This bibliography is intended to include the Dante translations published in this country in 1958, and all Dante studies and reviews published in 1958 that are in any sense American. As in the bibliographies for 1956 and 1957, 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, Rassegna della Letteratura Italiana, Studi Danteschi, Italian Studies, and Modern Language Review; some random reviews from other foreign periodicals are also included.

In line with the policy established in the bibliography for 1957, the listing of reviews in general has been 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 usual, items not recorded in the bibliographies for previous years appear as addenda to the present list. Attention is also called to the two corrigenda to the bibliography for 1957 listed at the end.

It is gratifying to observe that the volume of Dante material in the past year fairly matched the high mark achieved the previous year.

The Comedy of Dante Alighieri. Translated into English Unrhymed Hendecasyllabic Verse by Mary Prentice Lillie [Mrs. Albert W. Barrows]. 3 vols. San Francisco, The Grabhorn Press. [1958]

A fine, large-page, limited (300 copies) edition, without notes. Volume I contains a brief "Translator's Note." The translation retains the eleven-syllable line, but with an occasional ten-syllable line "when pause or emphasis is needed"; preserves the line count of the original; and usually keeps "the structure of thought terzina by terzina." The translator has "not, however, attempted to be so literal as to make line-for-line comparison with the original possible at all times," since she has "always made intelligibility the first consideration."

Selected Poems. In The Penguin Book of Italian Verse. Introduced and Edited by George Kay. With Plain Prose Translations of each Poem. Baltimore, Penguin Books. [1958]

The anthology contains thirteen of Dante's shorter poems (pp. 74-100), including six from the Vita Nuova and three petrose, all printed in the original Italian and each followed by a "plain prose translation."

Eugene Arden. "The Echo of Hell in 'Prufrock'." In Notes and Queries, V, 363-364. [1958]

In T. S. Eliot's "Love Song of J. Alfred Prufrock," Prufrock's self-comparison with John the Baptist, Lazarus, and Hamlet is seen as a parallel with Dante's own protests of unworthiness in Inferno II and therefore as a like expression of humility, implying the accessibility of grace and salvation.

Erich Auerbach. Mimesis: The Representation of Reality in Western Literature. London, Mayflower Publishing Co. [1958]

This is a British paperback edition of Auerbach's well-known work. (See 68th-72nd Reports, 43-44, 74th Report, 58 and 62, 75th Report, 30 and 38, and 76th Report, 41, 56, 59 and 61.)

Erich Berger. Randbemerkungen zu Nietzsche, George und Dante. Wiesbaden, Limes Verlag. [1958]

Contains three Dantean pieces: (1) "Eine Vermutung, Stefan Georges Übertragungen aus der Göttlichen Komödie betreffend," originally published in Monatshefte, XLVIII (1956), 345-359 (See 75th Report, 20-21); (2) "Eine Dantestelle in Thomas Manns Doktor Faustus," originally published in Monatshefte, XLIX (1957), 212-214 (See 76th Report, 41); and (3) "Dante und 'die gefrässigen Deutschen'," not previously published. In the latter piece, the author discusses some attempts, for example, by Paul Pochhammer, to re-interpret the phrase, "li tedeschi lurchi" (Inferno XVII, 21) and concludes that the usual reading, unflattering to the Germans, must stand, citing an incident from the Villani Chronicle (VI, lxxvi) in evidence of what perhaps determined Dante's very limited and unfavorable impression of the Germans.

M. W. Bloomfield. "Symbolism in Medieval Literature." In Modern Philology, LVI, 73-81. [1958]

Contends that, in light of contrary medieval evidence, much current practice of interpreting secular works of literature symbolically or polysemously, by transferring to them the exegetical method of the early Middle Ages designed for biblical interpretation, is mistaken and historically untenable. A possible exception might be made for the Divine Comedy, and even there it is impossible, beyond a few obvious symbols, to work out a consistent fourfold scheme of meaning.

G. A. Borgese. Da Dante a Thomas Mann. A cura di Giulio Vallese. Milan, Mondadori. ("I Quaderni dello 'Specchio.'") [1958]

Contains three essays on Dante previously published in English and here translated by Vallese: (1) "Introduzione a Dante," originally published as "Dante and His Time," as the introduction to an edition of the Divina Commedia (New York, Henry Regnery, 1950) and, in a shortened version, as an article, in Diogenes (See 73rd Report, 64-65); (2) "L'Ira di Dante," originally published as "The Wrath of Dante," in Speculum, XIII (1938), 183-193; and (3) "Della critica dantesca," originally published as "On Dante Criticism," in 52nd-54th Annual Reports of the Dante Society, and, in Italian translation, in Acme (See 76th Report, 59).

