This bibliography is intended to include the Dante translations published in this country in 1971 and all Dante studies and reviews published in 1971 that are in any sense American. The latter criterion is construed to include foreign reviews of American publications pertaining to Dante. The listing of reviews in general is selective, particularly in the case of studies bearing only peripherally on Dante.

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 collected volume representing several authors is given in brief while the main entry of the volume is listed with full bibliographical data in its normal alphabetical order. Issues of this journal under the former title of Annual Report of the Dante Society continue to be cited in the short form of Report, with volume number.

Dante's Inferno. Translated with notes and commentary by Mark Musa. Bloomington and London: Indiana University Press. xxxii, 286 p. illus. 21.5 cm. (Also, a paperback edition, "Midland Books" MB-145.) [1971]

The version is done in blank verse preserving the tercet divisions, in which the translator has striven to listen carefully to Dante's own voice and "to find a style that does not call attention to itself." A foreword, "On Being a Good Lover," deals with problems of translating and the criteria observed for this version of Dante's poem. A section of narrative abstracts of the individual cantos precedes the translation, which is also accompanied by interpretative notes following each canto. The illustrations consist of a number of drawings by Richard M. Powers. (For reviews, see below.)

"To Small Daylight: The Stony Sestina of Dante Alighieri (Al poco giorno...), translated by Leslie A. Fiedler. In The Collected Essays of Leslie Fiedler (2 vols.; New York: Stein and Day), Vol. I, pp. 262-263. [1971]

Preceded by the original Italian text and the D.G. Rossetti translation, and by an interpretative essay. (See below, under Studies, for bibliographical details.)

[Eclogues] Dante and Giovanni Del Virgilio, Including a Critical Edition of the Text of Dante's "Eclogae Latinae" and of the Poetic Remains of Giovanni Del Virgilio. By Philip H. Wicksteed and Edmund G. Gardner. Freeport, New York: Books for Libraries Press. x, 340 p. geneal. tables. 22 cm. [1971]

Reprint of the 1902 edition (Westminster: A Constable). (For another reprint and descriptive details, see Dante Studies, LXXXIX, 108.)

Becker, Marvin B. "Towards a Renaissance Historiography in Florence." In Renaissance Studies in Honor of Hans Baron, edited by Anthony Molho and John A. Tedeschi (DeKalb, Illinois: Northern Illinois University Press), pp. 141-171. [1971]

Includes a general assessment of the contribution by Dante, along with Brunetto Latini and Giovanni Villani, towards Florentine historiography in the Renaissance.

Bergin, Thomas G. Invito alla Divina Commedia. Bari: Adriatica Editrice. 229 p. 19 cm. (Biblioteca di filologia romanza, 20.) [1971]

Drawing upon many years of reading Dante's poem, the author presents this general study of the Commedia with a series of reflections on that study. Contents: Parte prima. Gli aspetti del poema: I. L'aspetto narrativo.- II. L'aspetto allegorico. - III. L'aspetto dottrinale. - IV. La tecnica e i mezzi a disposizione del poeta. Parte seconda. Considerazioni sulla Divina Commedia: 1. Il mondo della Divina Commedia.- II. Il piano della Divina Commedia. - III. Multiforme il poeta, vario il poema. Indice dei nomi. Indice. The chapters of Part I are an Italian version of the last four chapters of Professor Bergin's Dante, published in 1965 (see Dante Studies, LXXXIV, 76), and the chapters of Part II are translated from the three chapters of his Perspectives on the Divine Comedy, published in 1967 (see Dante Studies, LXXXVI, 139-140).

Bernardo, Aldo S. "Dante's Pervasive Symmetry." In Romance Notes, XII (Spring), 458-460. [1971]

Notes correspondences in the astronomical references at verse 37 ff. in each of the three cantiche, evoking, respectively, (1) the ideal heavenly configuration at creation, (2) the relation of the four stars over Eden to the three theological virtues and Christ, and (3) a reminder of creation and redemption. This symmetrical pattern is recapitulated in the tri-circular image of Dante's final vision.

Betti, Franco. "Dante, the Jansenists and the Jesuits in XVIII and XIX Century Italian Literary Criticism." In Italian Quarterly, XV, no. 57 (Summer), 3-22. [1971]

Examines the general ideologico-literary posture of such 18th-and 19th century critics as Bettinelli, Lami, Maffei, Emiliani-Giudici, Gioberti, Curci, Settembrini, and De Sanctis, as exemplified in part in their respective attitudes towards Dante.

Biasin, Gian-Paolo. "Rhetorical Questions: From James Bond to Dante." In Diacritics, I, No. 1, 3-7. [1971]

Review-article on I metodi attuali della critica in Italia, edited by Maria Corti and Cesare Segre (Torino: ERI, 1970) and Metafora e storia: Studi su Dante e Petrarca by Enzo Raimondi (Torino: Einaudi, 1970).

Bondanella, Peter E. Arnaut Daniel and Dante's Rime Petrose: A Re-Examination." In Studies in Philology, LXVIII, 416-434. [1971]

While acknowledging Arnaut's influence on Dante, the author questions some critical commonplaces regarding the relationship between the two poets, pointing out that they work in similar ways within a common tradition. If concrete influences are more limited than has been surmised, however, one can speak of similarity in sensibility as evinced in certain common themes and motifs, e.g., sensuality of love in the rime petrose and in Arnaut's poems, concern with poetry in terms of matching style to inspiration, especially with love as motivating force. There are also differences, for example, Arnaut's use of alliteration is absent from the petrose, in which Dante achieves harshness by other than linguistic means, viz., in his imagery. Even the most obvious imitation of Arnaut, Dante's sestina, exhibits beyond the technical composition a fundamental difference in structure: while Arnaut's sestina is organically cast in a logical progression, Dante's is "disjunctive," with each stanza constituting virtually an autonomous unit.

Bosco, Umberto. "I due stili della decima bolgia dantesca." In Romanic Review, LXII, 167-182. [1971]

Examines the second half of Canto XXIX and all of Canto XXX of the Inferno in order to explain Dante's artistic intent in employing a mixture of styles, the high tragic and the low comic, for example, passing from the mythic allusions of Athamas and Hecuba to Griffolino and Gianni Schicchi, and then from the lofty beginning to the comic and grotesque altercation at the end of the highly developed episode of Maestro Adam. The author concludes that this contrastive mixture of styles is designed to set in relief the lowness of the comico-realistic vein, the lack of dignity, the utter vulgarity of this sort of thing in life and in poetry, that is, the "poesia di divertimento," for which the poet admits an interest even as he excuses himself through Virgil's mild rebuff at the end of the episode.

Brown, Emerson, Jr. "Proserpina, Matelda, and the Pilgrim." In Dante Studies, LXXXIX, 33-48. [1971]

At the sight of Matelda, as embodiment of prelapsarian innocence in the act of singing and gathering flowers, the pilgrim is reminded of Proserpina at the moment when she too was gathering flowers and about to lose her innocence to her abductor Pluto (Purg. XXVIII, 43-51). The author contends that the allusion may be more complex and significant than hitherto suggested, as it puts emphasis less on appearance than on action, especially on Proserpina's having lost the "spring." Although as much a victim as in Ovid (usually cited by commentators), Claudian's Proserpina (De Raptu Proserpinae) is presented in a more intense action and with a more complex character--as one already on the verge of awakening from innocence to sensuality. Also, events subsequent to the mythic abduction complicate Proserpina's character even further: in one of her aspects she is clearly malign, being the moon or Diana in the heavens and Prosperina on earth, but also wicked Hecate in Hell. Thus, while Matelda is a figure of perpetual innocence, Proserpina must be considered as a maiden poised at the instant before becoming something quite unmaidenlike. As suggested at the literal level, Matelda, whatever allegorical significance she may have, gives the pilgrim a brief glimpse at his own prelapsarian state of fragile and short-lived innocence, which at the same time he realizes is lost forever. To resolve the question of why the pilgrim can still be reminded of a Proserpina by the sight of Matelda, the author suggests that, while the pilgrim can no longer sin at this point in the journey, he is not capable of fully comprehending original innocence. "He sees innocence not entire and of itself but only as innocence-before-the-fall." Since original innocence is beyond human comprehension, the poet reflects this in the way the pilgrim, still aware of his fallen state, sees Matelda, the embodiment of prelapsarian innocence, and can only be reminded of Proserpina on the verge of losing her innocence.

