity of being with the
"Daimonic man," of whom he considered Dante and himself
prime examples; and that he reveals a Dantean influence in his
middle years, when striving to revitalize his work with fresh
imagery.
Wenzel, Siegfried. "Dante's Rationale for the Seven Deadly Sins (Purgatorio, XVII)." In Modern Language Review, LX, 529-533. [1965]
Cites the Summa de vitiis (c. 1236) of William Peraldus
(Guillaume Peyraut, d. 1271) as the likely source of Dante's classification
of the seven vices according to the principle of love. Pietro
Alighieri's commentary is also seen to derive from Peraldus.
Whitfield, John H. "Dante's Virgil." In Books Abroad, Dante Issue (May), 136-140. [1965]
Holds that as representative of Rome and Empire, the figure of
Virgil is a subjective creation of Dante's and is discarded in
the Comedy at the point where Dante has abandoned dreams
of Empire. Dante utilized some Virgilian elements, turning them
about for his purposes in the poem; but the difference between
them is extreme, according to Professor Whitfield: "Few pairs
of poets are in most things as opposite as those who have been
cast so long, and so closely, together."
Wichert, Robert A. "Dante's Purgatorio, XXVI, 97-99." In Explicator, XXIV, Item 9. [1965]
Takes the passage to reveal "not only the desire to compliment
but also Dante's new humility" after the purgative experience
of the first ledge (Purg. XI, 118-119, and XII, 9)
in contrast to Inf. IV, 97-102.
Wilkins, Ernest Hatch, and Thomas Goddard Bergin, eds., and Anthony J. De Vito, assoc. ed. A Concordance to the Divine Comedy of Dante Alighieri. Edited for the Dante Society of America Cambridge, Mass.: The Belknap Press of Harvard University Press. ix, (3), 636 p. 24 cm. Also, distributed in Great Britain by Oxford University Press, London. [1965]
Based on the text prepared by Giuseppe Vandelli for the Società
Dantesca Italiana (rev. ed.; Florence, 1960). As in the Fay concordance
(1888), very common words, connectives, and pronouns have been
omitted, and of fourteen common verbs only unusual forms have
been included. Latin words are grouped separately in an appendix.
Further details of the arrangement are described in the preface,
in which the more than a hundred collaborators are also listed.
(For reviews, see below.)
Williams, Charles. "The Recollection of the Way." In Freccero, ed., Dante, pp. 170-177. [1965]
Dwells on Dante's cognition of the Way of Love and the ben
dell'intelletto, ending with his desire and will fully in
the Empyrean. Dante is seen as the Knower, Beatrice the Knowing,
and God the Known. The author feels that some sort of love is
essential to every man and woman, and that Dante's is a great
affirmation of the Way. Reprinted from Williams' The Figure
of Beatrice (London, 1943).
Yelina, Nina, and Ruf Khlodovsky. "Dante in the Soviet Union." In Books Abroad, Dante Issue (May), 128-133. [1965]
In this survey of Dante studies and translations in Russia since
1917, the authors note that after the revolution scholars strove
chiefly to comprehend the social and historical foundations of
Dante's work. Discussed at some length are Lunacharsky, who saw
in Dante's poetry a unified combination of the old medieval ideology
and the new Renaissance humanism, and Lozinsky, who in 1946 received
a State Prize for his faithful "model translation in verse
of Dante's Divina Commedia." (The article was obtained
from "Novosti Press Agency--APN.")
Dante. The New Life. Translated by William Anderson. Baltimore: Penguin Books, 1964. (See 83rd Report, 49.) Reviewed by:
Nancy Howe, in Yearbook of Comparative and General Literature,
XIV, 76-79.
Dante. La Vita Nuova. Translated by Mark Musa. Bloomington: Indiana University Press, 1962. (See 81st Report, 20, and 82nd Report, 56.) Reviewed by:
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring), 21-29;
Nancy Howe, in Yearbook of Comparative and General Literature,
XIV, 76-79.