Van Wyck Brooks. The Dream of Arcadia: American Writers and Artists in Italy, 1760-1915. New York, E. P. Dutton. [1958]

Contains references, passim, to the influence of Italian artists and writers, especially Dante. Indexed.

W. F. Bryan and Germaine C. Dempster, eds. Sources and Analogues of Chaucer's "Canterbury Tales." [By C. F. Brown and Others.] New York, The Humanities Press. [1958]

Cites four Dantean passages which inspired portions of the Canterbury Tales. Indexed. This is a re-issue, identical to the original edition published by Chicago University Press in 1941.

Jacob Burckhardt. The Civilization of the Renaissance in Italy. Illustrated edition. Translated by S. G. C. Middlemore. 2 vols. New York, Harper and Brothers. ("Harper Torchbooks," 40, 41.) [1958]

Contains references to Dante, passim, in the context of Burckhardt's thesis. This paperback edition reproduces the much reprinted Middlemore translation from the fifteenth German edition with added notes by Ludwig Geiger and Walter Götz. There is also a new introduction by Benjamin Nelson and Charles Trinkaus.

Glauco Cambon. "Eugenio Montale's Poetry: A Meeting of Dante and Brueghel." In Sewanee Review, LXVI, 1-32. [1958]

Points out several Dantean echoes as well as the general Dantean compactness and ruggedness of language in Montale's poetry, especially in "I Morti," "Tramontana," "Scirocco," "Personae separatae," "L'Orto," "Proda di Versilia," etc.

C. T. Davis. Dante and the Idea of Rome. New York, Oxford University Press. [1958]

American imprint of the work, originally published in England. (See 76th Report, 42. For reviews, see below.)

Enrico De' Negri. "Tema e iconografia del Purgatorio." In Romanic Review, XLIX, 81-104. [1958]

Analyzes in close iconographical detail the structure of the seven terraces of Dante's Purgatorio (IX-XXVII) and demonstrates, with diagrams, their mutually perfect symmetry with respect to arrangement of the custodian angels, the parallel series of exemplary reliefs, and the number and distribution of the purging souls encountered. Besides this "horizontal" structure the author sees a corresponding vertical structure exemplified by Dante's journey up the mountain and his own participation in the purgatorial process. Both structures are found to reflect the major theme of the purgatorial process: the soul's conversion to the virtues of love and humility. Also discussed are several related matters, such as the distinction between good and bad wrath, to explain Dante's invectives in the poem; the distinction between the moral system of the Inferno and that of the Purgatorio, based on the Augustinian doctrine of love and its perversions; the poet's skillful variation of the otherwise rigidly symmetrical treatment of each terrace; and various other stylistic, structural, and doctrinal elements.

G. P. Elliott. "Getting to Dante." In Hudson Review, XI, 597-611. [1958]

Though a review-article, this constitutes an essay on Dante and Mr. Elliott's own approach to him, as opposed to that of others. He firmly contends that one's reading of the Divine Comedy cannot be done in an aesthetic vacuum, but must be related to Dante's moral "message." (See below, under Reviews, for the several books reviewed.)

Ruth Mary Fox. Dante Lights the Way. Milwaukee, Bruce Publishing Company. [1958]

A comprehensive volume on Dante and his work, divided into three major parts and comprising ten chapters: (1) "An Introduction to Dante and the Divine Comedy," with chapters on The Times and the Book, The Author and the Book, The Divine in Human Love, and Charting the Journey; (2) "Ideas Central to Dante's Thought," with chapters on Dante and the Angels, Dante and the Virgin Mary, Dante and the Deity, and Son of God and Son of Mary: Dante's Christology; and (3) "The Road to Peace," with chapters on Purgation for Perfection and All Day with God. There is also a "Note on Translations and Other Matters," a prologue, an epilogue ("Dante Speaks to Us"), an appendix, with eight illustrations pertaining to Dantean matters, and a detailed index.