Brown, Merle E. "A Reading of the Inferno X." In Italica, XLVIII, 315-333. [1971]

Considering the greatness of the Commedia to rest in its vitally dramatic, shaping action, the author focuses in this canto upon the central quality of magnanimity in both Farinata and Dante himself, in contrast to the weakness of Cavalcanti and, momentarily, even Virgil. With striking dramatic richness. Farinata and Dante are thus represented, in the forceful directness of their interview, as able to rise above egocentric preoccupations and to be responsive to others.

Caracciolo, Peter. "Wilkie Collins's 'Divine Comedy': The Use of Dante in The Woman in White." In Nineteenth-Century Fiction, XXV (March), 383-404. [1971]

While recognizing that Méjan's Recueil des causes célèbres provided Wilkie Collins with the main outlines for the plot for The Woman in White, the author contends the more comprehensive source of the novel's complex pattern of images is the Divina Commedia. Citing Collins's quite certain reading of Dante's poem, his travels in Italy and familiarity with the language and culture and his acquaintance with the Rossetti family, he documents numerous Dantean allusions and echoes in The Woman in White which have not yet received due critical attention. The references contribute vitally to the form, characters, meaning, and poetic language of the novel. Collins is also seen to make the Dantean echoes relevant to the problems of 19th-century Europe.

Carroll, John S. Exiles of Eternity: An Exposition of Dante's Inferno. Port Washington, New York: Kennikat Press. lxiii, 510 p. illus. 22 cm. [1971]

Reprint of the 1903 edition (London: Hodder and Stoughton) of this well-known exposition by the Reverend Carroll. This and the two following items over the whole Commedia. The three volumes come with diagrams and indexes.

Carroll, John S. In Patria: An Exposition of Dante's Paradiso. Port Washington, New York: Kennikat Press. xvi, 563 p. 22 cm. [1971]

Reprint of the 1911 edition (London: Hodder and Stoughton).

Carroll, John S. Prisoners of Hope: An Exposition of Dante's Purgatorio. Port Washington, New York: Kennikat Press. xxvii, 511 p. 22 cm. [1971]

Reprint of the 1906 edition (London: Hodder and Stoughton).

Carrubba, Robert W. "The Color of Dante's Hair." In Mediaeval Studies, XXXIII, 348-350. [1971]

Submits that the references to Dante's hair as fair in his Eclogue I, 42-44, and in the response by Dante Del Virgilio simply reflect an ancient poetic, and Virgilian, convention and so are not inconsistent with Boccaccio's Vita where Dante is described as being "dark."

Caserta, Ernesto G. "Il saggio del Croce su Dante." In Dante Studies, LXXXIX, 73-91. [1971]

A historical-critical analysis of Croce's essay on Dante, aiming to clarify: (1) its polemical and pedagogical motives, (2) its aesthetic premises, (3) its results (e.g., the problem of the relationship between structure and poetry, (4) the reaction that it produced among Dante scholars and its influence on later Dante criticism. Croce's lectura Dantis is a happy marriage of his aesthetic theory and his actual criticism and proves the validity of the Crocean methodological approach to reading Dante or any other poet: judge a work of art only on the basis of its aesthetic merits and do not focus the attention on what is extra-artistic (philosophy, morality, practical life, political and religious affiliations, etc.). At the same time, it shows that the Crocean aesthetics of expression does not exclude either thought or morality, but rather requires them, only demanding that they be lyrically expressed. Croce's revaluation of the Paradiso, considered by the Romantic critics, including De Sanctis, to be inferior to the Inferno because too abstract and dominated by philosophy and theology, is tangible proof of this thesis. (E.G.C.)

Chapin, D. L. Derby. "IO and the Negative Apotheosis of Vanni Fucci." In Dante Studies, LXXXIX, 19-31. [1971]

Dante employs three similes to describe the metamorphosis of Vanni Fucci in Inf. XXIV, 100-118: the i and o, the phoenix, and the man possessed. The puzzling crux of the i and o is not, as has been generally supposed, a mere physical comparison of speeds, but, instead, the Ovidian monogram of Io (Metamorphosis I, 646-650) amplified by medieval commentators. Each of the three similes corresponds to a type of metamorphosis found in the Ovidian accessus of medieval commentators: Io--mutatio magica; the phoenix--mutatio naturalis; the man possessed--mutatio spiritualis. Dante's use of types of metamorphosis derived from the Ovidian commentators is directly related to his boast concerning Ovid in Inf. XXV, 94-102, and the Virgilian echoes and exhortations of Inf. XXIV, 1-15 and 46-51, for the Dantean metamorphosis, while imitative of both Ovidian and Virgilian methods, is at the same time a translatio, a Christian exemplum of unique personal and eschatological significance. (D.L.D.C.)

Collected Essays on Italian Language and Literature Presented to Kathleen Speight. Edited by Giovanni Aquilecchia, Stephen N. Cristea, and Sheila Ralphs [Manchester, England:] Manchester University Press; [New York:] Barnes and Noble Inc. xiv, 344 p. illus. 21 cm. [1971]

Contains three Dantean pieces by Alan Freedman, M.F.M. Meiklejohn and Beatrice Corrigan, all separately listed in this bibliography.

Corrigan, Beatrice. "Dante and Italian Theater: A Study in Dramatic Fashions." In Dante Studies, LXXXIX, 93-105. [1971]

Echoes of the Divine Comedy in the Italian theater first appeared in G. G. Trissino's tragedy, Sofonisba (1524). A fantastic comedy by Giovanni Briccio La Tartarea, sub-titled Commedia Infernale (1614), and a tragedy based on the Ugolino episode are the first plays to use material from Dante's poem. In the eighteenth century two or three more tragedies appeared, with Ugolino as the favorite figure. By the nineteenth century Dante had become the symbol of national independence, and the theater made use of his work for purposes of propaganda. The actor Gustavo Modena gave readings from the Comedy in England as well as in Italy, assuming the character of Dante himself, and the poet appeared as a figure in several historical plays. Francesca da Rimini (1815) by Silvio Pellico was the first Italian Romantic tragedy to enjoy lasting popularity on the stage; in the leading role Adelaide Ristori made Dante familiar to audiences in both Europe and the Americas. Both she and Modena took part in the celebrations in Florence in May, 1865. A recent theatrical entertainment in Milan (1966) based on the Divine Comedy was less successful, though all the modern arts of the stage were lavished on its production. (B.C.)

Corrigan, Beatrice. "Foscolo's Articles on Dante in the Edinburgh Review: A Study in Collaboration." In Collected Essays on Italian Language and Literature Presented to Kathleen Speight, pp. 211-225. [1971]

Pieces together the story of the many editorial difficulties and mutilations experienced by Foscolo's article on Dante published in the Edinburgh Review in two installments in 1819, which also suffered from the fact of being written in part by several literary friends like Samuel Rogers and Francis Jeffrey.

Costa, Dennis John. "Dante as a Poet-Theologian." In Dante Studies, LXXXIX, 61-72. [1971]

One of the most abiding Christian theories of poetry holds that a trope can be an accurate, effective expression of divine mystery. Indeed, a close reading of the Christian theology of the Word reveals that the experience of conversion and the structure of a life of faith can enable a poet to feel free to write theology to teach divine truths. In the life of the poet-theologian, three elements seem to be crucial: a moral and intellectual ascesis spurred by grace, a gnosis or illumination of the nature of God and of the Word, a vocation to move men to virtue by means of poetry. This trajectory is precisely the one which the figure of Dante undergoes from the Vita Nuova to Paradiso XXXIII, in very detailed theological terms. The illumination of Paradiso XXXIII is not, perhaps the Beatific Vision beyond which nothing more can possibly be said. It is, rather, an intuition of the incarnation in its Trinitarian context. It is not an end-point, but chronologically central; it allows the poet, journey over, to write a poem conceived of in ethical terms, to make his "exemplum" applicable to all men. (D.J.C.)