Dante. The Odes of Dante . . . Translated by H. S. Vere-Hodge. New York: Oxford University Press; Oxford: Clarendon Press, 1963. (See 83rd Report, 58 and 60-61.) Reviewed by:
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring),
21-29.
Arthos, John. Dante, Michelangelo, and Milton. London: Routledge and Kegan Paul, 1963. (See 82nd Report, 47-48 and 56, and see below, under Addenda.) Reviewed by:
J. B. Beer, in Modern Language Review, LX, 594-598.
Auerbach, Erich. Dante, Poet of the Secular World. Translated by Ralph Manheim. Chicago: Chicago University Press, 1961. (See 80th Report, 23, 81st Report, 31, and 82nd Report, 56.) Reviewed by:
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring), 21-29;
T. Gwynfor Griffith, in Modern Language Review, LX, 630-631.
Auerbach, Erich. Literary Language and Its Public in Late Latin Antiquity and in the Middle Ages. (See above.) Reviewed by:
[Anon.] in Times Literary Supplement, Nov. 25, p. 1072.
Auerbach, Erich. Studi su Dante. Edited with an introduction by Dante Della Terza. Milano: Feltrinelli, 1963. (See 82nd Report, 48, and 83rd Report, 58.) Reviewed by:
John Freccero, in Modern Language Notes, LXXX, 105-108.
Bergin, Thomas G. Dante. (See above.) Reviewed by:
[Anon.] in Time, LXXXVI (July 9), 68-70;
Chandler B. Beall, in Cesare Barbieri Courier, VII, No. 2 (Spring), 43-44;
Thomas C. Chubb, in New York Times Book Review, March 14, pp. 10 and 12;
Robert J. Clements, in Saturday Review, May 8, p. 37.
Bigongiari, Dino. Essays on Dante and Medieval Culture . . . Firenze: Olschki, 1964. (See 83rd Report, 50-51.) Reviewed by:
[Anon.] in Speculum, XL, 176-177;
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring), 21-29;
P. Groult, in Lettres romanes, XIX (Nov.), 409-410;
Gino Rizzo, in Italica, XLII (March), 201-203;
John H. Whitfield, in Modern Language Review, LX, 631-632.
Bolisani, E., and M. Valgimigli. La corrispondenza poetica di Dante Alighieri e Giovanni Del Virgilio. Firenze: Leo Olschki, 1963. Reviewed by:
Pierina B. Castiglione, in Italica, XLII (March), 191.
Books Abroad, Special Issue: "A Homage to Dante" (May). (See above.) Reviewed by:
Michele Ricciardelli, in Comparative Literature, XVII,
352-356.
Chierici, Joseph. L'Aquila d'Oro nel ciclo di Giove. Roma: Istituto Grafico Tiberino, 1962. (See 81st Report, 21.) Reviewed by:
Robert C. Melzi, in Italica, XLII (March), 192-196.
Cunningham, Gilbert F. The Divine Comedy in England: A Critical Bibliography, 1782-1900. (See above.) Reviewed by:
[Anon.] in Times Literary Supplement, Dec. 2, p. 1105.
De Sua, William J. Dante into English: A Study of the Translation of the "Divine Comedy" in Britain and America. Chapel Hill: University of North Carolina Press, 1964. (See 83rd Report, 52.) Reviewed by:
O. B. Hardison, in Cesare Barbieri Courier, VII, No. 2 (Spring), 44-45;
Barbara Reynolds, in Forum for Modern Language Studies, I (April), 117-125;
J. H. Whitfield, in Modern Language Review, LX, 633.
Freccero, John, ed. Dante: A Collection of Critical Essays. (See above.) Reviewed by:
Giuseppe Mazzotta, in Canadian Modern Language Review, XXII
(Oct.), 76-77.
Gilbert, Allan. Dante and His Comedy. New York: New York University Press, 1963. (See 82nd Report, 50-51.) Reviewed by:
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring), 21-29;
William Marion Miller, in Italica, XLII (March), 196-198.