J. G. Fucilla. "Annual Bibliography for 1957. Italian Language and Literature." In PMLA, LXXIII, 2 (April), 244-262. [1958]

Contains a substantial list of selected Dante studies published both here and abroad (pp. 247-248).

Alfred Galpin. "Italian Echoes in Albert Camus: Two Notes on La Chute. I. Dante in Amsterdam." In Symposium, XII, 65-72. [1958]

Traces analogies in Camus' novel between Amsterdam and the Dantean Hell, between the chute of the protagonist, Clamence, and Satan's fall, and between Clamence's moral degradation and Dante's damned souls, including the element of contrapasso.

G. H. Gifford. "A Note on Dante and Virgil." In Italica, XXXV, 88-90. [1958]

Points out two parallels and holds that (1) the Virgilian image in Aeneid I, 726-727, confirms the interpretation of Dante's "foco / ch'emisperio di tenebre vincia" (Inferno IV, 68-69) as a source of light vanquishing or beating back the darkness, and (2) Dante's presumably reading according to the Ptolemaic cosmology the astronomical image in Aeneid II, 8-9, yields a sharpened horological exactitude in Inferno VII, 98-99, where the "falling" stars designate the hour as past midnight.

Albert [L.] Guérard. Fossils and Presences. New York and London, Oxford University Press. [1958]

Originally published in 1957 by Stanford University Press, this volume contains an essay on "Dante and the Renaissance." (See 76th Report, 45.)

H. A. Hatzfeld. "Il Canto V del Purgatorio." In Letture Dantesche. II. Purgatorio. [A cura di Giovanni Getto.] Florence, Sansoni. Pp. 99-120. [1958]

This "lectura Dantis," prepared expressly for the volume, analyzes particularly the triply graduated structural pattern and the stylistic development of the canto.

Ulrich Leo. "Il Canto XXVII del Purgatorio." In Letture Dantesche. II. Purgatorio. [A cura di Giovanni Getto.] Florence, Sansoni. Pp. 539-559. [1958]

This "lectura Dantis," prepared expressly for the volume, emphasizes the canto's stylistic mixture of idyllic-elegiac qualities which reflect a spiritual state hovering between illusion and reality; for Virgil, in his own "humanistic illusion," gives Dante-wayfarer to believe he has reached the ultimate goal, whereas the real situation, already known to Dante-poet, will be revealed with the advent of Beatrice. A German version of this essay was published in Professor Leo's Sehen und Wirklichkeit bei Dante (See 76th Report, 46).

C. S. Lewis. The Allegory of Love: A Study in Medieval Tradition. New York, Oxford University Press. ("Galaxy Books," 17.) [1958]

Contains direct references to Dante, passim, and generally bears on Dante's poetic world in various ways related to the author's treatment of courtly love and allegory. The work was first published in 1936 (London, Oxford University Press) and has undergone several reprintings. Paperback edition.

J. C. Mathews. "Bryant and Dante: A Word More." In Italica, XXXV, 176. [1958]

Minor addenda to the author's article on "William Cullen Bryant's Knowledge of Dante," published in Italica, XVI (1939), 115-119.

J. C. Mathews. "Dr. Holmes and Dante: A Postscript." In Italica, XXXV, 10. [1958]

Slight addenda to the author's article on "Dr. Oliver Wendell Holmes and Dante," in Italica, XXXIV (1957), 127-136. (See 76th Report, 46.)

J. C. Mathews. "Mr. Longfellow's Dante Club." In 76th Annual Report of the Dante Society, 23-35. [1958]

To supplement and correct previously published accounts of the Dante Club, the author has drawn upon manuscript journals, letters, and other papers in the Longfellow House. He documents in particular the beginnings, in 1838, and subsequent progress of Longfellow's translation of the Divine Comedy and the circumstances leading to the eventual formation, by 1865, of an informal Dante Club," which held regular meetings until May, 1867. (This Dante Club, of course, helped pave the way for the founding of the present Dante Society in 1881. See, for example, G. H. Gifford, "A History of the Dante Society," in 74th Annual Report of the Dante Society, 3-27.)

F. O. Matthiessen. The Achievement of T. S. Eliot: An Essay on the Nature of Poetry. Third Edition. With an Additional Chapter by C. Lombardi Barber. New York, Oxford University Press. [1958]

Contains frequent references to direct and indirect Dantean influences in Eliot's poetry. Matthiessen's work was first published in 1935 by Oxford University Press. Indexed.