Croce, Benedetto. The Poetry of Dante. Translated by Douglas Ainslie. Mamaroneck, New York: P. P. Appel. vi, 313 p. port. 22 cm. [1971]

Reprint of the 1922 edition (New York: Henry Holt, also London, Allen and Unwin) of the well-known work. Contents: I. Introduction; II. The Young Dante and the Dante of the Comedy; III. The Structure and Poetry of the Comedy; IV. The Inferno; V. The Purgatorio; VI. The Paradiso; VII The Character and Unity of Dante's Poetry; VIII. Historical Survey of Dantean Criticism; Index. The first complete edition of the original Italian version La poesia di Dante, appeared in 1921 (Bari: Laterza).

Elwert, W. Theodor. "Inferno, Canto III." In Italian Quarterly, XV, No. 57 (Summer), 23-45. [1971]

A lectura Dantis delivered at Cambridge in 1969, giving a fairly general interpretative reading of the canto.

Evans, Arthur R., Jr. "Erich Auerbach as European Critic." In Romance Philology, XXV (Nov.), 193-215. [1971]

Review-article on Auerbach's Gesammelte Aufsätze zur romanischen Philologie (Bern and München: Francke Verlag, 1967), with an appraisal of the critic's work on Italian literature. Of the 26 articles, 10 deal directly or indirectly with Dante. (Cf. also Auerbach's Studi su Dante [Milano: Feltrinelli, 1963] see 82nd Report, 48.)

Ferrua, Pietro. "El amor en Dante y en Antonio Machado." In Proceedings of the Pacific Northwest Conference on Foreign Languages, XXII, 153-158. [1971]

Briefly characterizes the work of Dante and Machado and points out that while there are some Dantean echoes in Machado the two writers are metaphysically miles apart.

Fiedler, Leslie A. The Collected Essays of Leslie Fiedler. New York: Stein and Day. 2 v. (xxiii, 562; xii, 560 p.) 22 cm. [1971]

Vol. I contains an interpretative essay on Al poco giorno e al gran cerchio d'ombra, "Green Thoughts in a Green Shade: Reflections on the Stony Sestina of Dante Alighieri" (pp. 241-263), including a translation of the sestina (see above) originally published in Kenyon Review, XVIII (1956), 240-262 (see 75th Report, 20 and 22) and reprinted in his No! In Thunder: Essays on Myth and Literature (Boston: Beacon Press, 1960), pp. 21-43 (see 79th Report, 40 and 43, and 80th Report, 35). (For a review, see below.)

Freedman, Alan. "Passages from the Divine Comedy in a Fourteenth-Century Hebrew Manuscript." In Collected Essays on Italian Language and Literature Presented to Kathleen Speight, pp. 9-21. [1971]

Contends that the quotations from the Commedia cited in Giuda Romano's Hebrew philosophical treatise do not represent accurately the original text of either Dante or Romano, but reflect corruptions by uncomprehending scribes and therefore cannot be taken as evidence of a Judaeo-ltalian koine.

Gilbert, Allan H. Dante's Conception of Justice. New York: AMS Press. vii, 244 p. 23 cm. [1971]

Second printing: "First AMS edition published 1965. . .2nd printing 1971." Originally published in 1925 (Durham, North Carolina: Duke University Press). (See Dante Studies, LXXXIV, 87.)

Golden, Herbert H., and Seymour O. Simches. Modern Italian Language and Literature: A Bibliography of Homage Studies. New York: Kraus Reprint. x, 207 p. [1971]

Reprint of the 1959 edition (Cambridge, Mass.: Harvard University Press). This bibliography, indexing 1966 Festschriften from the Renaissance to 1957, registers a number of Dante studies that might otherwise go unnoticed. (See 78th Report, 31.)

Grayson, Cecil. "Machiavelli and Dante." In Renaissance Studies in Honor of Hans Baron, edited by Anthony Molho and John A. Tedeschi (DeKalb, Illinois: Northern Illinois University Press), pp. 361-384. [1971]

Reviews the problem of date and authorship of the Dialogo intorno alla lingua, usually ascribed to 1514-1515 with Machiavelli as author and long regarded as an important document in the history of Italian and in the fortunes of Dante's De vulgari eloquentia. Pointing out the inconsistencies between 1514-1515 attribution and Machiavelli's then state of linguistic knowledge as well as between the severe criticism of Dante in the Dialogo and Machiavelli's otherwise favorable attitude towards Dante, the author presents closely reasoned arguments for dating the Dialogo between 1525 and 1530, and leaves the question of actual authorship open to further inquiry.

Gualtieri, Angelo. "Lady Philosophy in Boethius and Dante." In Comparative Literature, XXIII (Spring), 141-150. [1971]

Cites Dante's obvious admiration for Boethius as reflected especially in the Convivio and Divina Commedia, though his concept of philosophy differed from that of Boethius. The Convivio and the Consolatio Philosophiae are characterized as "consolatory" literature, and so the two works are seen to exhibit strong similarities; they are both autobiographical in nature, dealing with a time of personal stress, and they are designed to offer help to others. But the figure of Lady Philosophy in Dante and Boethius exhibits only a minimal resemblance. Where Dante's Lady Philosophy looks with favor upon human endeavors, including the cultivation of the Muses, Boethius' Lady scoffs at the Muses and concentrates upon the edification of the Spirit through knowledge concerning the summum bonum in a manner acceptable to a Christian theologian. Boethius' Lady Philosophy which represents an early reconciliation of pagan and Christian thought, was decomposed by Dante into two parts in the Commedia, with Virgil first as guide to represent philosophy as such and then Beatrice to represent theology. The relative and distinctive fictions of philosophy and theology are more explicitly stated by Dante in the Monarchia. Boethius' Lady Philosophy goes far beyond Dante's "philosopher'' Virgil in the ability to explain such matters as free will, providence, evil, etc., indeed leads to God, whereas in Dante's scheme of things philosophy is limited to the human sphere in this life and must be supplemented by theology to carry us beyond to God. Since the figure of Lady Philosophy is central to Dante's work, in order fully to understand his thought, it is imperative to bear in mind the role this allegorical figure plays in Boethius' Consolatio.

Hatcher, Elizabeth R. "The Moon and Parchment: Paradiso II, 73-78." In Dante Studies, LXXXIX, 55-60. [1971]

Verses 73-78 of Par. II contain a puzzling cluster of metaphors describing the moon through images of starvation, meat, and books. After first describing the moon as "starving," perhaps because its shadowed markings seemed to the poet like the sunken face of a famished man (cf. Purg. XXIII, 22-23), Beatrice then likens its rare-and-dense structure to the alternating fat and lean in "un corpo"--to meat which cures starvation. When she says that this rare and dense matter would "change pages" in the moon's "volume," she is not abandoning the meat image. Rather, she extends it to consider the appearance of animal skin finished as parchment for manuscripts. The "changing pages" refer to the alternation of light-colored, smooth, flesh-side openings and darker, rough, hair-side openings in all parchment volumes. Once we understand that this image refers to a characteristic of medieval books which made evident their animal origin, we grasp the coherence of Dante's image pattern. (E.R.H.)

Jackson, Margret. "'Forse tu non pensavi ch'io loico fossi': Traces of Formal Logic in the Divine Comedy." In Romance Philology, XXIV (Feb.), 563-572. [1971]

Examines the argumentation in Guido da Montefeltro's account in Inferno XXVII, remarks the rarity of finding formally sound arguments in a poem, and concludes that Dante was familiar with the old Stoic logic, his immediate source for which was very likely Cicero's Topica. Another example of this kind of logic is cited in Par. II, 784.