Lewis, C. S. The Discarded Image: An Introduction to Medieval and Renaissance Literature. Cambridge, England: The University Press, 1964. (Contains reference to Dante passim.) (See below, under Addenda.) Reviewed by:
Morton W. Bloomfield, in Speculum, XL (April), 354-356.
Limentani, U. The Fortunes of Dante in Seventeenth-Century Italy. Cambridge, England: Cambridge University Press, 1964. Reviewed by:
Gustavo Costa, in Romance Philology, XIX (Nov.), 391-392;
Edmund Reiss, in Seventeenth Century News, XXIII (Winter),
56.
Musa, Mark, ed. Essays on Dante. Bloomington: Indiana University Press, 1964. (See 83rd Report, 56.) Reviewed by:
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring),
21-29.
Poggioli, Renato. The Spirit of the Letter: Essays in European Literature. (See above.) Reviewed by:
Robert J. Clements, in Saturday Review, Dec. 25, p. 36.
Sarolli, Gian Roberto. "Dante 'scriba Dei.' " In Convivium, N.S., XXXI, 385-422, 513-544, and 641-671. (See 83rd Report, 64.) Reviewed by:
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring), 21-29;
Bruno Maier, in Rassegna della letteratura italiana, LXIX (maggio-sett.), 388-389;
Aldo D. Scaglione, in Romance Philology, XIX (Nov.),
380-384.
Spoerri, Theophil. Dante und die europaische Literatur. Das Bild des Menschen in der Struktur der Sprache. Stuttgart: W. Kohlhammer, 1963. Reviewed by:
Helmut Hatzfeld, in Italica, XLII (March), 198-201.
Swing, T. K. The Fragile Leaves of the Sybil: Dante's Master Plan. Westminster, Maryland: The Newman Press, 1962. (See 81st Report, 29-30, 82nd Report, 58, and see below, under Addenda.) Reviewed by:
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring),
21-29.
Vallese, Giulio. Da Dante ad Erasmo: Studi di Letteratura umanistica. Napoli: G. Scalabrini, 1962. (See 81st Report, 33, and 82nd Report, 58.) Reviewed by:
Charles T. Davis, in Modern Language Review, LX, 287-289.
Vallone, Aldo. La prosa della Vita Nuova. Firenze: Le Monnier, 1963. (See 83rd Report, 60.) Reviewed by:
T. G. Bergin, in Italian Quarterly, IX, No. 33 (Spring),
21-29.
Wilkins, E. H., and T. G. Bergin, eds. Concordance to the Divine Comedy. (See above.) Reviewed by:
[Anon.] in Times Literary Supplement, Oct. 7, p. 905;
J. Tusiani, in Catholic World, CCII (Dec.), 184.
[Anon.] "Dante's Divine Comedy in Esperanto." In UNESCO Courier, June 1963, pp. 32-33. [1965]
Short, illustrated notice of a forthcoming translation of Dante's
poem in Esperanto, with the Italian on facing pages, by Giovanni
Peterlongo. La Dia Komedio, with the Botticelli illustrations,
is to be published by Edizioni, in Milan.
Andreach, Robert J. Studies in Structure: The Stages of the Spiritual Life in Four Modern Authors. [New York:] Fordham University Press, 1964. ix, 177 p. 22 cm. (On G. M. Hopkins, James Joyce, T. S. Eliot, and Hart Crane.) [1965]
In the context of his thesis, the author includes an account of
important Dantean parallels in Joyce's A Portrait of the Artist
as a Young Man and Eliot's Ash Wednesday.
Auerbach, Erich. "Lo stile di Dante." In Vittorio Vettori, ed., Maestro Dante (Lectura Dantis Internazionale; Milano: Marzorati, 1962), pp. 140-151. [1965]
This study has previously appeared under the title, "Sacrae
Scripturae sermo humilis," in German, in English, and more
recently in Italian (in his Studi su Dante--see 82nd Report,
48).