J. A. Mazzeo. "Dante and Epicurus." In Comparative Literature, X, 106-120. [1958]

Demonstrates the error of interpreting (cf. Busnelli and Vandelli) Dante's view on Epicurus in the Convivio in terms of Inferno IX-X, which represents a later, changed position. At the moment of the Convivio, for lack of true understanding of Epicureanism, Dante's attitude, based on Cicero's De finibus, is very tolerant and favorable towards Epicurus as a virtuous pagan, along with the Stoics and Peripatetics. But in the Inferno, when fully aware of the unfavorable medieval Christian tradition regarding Epicureanism, best exemplified by Isidore of Seville in his Etymologies, Dante even excludes Epicurus from Limbo, treating him, rather, as a traditional typological figure of the heretic, based on the Epicurean denial of the soul's immortality.

J. A. Mazzeo. "Light Metaphysics, Dante's Convivio and the Letter to Can Grande della Scala." In Traditio, XIV, 191-229. [1958]

Reconstructs in detail the doctrine of light metaphysics (from its earliest conception through the Neo-Platonists, the Fathers, and the Pseudo-Dionysius and later medieval elaborations) as available to Dante, who in turn reflects especially the Liber de Causis and Pseudo-Dionysius in his discussions of light metaphysics throughout the Convivio, passim, and in the Letter to Can Grande, in which the light metaphysics doctrine is most fully worked out, revealing its intimate relationship to the Paradiso. Professor Mazzeo concludes: "Thus the hierarchies of being, truth, beauty, perfection, indeed of all value, are reduced to a hierarchy of light ascending to the very Primal Light itself, spiritual, uncreated, divine, the vision of which is the vision of all. The doctrines we have considered are the bare bones of the most important part of Dante's universe. The flesh and substance is the Paradiso."

J. A. Mazzeo. "A Note on the 'Sirens' of Purgatorio XXXI, 45." In Studies in Philology, LV, 457-463. [1958]

Relates the 'sirens' to the pargoletta (verse 59), interpreting both references as, literally, carnal sin and, figuratively, the misuse of philosophical knowledge, along the lines suggested by Grandgent for the pargoletta alone, whom he identified with the donna gentile of the Vita Nuova and Convivio. Professor Mazzeo finds Dante's source for this conception of the 'sirens' in Cicero's De finibus V, xviii-xix, 48-50, a passage known to Dante and shown by Nardi to be the core of Dante's Ulysses episode (Inferno XXVI).

J. A. Mazzeo. Structure and Thought in the "Paradiso." Ithaca, N. Y., Cornell University Press. [1958]

Contains six studies which are collected and revised from articles previously published independently in various journals between 1955 and 1957, though even originally they were conceived as an interrelated whole focusing on the Paradiso. The studies, or portions thereof, here reprinted with some changes are: (1) "Dante and the Phaedrus Tradition of Poetic Inspiration," originally published as "Dante the Poet of Love: Dante and the Phaedrus Tradition of Poetic Inspiration" (See 74th Report, 51-52); (2) "Dante's Conception of Poetic Expression" (See 75th Report, 25); (3) "Dante's Conception of Love and Beauty," originally two articles --"Dante's Conception of Love" (See 76th Report, 48) and "The Augustinian Conception of Beauty and Dante's Convivio" (See 76th Report, 47); (4) "Dante and the Pauline Modes of Vision" (See 76th Report, 47-48); (5) "Plato's 'Eros' and Dante's 'Amore"' (See 76th Report, 60); and (6) "Dante's Sun Symbolism and the Visions of the Blessed," drawn partly from an article on "Dante's Sun Symbolism" (See 75th Report, 25). Indication of the original places of publication of these studies is duly given. A section of notes and an index complete the volume.

T. E. McCrory. "Browning and Dante." In Dissertation Abstracts, XIX, 813. (Dissertation, University of Pennsylvania, 1958.) [1958]

Traces the Dantean influence in Robert Browning's works and investigates to what extent Browning shared in, or differed from, the attitude of his age towards Dante. While somewhat reflecting "the conception represented by the nineteenth-century English attitude towards Dante, as a Protestant, a nationalist, and a Romanticist," and while largely sharing the contemporary conception of Dante as the poet of the dread Inferno and the tender Vita Nuova, Browning's attitude differed in knowledge and intensity and he departed especially from the tastes of his age, in drawing upon the Purgatorio for his Sordello.