Kaske, Carol V. "Mount Sinai and Dante's Mount Purgatory." In Dante Studies, LXXXIX, 1-18. [1971]

Mount Purgatory fills the place of Mount Sinai in the re-enactment of the Exodus and also by virtue of its earthquake, its unapproachability, and its guardian. As such, it symbolizes God's law--particularly the New Law of Christ's Sermon on the Mount. Climbing it--the pilgrim's goal throughout the first two cantiche--therefore represents a fulfilling of divine law. It shares with the mountain which the pilgrim sees in the Prologue Scene the Sinaitic trait of inaccessibility, but like the New Law in contrast with the old and Natural Laws it can finally be attained with the help of Virgil (practical reason), humility, and grace. Hell, as its inverted cut-out image, contrasts with it as the Old or Mosaic Law contrasts with the New, inciting to virtue by condemnation and fear. Two earthquakes--one of Mount Purgatory and one of Hell--causing faintness in the pilgrim represent Mount Sinai as law causing weakness in its inadequate human subjects. Cato acts as a Moses (law-giver and seer) of the New and Natural Laws, representing human moral effort and vision cooperating with grace. (C.V.K.)

Kaske, R.E. "'Sì si conserva il seme d'ogne giusto' (Purg. XXXII, 48)." In Dante Studies, LXXXIX, 49-54. [1971]

In the thirty-second canto of Dante's Purgatorio, the activity around the great bare tree includes the Griffon's brief speech "'Sì si conserva il seme d'ogne giusto"--apparently a comment on his own immediate action of binding the car to the tree. The tree itself seems to represent literally the withered Tree of Knowledge, spiritually signifying human nature deprived of original justice by Adam's fall. If so, the Griffon's speech can be explained by way of Wisdom in 10:4 and 14:6-7 and their medieval commentaries, which present Noah as the "just man" of his own generation, emphasize the importance of him and his family as the "seed" of all future generations, and allegorize their preservation in the ark as the salvation of mankind through the Cross; in the Purgatorio, when the pole representing the Cross is applied by the Griffon (Christ) to the desiccated tree of human nature, the tree bursts into the fresh bloom of rejustification, again becoming spiritually "the seed of every just one." The Griffon's speech then falls into place as the first in an elaborate series of cumulative images, celebrating figuratively the regeneration of mankind through the Atonement and the resulting joyous tidings of Christianity. (R.E.K.)

Kuhns, Levi Oscar. The Treatment of Nature in Dante's "Divina Commedia." Port Washington, New York: Kennikat Press. vi, 208 p. 21 cm. [1971]

Reprint of the 1897 edition (London, New York: E. Arnold). Contents: Dante's Conception of Nature.--Dante's Conventional Treatment of Nature. --The Different Aspects of Nature as Seen in the Inferno, the Purgatorio, and the Paradiso.--Italy in the Divina Commedia.--The Physical Geography of the Divina Commedia.--Atmospheric Phenomena.--The Flora of the Divina Commedia.--The Fauna of the Divina Commedia.--The Heavenly Bodies.--Light, Fire, and Colour.--General Discussion of Dante's Attitude toward Nature.

Levenson, Jon D. "The Grundworte of Pier delle Vigne." In Forum Italicum, v, 499-513. [1971]

Stresses the limitations of Spitzer's otherwise perceptive analysis of the Pier delle Vigne episode in his well-known "Speech and Language in Inferno XIII," which does not get to the very essence of Piero's nature and thus leaves several questions unanswered. The author finds the basis for a fuller understanding of Piero in the phenomenon of estrangement and its relationship to the use of language as dealt with by Martin Buber in his I and Thou. Incapable of true identity through vital human relationships, as reflected in Buber's Grundeworte theory of the I-thou and the I-it, Piero even in life manifested a warped nature, of schismatic imprisonment in his self-contradiction, which simply continues into the after life, where he is eternally mistaken for something (the plant) that is not his real self. Indeed the poet has so brilliantly employed the character-revealing qualities of language that "the contrappasso is intricately linked with all the speech images throughout the canto." "The speech and language of Pier delle Vigne are a manifestation of that fundamental misorientation of the spirit which produces the cleavage in his existence."

Logan, J.L. "The Poet's Central Numbers." In MLN, LXXXVI, 95-98. [1971]

Points out further number patterns in the central cantos of the Paradiso in support of C.S. Singleton's discovery of numerical patterns at the center of the Purgatorio (MLN, LXXX [1965], 1-10; see Dante Studies, LXXXIV, 100) and in refutation of contrary arguments based on mathematical probability by R.J. Pegis (Mediaeval Studies, XXIX [1967], 370-373; see Dante Studies, LXXXVI, 147).

Marshall, Roderick. Italy in English Literature, 1755-1815: Origins of the Romantic Interests in Italy. [Folcroft, Pennsylvania:] Folcroft Library Editions. xiii, 432 p. front. 23 cm. [1971]

Reprint of the 1934 edition (New York: Columbia University Press). This doctoral dissertation, published as number 116 in the series "Columbia University Studies in English and Comparative Literature," contains ample reference to Dante in the context of the general thesis. Indexed.

Meiklejohn, M.F.M. "The Identity of Dante's Matelda." In Collected Essays on Italian Language and Literature Presented to Kathleen Speight, pp. 23-27. [1971]

Suggests that Saint Matilda (895-968), wife of the German King Henry the Fowler and mother of Emperor Otto I, could have been a likely model for Dante's Matelda.

Montano, Rocco. "Dante and Virgil." In Yale Review, LX, 550-561. [1971]

Contends that beyond being influenced by Virgil in terms of language, extended simile, and nature realism, Dante owed him a deeper, spiritual impact that brought him back to the Christian faith and to the vision of history as a manifestation of God, and away from Averroistic naturalism. The author goes on to document this development of the poet in the Convivio, Monarchia, and Divina Commedia, showing how Dante recognized the intellectual and moral achievements of the ancients but at the same time saw that world represented by Aristotle as being in itself insufficient and sterile. It was Virgil who provided the inspiration of a higher vision that alone gave meaning to the world. Thus Virgil, more than representing simply the lumen naturale of an Aristotle, "is the representative of the Roman world who has come closest to Christ and has developed the values of humanitas, religion, moral nobility on which Christianity was to rest." Professor Montano stresses that Virgil played the same role in Dante's mind in life as he does in the Commedia. But Virgil is still only a bearer of limited truth; artistically effective as a real historical individual at the same time universalized to a "symbol of man seeing per speculum in aenigmate."

Montgomery, Marion. "Wordsworth's False Beatrice. In Arizona Quarterly, XXVII, 211-218. [1971]

Contends that Wordsworth was too much concerned with the things of nature to effect the kind of transubstantiation of love achieved by Dante through his lady. While he came to realize nature cannot function as Christ, as did Beatrice for Dante, neither was Lucy for him later the equivalent of a Beatrice figure as means of transcendence, because his was a false courtship of the Beloved. The English poet failed to separate Wordsworth the Pilgrim from Wordsworth the Poet sufficiently to allow, like Dante, for the drama of becoming and thereby the transformation of the lyric to high comedy.

Norton, Glyn P. "'Contrapasso' and Archetypal Metamorphoses in the Seventh 'Bolgia' of Dante's Inferno." In Symposium, XXV, 162-170. [1971]

Attempts to explain the use of serpents and the nature of retribution in the bolgia of the thieves (Inf: XXIV-XXV) in terms of archetypal patterns of the human search for individuation, integration of personality, and consolidation of consciousness according to Jungian psychology. "In this very state of suspended dissociation frustrating all attempts at the integration of personality, the souls of 'Bolgia' 7 are doomed to enact their ritual of flux and metamorphosis, ever deprived of the wholeness of being." The serpents as archetypal figure of transmutation and traditionally associated with evil are used by the poet as "thieving" agents constantly depriving the shades of self-identity, thus eternally punishing their forever disintegrated souls.

Pellegrini, Anthony L. "American Dante Bibliography for 1970." In Dante Studies, LXXXIX, 107-131. [1971]

With brief analyses.

Perella, Nicolas J. "Bibliographic Note: Echoes of the Latest Dante Centennial." In Romance Philology, XXV (Nov.), 261-262. [1971]

Notices the contents of the 1965 Centennial issues of Books Abroad and Italica. (See Dante Studies, LXXXIV, 78 and 89.)