Bowra, C. M. In General and Particular. Cleveland: World Publishing Co. [1964] 248 p. 23 cm. [1965]
Contains his study on "Dante and Sordello" (pp. 107-124),
originally published in Comparative Literature, V (1953),
1-15. (See 68th to 72nd Reports, 44.)
Cambon, Glauco. "Dante nella letteratura americana." In Veltro, IV, No. 1-2 (gennaio-febbraio 1960), 37-43. [1965]
Reviews the importance and study of Dante in America in the l9th
and 20th centuries, with particular emphasis on the more recent
studies of note.
Ciardi, John. Dialogue with an Audience. Philadelphia: J. B. Lippincott [1963] 316 p. 22 cm. [1965]
Contains his essay on "How to Read Dante" (pp. 270-280),
originally published in Saturday Review, June 3, 1961,
pp. 12-14 and 53-54, and reprinted in Stanley Burnshaw,
ed., Varieties of Literary Experience: Eighteen Essays in World
Literature (New York: New York University Press, 1962), pp.
171-182. (See 80th Report, 24, and 82nd Report,
59.)
Hall, Vernon. a Short History of Literary Criticism. [New York:] New York University Press, 1963. xii, 184 p. 21 cm. (The Gotham Library.) [1965]
In a chapter on Dante (pp. 21-26), the author deals briefly
with Dante's letter to Can Grande and the De vulgari eloquentia
and concludes that "Dante was the first modern critic."
Kantorowicz, Ernst H. "The Sovereignty of the Artist: A Note on Legal Maxims and Renaissance Theories of Art." In Millard Meiss, ed., De artibus Opuscula XL: Essays in Honor of Erwin Panofsky (New York: New York University Press, 1961), pp. 267-279. [1965]
Contends that the medieval juridical theory of aequiparatio
had an analogous development in the artistic field, where
"the equiparation . . . of poet and emperor or king--that
is, of the poet and the highest office representing sovereignty--began
as early as Dante," who, like Petrarch later, associated
the laurel crown with both figures. This study has been reprinted
in Kantorowicz's Selected Studies, which is listed above,
among the entries for 1965.
Killinger, John. The Failure of Theology in Modern Literature. New York: Abingdon Press [1963] 239 p. 24 cm. [1965]
Includes a discussion (pp. 18-25ff.) of Dante's supreme example
of completeness in his masterpiece in contrast to the rift
between modern literature and the Christian faith. The author
also discusses, passim, certain putative Dantean parallels
in modern works, such as Camus' The Fall and T. S. Eliot's
poetry.
Leo, Ulrich. "Das Vor-Paradiso, die 'humanistische Illusion' und die Orte der Seelen." In Deutsches Dante-Jahrbuch, Band XLI-XLII (1964), 173-211. [1965]
Submits that in the content and structure of the Divine Comedy
there is a place which is no longer the Purgatorio and
not yet the Paradiso, but rather what may be called the
ante-room of paradise.
Lynn, Robert H. The Divine Comedy . . . Notes . . . Lincoln, Nebraska: Cliff Notes Incorporated [1964] 3 v. (Inferno, Purgatorio, Paradiso) 21 cm. (Cliff Notes.) [1965]
Paperback handbook containing an introduction, canto summaries,
concluding comments, schematic diagram of the cantica, and
questions for review.
Mazzeo, Joseph A. Renaissance and Seventeenth Century Studies. New York: Columbia University Press, 1964. xi, 210 p.23 cm. [1965]
Contains his study on "Hell vs. Hell: From Dante to Machiavelli"
(pp. 90-116), reprinted from Symposium, XVII (1963),
245-267. (See 82nd Report, 53-54.)
Meiss, Millard. "The Yates Thompson Dante and Priamo della Quercia." In Burlington Magazine, CVI (Sept. 1964), 403-412. [1965]
Studies the miniatures in the Yates Thompson Ms. 36 (British Museum)
and their attribution (mid-1440's, Priamo della Quercia under
influences of Lorenzo Vecchietta and Domenico Veneziano), with
little discussion of the Comedy itself. Five panels of
the engaging miniatures are reproduced in halftone. (From the
author's contribution to the forthcoming book, Illuminated
Manuscripts of the Divine Comedy [Bollingen], in collaboration
with Peter Brieger and Charles S. Singleton.)