Piehler, Paul. The Visionary Landscape: A Study in Medieval Allegory. Montreal: McGill-Queen's University Press. (Also, London: Edward Arnold.) (vi), 170 p. 22.5 cm. [1971]

Contains a chapter on 'Dante" (pp. 111-143) focusing on The 'Selva Selvaggia,' The Vergilian Categories, The Redemption of Images, Dante's Dialogue, and The Figure of Beatrice. The work as a whole deals analytically, in the light of modern--particularly Jungian--psychology, with medieval "visionary allegory" from the standpoint of a certain archetypal mental experience and its psychotherapeutic implications; and it attempts "an elucidation of medieval allegory in terms of its most important antecedents: the ancient myths, out of which developed its central imagery, and the classical dialogue, which contributed the basis of its intellectual structure." As for specific procedure, the author states, "I treat each allegory under the following categories: the preliminary anguish; the subsequent prayers and invocation by which the hero of the allegory obtains access to the visionary world; the loci, the landscapes and habitations, of this world; the character of the chief person or persons he meets there; the dialogue which ensues between the hero and these persons." In his searching analysis of Dante's allegory, specifically, the author examines the seminal image of the selva in its symbolical and allegorical aspects as developed by the poet throughout the Comedy; the "Vergilian Categories" as they reflect an archetypal rites of passage; the gradual convergence of the seminal images of selva, monte, fiume ultimately in the sempiternal rose of Paradise; Dante's skill in linking the therapeutic dialogue closely to images of landscape; the process of nominalistic potentiation of Beatrice from historical person to allegorical figure.

Puppo, Mario. "Il concetto del 'vivente' nella critica dantesca di Francesco De Sanctis." In Romanic Review, LXII, 183-191. [1971]

Recognizing the importance of De Sanctis' Dante criticism both for interpretation of the Commedia and for aesthetic theory, the author focuses on the critic's emphasis on the vital element of the vivente in his definition of poetry in terms of forma viva, organismo vivo, unità organica. Professor Puppo discusses De Sanctis' eventual departure from the influence of A. G. Schlegel and Hegel; his distinctions between poetry and science, poetry and allegory, idea and art; and especially, his aesthetics as revealed in practical criticism such as in the essay on Pier della Vigna, representing a landmark in systematic application to critical interpretation of the concept of art as a living entity. Associated with De Sanctis' conception of art as "la vita in atto," are such characteristics as individualità, passionalità, contrasto, and drammaticità, but especially the concrete individuality, or uniqueness, of each work of art. In the absence of a formal statement of his aesthetic theory and because of the evolution of his actual criticism, a number of inconsistencies inhere in De Sanctis' application of the concept of the vivente and the analogy of art and life.

Satin, Joseph. "Macbeth and the Inferno of Dante." In Forum (Houston), IX (Spring), 19-23. [1971]

Discusses the Hell theme in Macbeth, pointing out traits of darkness and sleeplessness and other parallels more specifically with the ninth circle of traitor-murderers in the Inferno. Whether or not Shakespeare actually read, Dante these parallels are seen as significantly enhancing the Hell theme in the play.

Salloch, Erika. "The Divina Commedia as Model and Anti-Model for The Investigation by Peter Weiss." In Modern Drama, XIV (May), 1-12. [1971]

Shows the various ways in which Dante's Commedia served Weiss in his drama about Auschwitz, The Investigation, both as positive model for his view of the world and for the structural composition and as anti-model or parody where Dante's Christian doctrine is concerned. The author finds the Weiss play an epical drama in contrast to Dante's "dramatic epos" (Eliot's term).

Sells, Arthur Lytton. The Italian Influence in English Poetry, from Chaucer to Southwell. Westport, Connecticut: Greenwood Press. 346 p. [1971]

Reprint of the 1955 edition (Bloomington: Indiana University Press; also, London: Allen and Unwin). (See 74th Report, 53.) Includes discussion of Dante's influence in the period covered.

Toynbee, Paget. Dante Studies and Researches. Port Washington, New York: Kennikat Press. viii, 359 p. 22 cm. [1971]

Reprint of the 1902 edition (London: Methuen). The volume represents a collection of seventeen articles previously published in various periodicals.

Trowbridge, Clinton W. "The Beatricean Character in the Novels of Charles Williams." In Sewanee Review, LXXIX, 335-343. [1971]

Discusses Williams' increasingly skilful handling of the symbolic character in his novels, particularly from Barbara Rackstraw and Chloe Brunett to Lester Furnival, as inspired by his understanding of the polysemous role in which Dante cast his lady.

Vahid, S. A "Iqbal and Western Poets." In Iqbal: Poet-Philosopher of Pakistan, edited by Hafeez Malik (New York and London: Columbia University Press), pp. 347-379. The essay includes a section "Iqbal and Dante (pp. 369-377), in which the author discusses Dante as a stimulant (rather than a direct influence) of Iqbal (1877-1928), particularly as reflected in Javid-Namah, and points out likenesses and differences between this poem and the Divine Comedy. [1971]

Wicksteed, Philip Henry. Dante and Aquinas. (Being the substance of the Jowett Lectures of 1911.) New York: Haskell House. xii, 271 p.23 cm. [1971]

Reprint of the 1913 edition (London and Toronto: J. M. Dent and Sons; New York: E. P. Dutton and Company). Contents: I. Mediaeval Thought and Greek Philosophy; II. Neoplatonism and the Christian Neoplatonists; III. The Migrations of Aristotle and the Transformations of Aristotelianism; IV. St. Thomas Aquinas; V. Dante and Aquinas; VI. Psychology and the Doctrine of the Soul; VII. Hell; VIII. Purgatory; IX. Heaven; Postscript to chapter VI.

Williman, Joseph P. "Dante and Durandus: The Liturgical Cincture." In Kentucky Romance Quarterly, XVIII, 293-306. [1971]

Contends that William Durandus' Rationale Divinorum Officiorum (1296), an encyclopedic classic on the medieval liturgy, with all the allegorical meanings associated with it, is made to order for "explicating the highly charged religious allegory of Dante's Commedia," although the work remains little known because of its relative unavailability in an adequate edition. The author observes that "it is highly probable that Dante knew and used the Rationale and that he would have acknowledged it as an allegorical summary of the liturgy of his time," and in any case, "the two authors are in agreement on the nature of signs." He goes on to exemplify this by applying Durandus' description and interpretation of the sacramental cincture to the "corda' in Inferno XVI and other cinctural references in the Inferno and in the Purgatorio. Mr. Williman concludes that the ceremonial of the church is really the key to fullest understanding of Dante's poem.

Wlassics, Tibor. "Nota su Dante nell'Ulisse." In Rivista di letterature moderne e comparate, XXIV, 151-154. [1971]

Explicates a lyrical and obscure meditation ("Mouth, south . . . tomb, womb.") found in Joyce's Ulysses and identifies the source of the allusion to rhymes as "approaching girls" in colorful garb as the similarly imaged Dantean anecdote, very likely known to Joyce, that is cited in the commentary of Benvenuto da Imola.

Wlassics, Tibor. "Sulla rima e sull' onomatopeia nella Commedia." In Forum Italicum, V, 400-415. [1971]

Examines a number of typical instances of onomatopoeia in the Divine Comedy, stressing that this poetic device is employed most naturally and effectively at the end of the verse, that is, in the rhyme, when used with mimetic or emotive intent by the poet. The author points out the variation in quality of rhymes observed by Dante among the three cantiche, there being relatively more harsh rhymes in the Inferno, relatively more sweet rhymes in the Paradiso, and a mixture in the Purgatorio. Besides the effects of onomatopoeia obtaining in the rhymes of the poem, there are, conversely, also muted effects by the use of "neutral" rhymes wherever the context demands, such as in quiet narrative or disquisitive passages.

The Divine Comedy. Translated, with a commentary, by Charles S. Singleton. [I.] Inferno... Bollingen Series, LXXX. [Princeton, New Jersey:] Princeton University Press, 1970. 2 v. (See Dante Studies, LXXXIX, 107-108.) Reviewed by:

Thomas G. Bergin, in Yale Review, LX, 614-617;

Joan M. Ferrante, in Renaissance Quarterly, XXIV, 518-519;

Robert J. Clements, in Saturday Review, 6 Feb., pp. 34-35.

Dante's Inferno. Translated from the Italian with commentary by Mark Musa. Bloomington: Indiana University Press. (See above, under Translations.) Reviewed by:

Bernard F. Dick, in Saturday Review, 22 May, pp. 37-38.

The Paradiso. A verse rendering for the modern reader by John Ciardi. Introduction by John Freccero. New York: New American Library, 1970. (See Dante Studies, LXXXIX, 108.) Reviewed by:

Thomas G. Bergin, in Yale Review, LX, 614-617

Robert J. Clements, in Saturday Review, 6 Feb., pp. 34-35.

Bergin, Thomas G. A Diversity of Dante. New Brunswick, New Jersey: Rutgers University Press, 1969. (See Dante Studies, LXXXVIII, 177-178, and LXXXIX, 124.) Reviewed by:

Pietro Ferrua, in Forum Italicum, v, 650-654;

Clarence E. Turner, in Romanic Review, LXII, 231.

Bergin, Thomas G. Perspectives on the Divine Comedy. Bloomington and London: Indiana University Press, 1970 [©1967, Rutgers University Press, New Brunswick, New Jersey]. (See Dante Studies, LXXXVI, 139-140, LXXXVII, 174, and LXXXIX, 109 and 124.) Reviewed by:

Marianne Shapiro, in Romance Philology, XXV (Nov.), 259-260.

Brieger, Peter, Millard Meiss, and Charles S. Singleton. Illuminated Manuscripts of the Divine Comedy. Bollingen Series, LXXXI. [Princeton, New Jersey:] Princeton University Press, 1969. (Also, a British edition, London: Routledge and Kegan Paul, 1969.) 2 v. illus. (See Dante Studies, LXXXVIII, 161-168 and 178, LXXXIX, 125, and see below, under Addenda.) Reviewed by:

Patrick Boyde, in Renaissance Quarterly, XXIV, 357-358;

Mirella Levi D'Ancona, in Art Bulletin, LIII, 118-121;

J. H. W. [John H. Whitfield], in Italian Studies, XXVI, 90-93.

Cambon, Glauco. Dante's Craft: Studies in Language and Style. Minneapolis: University of Minnesota Press, 1969. (See Dante Studies, LXXXVIII, 179, and LXXXIX, 125.) Reviewed by:

Robert Dombroski, in Modern Philology, LXIX, 59-60;

Joan M. Ferrante, in Renaissance Quarterly, XXIV, 49-51;

D. J. B. Robey, in Modem Language Review, LXVI, 200-201;

Riccardo Scrivano, in Rassegna della letteratura italiana, LXXV, 241-242.

Corrigan, Beatrice, ed. Italian Poets and English Critics, 1755-1859: A Collection of Critical Essays. Chicago: University of Chicago Press, 1969. Includes a number of essays on Dante. (See Dante Studies, LXXXVIII, 181-182 and 196, and LXXXIX, 131.) Reviewed by:

Daniel J. Donno, in Italica, XLVIII, 390-391.

Dante Studies, with the Annual Report of the Dante Society, Vols. LXXXIV-LXXXVI . (1966-1968). Reviewed by:

Marianne Shapiro, in Romance Philology, XXIV (Feb.), 536-538. .

Di Salvo, Tommaso. Lettura critica della Divina Commedia. Firenze: La Nuova Italia Editrice, 1969. 3 v. (vii, 382; 308; 302 p.) Reviewed by:

Joseph Rossi, in Italica, XLVIII, 499-501.

Donadoni, Eugenio, A History of Italian Literature. With additional materials on twentieth-century literature by Ettore Mazzali and Robert J. Clements. Translated by Richard Monges. New York: New York University Press; London: University of London Press, 1969. 2 v. (See Dante Studies, LXXXVIII. 183.) Reviewed by:

Richard Andrews, in Modern Language Review, LXVI, 909-911.

Fiedler, Leslie A. The Collected Essays of Leslie Fiedler. New York: Stein and Day, 1971. 2 v. Contains an essay on Dante. "Green Thoughts in a Green Shade: Reflections on the Stony Sestina of Dante Alighieri," with a translation of the sestina. (See above, under Studies.) Reviewed by:

Thomas Lask, in New York Times, 24 August, p. 39.

Fletcher, Jefferson Butler. Dante. With an introduction by Mark Musa. Notre Dame, Indiana: University of Notre Dame Press, 1965. (See Dante Studies, LXXXIV, 84-85.) Reviewed by:

Nicolas J. Perella, in Romance Philology, XXIV (Feb.), 560-561.

Hollander, Robert. Allegory in Dante's "Commedia". Princeton, New Jersey: Princeton University Press, 1969. (See Dante Studies, LXXXVIII, 185-186, and, LXXXIX, 125.) Reviewed by:

Thomas G. Bergin, in Speculum, XLVI, 380-382.

Lazzarini, Lino, ed. Dante e la cultura tedesca. Padova: Università degli Studi di Padova, 1967. 204 p. Reviewed by:

Glyn P. Norton, in Italica, XLVIII. 93-96.

The Meaning of Courtly Love. Edited by F. X. Newman. (Papers of the first annual conference of the Center for Medieval and Early Renaissance Studies. State University of New York at Binghamton, 17-18 March 1967.) Albany State University of New York Press, 1968. x, 102 p. Contains: Charles S Singleton, "Dante: Within Courtly Love and Beyond," pp. 43-54. (See Dante Studies, LXXXVII, 170-171.) Reviewed by:

Charles Muscatine, in Speculum XLVI 747-750.

Negri, Renzo. Due temi danteschi. Bologna: R. Pàtron, 1968. 40 p. ["Estratto" from Convivium, XXIV, Nos. 1-4 (1966): "Omaggio a Dante."] Contains "Lo suo fatale andare" and "La caducità." Reviewed by:

Natalia Costa-Zalessow, in Forum Italicum, V, 284-285.

Perella, Nicolas J. The Kiss Sacred and Profane: An Interpretative History of Kiss Symbolism and Related Religio-Erotic Themes. Berkeley and Los Angeles: University of California Press, 1969. Contains sections of Dantean interest. (See Dante Studies, LXXXVIII, 190-191, and LXXXIX, 126.) Reviewed by:

John V. Fleming, in Italica, XLVIII, 497-499.

Pipa, Arshi. Montale and Dante. Minneapolis: University of Minnesota Press, 1968. (See Dante Studies, LXXXVII, 167, LXXXVIII, 197, and LXXXIX, 126.) Reviewed by:

G. Singh, in Italica, XLVIII, 402-405.

Vallone, Aldo. La prosa del "Convivio." Firenze: Le Monnier, 1967. 84 p. (Bibliotechina del Saggiatore, no. 26). Reviewed by:

Aldo Scaglione, in Romance Philology, XXV (August), 150.

The Ante-Purgatorio: Cantos I-IX of the Purgatorio. English translation by Henry Wadsworth Longfellow. Original etchings by Jack Zajac. New York: Racolin Press, 1964. 71 p. 10 plates (incl. front.) 53 cm.

Each canto is preceded by a plate. "Printed by 'Il Torcoliere,' Stamperia d'Arte, in Rome. . .the entire edition consists of 215 copies. . ." Each copy and etching is signed by the artist. Comes in a case.

"Two Poems from La Vita Nuova." [Translated by] Kenneth P. Allen. In Arion, VIII (Autumn 1969), 430-431.

A ciascun alma presa e gentil core and Piangete, amanti, poi che piange Amor are translated into English in sonnet-form with approximate rhyme.

"Sestina for Lady Pietra." Translated by Charles Guenther in his Phrase/Paraphrase (Iowa City: The Prairie Press, 1970), pp. 53-54.

A translation of Al poco giorno e al gran cerchio d'ombra done in the rhyme-scheme of the original.

[Bergin, Thomas G., ed.] Dante: His Life, His Times, His Works. Created by the editors of Arnoldo Mondadori Editore. Translated from the Italian by Giuseppina T. Salvadori and Bernice L. Lewis. Anthology by Thomas G. Bergin. New York: American Heritage Press, [1970, ©1968]. 168 p. illus. (part col.) 21 cm. (Giants of World Literature.)