Micke, Sister M. Joel. "An Examination of Saint Benedict's Seventh Degree of Humility in Dante's Earthly Paradise." In American Benedictine Review, XIV (1963), 168-172. [1965]
Finds parallels of Saint Benedict's seventh degree of humility
in Dante's Purgatorio XXX-XXXI, where they serve as
steps to self-awareness.
Montano, Rocco. Il canto XVII del Purgatorio. Firenze: F. Le Monnier, 1964, 46 p. 21 cm. (Lectura Dantis Scaligera.) [1965]
Stresses particularly the difference in Dante's ideas between
the De Monarchia and the Commedia; the distinction
to be maintained between Dante-poet and Dante-pilgrim;
the limitations of the pagan Virgil deprived of Christian light;
and the necessity for reading all "episodes" or cantos,
not in themselves, but in their organic relation to the poem as
a whole. The author reacts against the Romantic heritage, which
he sees still distorting Dante criticism, and pleads for a reading
of the Commedia as the thoroughly Christian poem that it
is.
Pisanti, Tommaso. "Dante negli Stati Uniti d'America (1750-1870)." In Ausonia (Siena), XVII, No. 1 (1962), 13-23. [1965]
Traces the American interest in Dante from the moralistic in the
18th century to the more objective and literary in the l9th, with
particular mention of the first university course on Dante given
in 1831 by George Ticknor, Longfellow's translation of the Commedia
(1865-1867), Norton's version of the Vita Nuova (
1867), and Lowell's studies on Dante's allegory and symbolism.
Roppen, Georg, and Richard Sommer. Strangers and Pilgrims: An Essay on the Metaphor of Journey. New York: Humanities Press [1964] 388 p. 22 cm. (Norwegian Studies in English, No. 11.) "Also published by Norwegian Universities Press." [1965]
In Part I of the volume, devoted to the definition and analysis
of the traditional metaphor of journey from its archetypal forms
to its later development in literary history, Professor Sommer
includes a discussion of the journey image and allegory of Dante's
Comedy (pp. 89-94), based primarily on Singleton and
related to the general context of the author's thesis. There is
additional reference to Dante throughout the volume. Indexed.
Samuel, Irene. "The Proems of the Commedia and Paradise Lost." In Bucknell Review, XII (1964), 31-46. [1965]
Examines numerous parallels in the proems of Dante and Milton
in their respective poems and other confirmation of the latter's
debt to the former. Thirty-one instances of similarity in the
proems are listed in tabular form. In particular, Milton had the
precedent of Dante putting the model of Virgil to the use of his
own "sacred song" and then going beyond it. Thanks to
Dante's precedent, moreover, Milton was able at the beginning
of Book IX to reject the familiar themes and trappings of epic
poetry. Points of difference are also briefly discussed, such
as Milton's focus on the human level of happiness, while Dante's
attention is constantly on God as the final measure.
Samuel, Irene. "Purgatorio and the Dream of Eve." In Journal of English and Germanic Philology, LXIII (1964), 441-449. [1965]
Notes similarities, as well as differences, between Eve's prophetic
dream in Paradise Lost and that of Dante in Purgatorio
IX. Milton's view of Dante as poet of the dream is attributed
to his reading of Mazzoni's Difesa della Commedia di Dante.
Professor Samuel concludes: "The dream of Eve tests,
chastens, and instructs; in advance of the later trial which she
and Adam will fail, it marks prelapsarian Eden as a place designed
for growth no less surely, though less painfully, than the postlapsarian
world figured in the Purgatorial Mount of Dante."