A profusely illustrated general introduction to the poet, including excerpts from his works selected in English translations, and in some cases newly done, by Professor Bergin. Another version of this work which was also translated from the volume Dante Alighieri in the Mondadori series "I giganti della letteratura italiana" appeared in 1968 (see Dante Studies, LXXXIX, 129-130. under The Life and Times of Dante).

Bizzicari, Alvaro. "Motivi agostiniani nel pensiero di Dante." In Kentucky Romance Quarterly, XV (1968, i.e. 1970), 355-366.

Contends that, despite the lack of a prominent role accorded St. Augustine in the Divina Commedia, Dante was deeply imbued with Augustinian thought, particularly as discernible in his views concerning Providence, the Two Cities (understood spiritually), and the cosmic law of love as the principle governing creation and as a basis of morality. These consonances, amply reflected in the Commedia, go beyond the more explicit references to St. Augustine in Dante's works.

Boyle, Robert, S. J. "Swiftian Allegory and Dantean Parody in Joyce's 'Grace."' In James Joyce Quarterly, VII (Fall 1969), 11-21.

Bases this new interpretation of the story "Grace" on a parody of the four levels of meaning discussed by Dante in the Letter to Can Grande. Comes with a detailed diagram.

Brieger, Peter, Millard Meiss, and Charles S. Singleton. Illuminated Manuscripts of the Divine Comedy. London: Routledge and Kegan Paul, 1969. v. illus. 32 cm.

The British edition is the same as the original American edition (Bollingen Series, LXXXI; Princeton University Press, 1969). (See Dante Studies, LXXXVIII 161-168 and 178.)

Curtayne, Alice. A Recall to Dante. Port Washington, New York: Kennikat Press, [1969]. xi, 244 p. illus., ports. 20 cm.

Reprint of the 1932 edition (London: Sheed and Ward; also, New York: Macmillan Co.). The study was aimed at the English reader, especially of the Catholic faith and without any pretensions of scholarship. Contains a preliminary biographical sketch of Dante, several chapters on the figure of Dante as critic of the Church nurtured by certain English scholars and translators, and several essays on the Comedy and on Dante's religious faith.

Della Terza, Dante. "Tasso e Dante." In Belfagor, XXV (1970), 395-418.

Italian version of his article "Tasso's Reading of Dante," in Dante Studies, LXXXVII (1969), 103-125. (See also Dante Studies LXXXVIII, 182.)

Ferrall, Rose Nolan. The D. X. V. Prophecy; Dante and the Sabbatum Fidelium: An Introductory Study in the Allegorical Interpretation of "The Divine Comedy." New York: Haskell House, 1966, vi, 46 p. 23cm. paper.

Reprint of the 1938 edition (Oxford: Printed at the Shakespeare Head Press and sold by B. Blackwell). This cryptographic Gioachimitic interpretation of Purg. XXXIII, 34, is based on ideas of Pascoli and Valli and on the presumed influence of the Arbor Vitae of Ubertino da Casale. Among other things, the DXV riddle (v. 43) is read as "Dominus, Crux, Victor."

Foligno, Cesare. Epochs of Italian Literature. Port Washington, New York: Kennikat Press, 1970. 94 p. 19 cm.

Dante is discussed briefly in the context of this general historical survey. Reprint of the 1920 edition (Oxford: Clarendon Press).

Fussell, Edwin. "Dante and Pound's Cantos." In Journal of Modern Literature, I (1970), 75-87.

Considers Pound's Cantos as a secularized and repaganized transvaluation of the Commedia, pointing out that where Dante is eschatologically oriented towards a fixed point of beatitude, Pound is traveling through history, which is itself in motion. The author goes on to discuss many Dantean allusions throughout the Cantos, especially as clustered in Canto 93, in which Pound's paradisiac movement is particularly noticeable. Pound is seen, finally, to reflect the 19th-century tradition of using Dante for undercutting the ties with British poetry in favor of establishing a native American medium.

Gardner, Edmund G. Dante's Ten Heavens: A Study of the Paradiso. New York: Haskell House, 1970. xv, 351 p. 23cm.

Reprint of the 1898 edition (Westminster [London]: Archibald Constable and Co.). This well-known introduction to the study of the Paradiso, "originally partly based upon the mediaeval commentaries of the author of the Ottimo Commento (1334), and Benvenuto da Imola (1379) is cast as follows: I. Dante's Paradise.--II. Within Earth's Shadow.--III. Prudence and Fortitude.--IV. Empire and Cloister.--V. Above the Celestial Stairway.--VI. The Empyrean.--VII. Dante's Letters--Appendix.--Index.

Kouzel, Daisy Fornacca. "The Hegelian Influence in the Literary Criticism of Francesco De Sanctis." In Review of National Literatures, I (Fall 1970), 214-231.

Includes a discussion of De Sanctis' use of Hegel's categories, as reflected in their writings on Dante's Commedia, though the Hegelian influence diminished with time as De Sanctis focused increasingly on the beauty of the poem and its human and historical aspects.

Legget, B. J. "Dante, Byron, and Tennyson's Ulysses." In Tennessee Studies in Literature, XV (1970), 143-159.

Contends that for Ulysses Tennyson was as much, if not more, influenced by Byron, especially Childe Harold's Pilgrimage, III, 42-45, than by Dante's Inferno episode directly.

Logan, Terence P. "Virgil in Dante's Fifth Heaven." In Kentucky Romance Quarterly, XV (1968, i.e. 1970), 157-166.

Examines the manifold parallels between the Cacciaguida episode (Par. XV-XVIII) and Aeneas' meeting with Anchises in Aeneid VI. The Marcellan allusion in Purg. XXX, 20-21, is also cited as an example of Dante's dispersion of Virgilian analogues throughout the cantiche.

Papini, Giovanni. Four and Twenty Minds: Essays. Selected and translated by Ernest Hatch Wilkins. Freeport, New York: Books for Libraries Press, [1970]. vii, 324p. 23cm. (Essay Index Reprint Series.)

Reprint of the 1922 edition (New York: Thomas Y. Crowell Company). Contains an essay on "Dante" (pp. 7-14), stressing his uniqueness, his extraordinary sense of mission, and his singular greatness equalled since only by Michelangelo.

Ruhleder, Karl H. "Dante's 'nobiltà': The Soteriological Identity of Vita Nuova II-IV and Convivio IV, xx-xxii." In Zeitschrift für Religions--und Geistesgeschichte, XXII (1970), 131-142.

In this complex analysis, Vita Nuova II-IV and Convivio IV, xx-xxii, are closely examined; and Dante's assertion in the Convivio that under certain circumstances the soul can develop in its trinitarian faculties from rational-sensitive-vegetative into a higher level of divine-rational-sensitive is related to the lover's spiritual change after the first visione in the Vita Nuova, which the author considers to be a figurative representation of just such a development resulting in an elevation of the soul to similitudo with God. Professor Ruhleder addresses himself specifically to the question of why Dante replaces grazia with nobiltà in the soul's elevation to similitudo and seeks to explicate nobiltà and its activity in the soul and to elucidate the lover's experience in the first vision of the Vita Nuova. In the Convivio passages nobiltà is seen to be conceived of as an a-typical grace, which may be designated as "nobiltà/grace" to distinguish nobiltà from grace, nobiltà/grace being further defined by Dante as a composite of the possible intellect and charity. Other distinctions are made in the Convivio between natural desire and its twin, or the love fathered by charity and expressible as "desire animo." The divine gift of nobiltà/grace moreover, can multiply, with the effect of the soul's ascending to divinity and God's descending into the soul. Such a development to similitudo is adumbrated in the Vita Nuova through a series of seemingly external actions. A further link of the Convivio passages with the Vita Nuova can be seen in the fact that, where the multiplying capacity of grace is unlimited, nobiltà/grace is limited, as evidenced by Dante's implying in the Vita Nuova that the multiplying capacity of nobiltà/grace is its square or nine. The elevation of the soul to similitudo with God results at best in a "quasi incarnation" (Conv. IV, xxi, 10) in a human being, as happens to Dante in the Vita Nuova. Dante evidently followed Saint Bonaventura's teachings on the elevation of the soul to similitudo but followed Joachimite theory of the Son's giving way to the Holy Ghost, or Charity, as mediator in the third period of Heilsgeschichte.

Santayana, George. Three Philosophical Poets: Lucretius, Dante, and Goethe. New York: Cooper Square Press, 1970. viii, 215 p.

This much reprinted work was originally published in 1910 in the series "Harvard Studies in Comparative Literature" (Cambridge, Mass.; Harvard University Press).

Shawcross, John T. "'Tilly' and Dante." In James Joyce Quarterly, VII (Fall 1969), 61-64.

Finds the source of the speaking "bleeding" branch in the third stanza of "Tilly" in Dante's "Circle of the Suicides," with the added parallel of the poem's number, thirteen, as an addition to Pomes Penyeach, corresponding to the number of Inferno XIII.

Sheehan, Donald G. "The Poetics of Influence: A Study of T.S. Eliot's Uses of Dante." In Dissertation Abstracts International, XXX (1969), 2043A-2044A.

On the assumption that Dante's influence in Eliot's poems is primarily a matter of poetic action and therefore structure and that the major poems employ aesthetic techniques designed to make Dante's influence into a poetic action and so into a structural concern, the author analyzes Eliot's essays on Dante, "The Love Song of J. Alfred Prufrock," The Waste Land, "Ash Wednesday," and "Little Gidding," concluding that the Quartets generally represent the most complex and complete instance of Dante's influence. (Doctoral dissertation, University of Wisconsin, 1969.)

Thompson, David. "Dante and Bernard Silvestris." In Viator, I (1970), 201-206.

Points out that the parallels between the Commedia and Bernard Silvestris' commentary and allegorization of the Aeneid indicate that Dante modeled his poem on Virgil's more closely than previously thought, especially for the physical journey, the particular allegorical mode, the first part of his spiritual itinerary.

Torrens, James Sullivan, S.J. "T. S. Eliot and the Contribution of Dante towards a Poetics of Sensibility." In Dissertation Abstracts, XXIX (1968), 916A-917A.

Assesses Eliot's predilection for Dante and his indebtedness to Dante as revealed in over fifty years of critical writing. Eliot's emphasis on the emotional role of poetry--the "emotional equivalent of thought"--requires the imposition of order, which he finds admirably provided for in Dantean allegory. (Doctoral dissertation, University of Michigan, 1968.)

Vickery, Olga W. "The Inferno of the Moderns." In The Shaken Realist: Essays in Modern Literature in Honor of Frederick J. Hoffman, edited by Melvin J. Friedman and John B. Vickery (Baton Rouge: Louisiana State University Press, 1970), pp. 147-164.

Beyond Dante's direct influence as acknowledged by many modern writers, the author sees "Dante's Inferno pervading the very structure of the modern imagination in such a manner as to function as a controlling metaphor of the human condition in the twentieth century." She goes on to cite Dantean parallels in a number of works, such as Stephen Crane's The Red Badge of Courage, John Dos Passos' Manhattan Transfer, John Hawkes's The Cannibal, LeRoi Jones's The System of Dante's Hell, E. E. Cumming's The Enormous Room, and Ken Kesey's One Flew over the Cuckoo's Nest, all of which reflect in terms of our society the familiar landmarks of the Inferno without the faith-sustaining image of Beatrice that Dante had.

Vogel, Lucy. "A Symbolist's Inferno: Blok and Dante." In Russian Review, XXIX (1970), 38-51.

Contends that while impressed mainly by aspects of Dante's work which he could relate subjectively to his own life and art, the Russian symbolist poet Aleksandr Blok diverged fundamentally in his artistic life goals. Blok's poem "Canto of Hell" bears striking resemblances to a Dantean canto, particularly Inferno V, but differs markedly in its animating spirit, characterized by lack of compassion and stark horror at the human condition. A visit to Ravenna had inspired Blok with a vision of a "new life" which he related to his personal dream of human regeneration, but which vanished in the aftermath of the Russian Revolution.

Witte, Johann Heinrich Friedrich Karl. Essays on Dante (Being Selections from the Two Volumes of "Dante-Forschungen"). Selected, translated, and edited with introduction, notes, and appendices by C. Mabel Lawrence and Philip H. Wicksteed. New York: Haskell House, 1970. xxii, 448 p. plan. 23 cm.

Reprint of the 1898 edition (London: Duckworth and Co.). Contents: Introduction. --List of Dr. Watte's Works on Dante. --Dante. --The Art of Misunderstanding Dante. --Dante's Trilogy. --Dante's Cosmography. --The Ethical Systems of the Inferno and the Purgatorio. --The Topography of Florence about the Year 1300. [With plan.] --Dante and the Conti Guidi. --Recently Discovered Letters of Dante Alighieri .--Gemma Donati. --The Two Versions of Boccaccio's Life of Dante. --Dante's Remains at Ravenna. --On the Dates of Dante's Three Cantiche .--The Two Earliest Commentators on the Divine Comedy. --On the Date and Authorship of the Ottimo Commento on Dante. -- Convivio or Convito ? --Dante and United Italy. --Appendix.

Bergin, Thomas G. A Diversity of Dante. (See above, main section, under Reviews.) Reviewed by:

[Anon.], in Choice, VI (1969), 1404.

Brieger, Peter, Millard Meiss, and Charles S. Singleton. Illuminated Manuscripts of the Divine Comedy. (See above, main section, under Reviews, and Addenda, under Studies.) Reviewed by:

[Anon.], in Choice, VI (1970), 676.

Hollander, Robert. Allegory in Dante's "Commedia." Princeton, New Jersey: Princeton University Press, 1969. (See above, main section, under Reviews.) Reviewed by:

[Anon.], in Virginia Quarterly Review, XLVI (1970), p. xix;

James Childs, in Library Journal, XCIV (15 Nov. 1969), 4146.

Medieval Miscellany Presented to Eugène Vinaver by Pupils, Colleagues and Friends. Edited by F. Whitehead, A. H. Deverres, and F.E. Sutcliffe. Manchester: Manchester University Press; New York: Barnes and Noble, 1965. Contains a Dantean piece: E. F. Jacob, "The Giants (Inferno XXXI)." (See Dante Studies, XXXIV, 89-90.) Reviewed by:

Werner Ziltner, in Zeitschrift für romanische Philologie, LXXXV (1969), 586-592.

Medieval Secular Literature: Four Essays. Edited by William Matthews. Berkeley and Los Angeles: University of California Press, 1965. Contains a Dantean essay: Phillip W. Damon, "Dante's Ulysses and the Mythic Tradition." (See Dante Studies, LXXXIV, 82.) Reviewed by:

Patricia M. Gathercole, in Romanic Review, LIX (1968), 41.

Rubinstein, Nicolai, ed. Florentine Studies: Politics and Society in Renaissance Florence. London: Faber and Faber; Evanston, Illinois: Northwestern University Press, 1968. Contains a study of Dantean interest: Charles T. Davis, "Il buon tempo antico." (See Dante Studies, LXXXVIII, 200.) Reviewed by

A. Teresa Hankey, in Italian Studies, xxv (1970), 89-92.

Singleton, Charles S. Saggio sulla "Vita Nuova." Bologna: Il Mulino, 1968. (See Dante Studies, LXXXVII, 171.) Reviewed by:

Enzo Esposito, in L'Alighieri, XI (1970), 83-84.

Singleton, Charles S. Studi su Dante. 1. Introduzione alla "Divina Commedia." . . . Napoli: G. Scalabrini Editore, 1961. (See 80th Report, 32.) Reviewed by:

Enzo Esposito, in L'Alighieri, XI (1970), 83-84.

Singleton, Charles S. Viaggio a Beatrice. Bologna: Il Mulino, 1968. (See Dante Studies, LXXXVII, 171.) Reviewed by:

Enzo Esposito, in L'Alighieri, XI (1970), 83-84.

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