Samuel, Irene. "Satan and the 'Diminisht' Stars." In Modern Philology, LIX (1962), 239-247. [1965]
Compares the use of light and dark by Dante and Milton, noting
striking parallels between the blessed spirits of Paradiso
and the angels of Paradise Lost; discusses Milton's
implicit acceptance of Dante's equation: God:Heavenly Beings ::
Sun:Stars, although contrary to 16th-century astronomy; stresses
the special interest of Par. XVIII-XX for Milton;
and suggests Daniello as the probable medium for Milton's particular
adaptation of Dante's sun-stars symbolism.
Schuster, Sister Xavier. "Mary's Place in Dante's Purgatorio." In American Benedictine Review, IV (Summer 1953), 135-138. [1965]
Reviews instances of the omnipresence of Mary in the Purgatorio,
whom Dante seeks to keep as an example before the souls on
their way to God.
Tate, Allen. "The Symbolic Imagination: The Mirrors of Dante." In N. A. Scott, ed., The New Orpheus: Essays toward a Christian Poetic (New York: Sheed and Ward, 1964), pp. 94-114. [1965]
The well-known essay, several times reprinted, was originally
published under the title, "The Symbolic Imagination: A Meditation
on Dante's Three Mirrors," in Kenyon Review, XIV
(1952), 256-277. (See 74th Report, 55-56,
and 78th Report, 43.)
[Ticknor, George] "Translation of Dante." in The Dial, IV (Jan. 1844), 285-290; from a reprint of the quarterly published July 1840-April 1844. New York: Russell and Russell, 1961. 4 v.22 cm.
Review-article on T. W. Parsons' translation in English verse
of Inferno I-X, with some interesting critical
observations by a mid-19th-century American scholar.
Van Doren, Mark. The Happy Critic and Other Essays. New York: Hill and Wang [1961]. [1965]
Contains a short essay on "Poets and Trimmers" (pp.
10-13), in which the contemptible neutrals, or trimmers,
in Inferno III serve as point of departure for describing
the predicament of today's poet "strangling" in a universe
populated by trimmers and bereft of a meaningful "theology."
Arthos, John. Dante, Michelangelo, and Milton. (See above, main section, under Reviews.) Reviewed by:
John D. Moores, in Italian Studies, XIX (1964), 108-109.
Gilbert, Allan. Dante and His Comedy. (See above, main section, under Reviews.) Reviewed by:
[Anon.] in Times Literary Supplement, Dec. 24, 1964, p.
1168.
Lewis, C. S. The Discarded Image. (See above, main section, under Reviews.) Reviewed by:
Charles S. Singleton, in New York Review of Books, II,
No. 12 (July 30, 1964), 10-12.
Sayers, Dorothy L. Further Papers on Dante. New York: Harper; London: Methuen, 1957. (See 76th Report, 52 and 57, and 77th Report, 58 and 63, etc.) Reviewed by:
Kenelm Foster, in Blackfriars, XXXVIII (1957), 426-430.
Schneider, Friedrich. Dante, Leben und Werk. 5. neu-bearbeitete Auflage. Weimar: Boelau, 1960. xix, 260 p. illus., 15 plates and 3 folding charts. Reviewed by:
Ulrich Leo, in Romanische Forschungen, LXXIV (1962), 216-223.
Spitzer, Leo. Romanische Literatur-Studien, 1936-1956. Tübingen: Max Niemeyer, 1959. (See 79th Report, 58-59, and 80th Report, 36.) Reviewed by:
Aldo Vallone, in Alighieri, II, No. 1 (1961), 35-49.
Stambler, Bernard. Dante's Other World: The "Purgatorio" as Guide to the Divine Comedy. New York: New York University Press, 1957; London: Owen, 1958. (See 76th Report, 53, and 77th Report, 53 and 59, etc.) Reviewed by:
Kenelm Foster, in Blackfriars, XXXIX (1958), 427-428.
Swing, T. K. The Fragile Leaves of the Sybil: Dante's Master Plan. (See above, main section, under Reviews.) Reviewed by:
Kenelm Foster, in Blackfriars, XLIII (1962), 477-483.
State University of New York (Harpur College)
Binghamton, New York