Rocco Montano. "Erich Auerbach e la scoperta del realismo in Dante e in Boccaccio." In Convivium, N. S., XXVI, 16-26. [1958]

A substantial review-article prompted by two essays, "Farinata and Cavalcanti" and "Frate Alberto" (Boccaccio), in Professor Auerbach's Mimesis (See especially 68th-72nd Reports, 43-44, and 76th Report, 41). While approving of much contained in the essays, Professor Montano has much to add regarding Dante's language and style, and he contends that neither the Divina Commedia nor the Decameron quite fits into the pattern of what he considers the author's general thesis of progressive laicization of representations of reality in Western literature. He further emphasizes that Professor Auerbach fails properly to consider the philosophical-religious basis of Dante's realism in the poem; and that Boccaccio's realism in the Decameron is not dependent on the example of Dante's realism, but is simply a refinement of a preexistent realism common in medieval literature.

Rocco Montano. "I Modi della narrazione in Dante." In Convivium, N. S., XXVI, 546-567. [1958]

Discusses the remarkable objectivity of Dante's narrative art, with all its dramatic evocativeness, in the Divina Commedia, and emphasizes that it is supported by a lofty, unitary religious spirit, to which indeed all the single episodes must be related if they are not to be humanistically or Romantically misunderstood. The author's thesis is illustrated with interpretive comments on the figures of Francesca, Farinata, Brunetto, Ulysses, and Ugolino.

P. R. Olson. "Two Sonnets of Heavenly Vision." In Italica, XXXV, 156-161. [1958]

Compares Dante's Oltre la spera (Vita Nuova XLI) and Petrarch's Levommi il mio penser (Canzoniere CCCII) and demonstrates their considerable differences in inspiration: whereas it is Dante's sospiro, an affective faculty, that figuratively journeys to the Empyrean itself, where Beatrice is transfigured, with the whole cast in terms of timelessness and ineffability; Petrarch's io is transported by a patently retrospective penser to the sphere of Venus, where Laura retains her earthliness, with the whole expressed in fairly explicit, sensuous terms. The two visions differ qualitatively also, due to the different intuitional experiences concerned, one oriented to the Creator, the other to the creature. It is suggested, moreover, that only after a "mirabile visione" could Dante employ the kind of io that appears in the Commedia.

A. L. Pellegrini. "American Dante Bibliography for 1957." In 76th Annual Report of the Dante Society, 39-61. [1958]

With brief analyses.

Mario Praz. The Flaming Heart: Essays on Crashaw, Machiavelli, and Other Studies in the Relations between Italian and English Literature from Chaucer to T. S. Eliot. Garden City (N. Y.), Doubleday. ("A Doubleday Anchor Original," A 132.) [1958]

Contains references to Dante in the introduction, which is a rapid survey of "Literary Relations between Italy and England from Chaucer to the Present" (pp. 3-28) and in the first essay, on "Chaucer and the Great Italian Writers of the Trecento" (pp. 29-89), and shows in the final essay, on "T. S. Eliot and Dante" (pp. 348-374), that Eliot's interpretation of Dante and Dante's influence on his poetry reflect a blend of various elements under the stimulus chiefly of Ezra Pound and also Santayana and Grandgent. Indication is duly given of the original places of publication of the introduction and the essays. Paperback edition. (For reviews, see below.)

Ernst Pulgram. The Tongues of Italy. Prehistory and History. Cambridge (Mass.), Harvard University Press. [1958]

Contains considerable discussion of Dante's linguistic theory and example in relation to the development of Italian, especially on pp. 54-65, 340-344, and 411-417. Indexed.

Herbert Read. The Nature of Literature. New York, Grove Press. ("Evergreen Books," E-92.) [1958]

This is a paperback edition of the work, which contains a discussion of Dante in relation to metaphysical poetry. (See 76th Report, 60.)

George Santayana. Three Philosophical Poets: Lucretius, Dante, Goethe. London, Mayflower Publishing Co. [1958]

A British paperback edition of the work, which contains Santayana's famous essay on Dante. (See 74th Report, 61.)

T. R. Selby. "Filippo Villani and His 'Vita' of Guido Bonatti." In Renaissance News, XI, 243-248. [1958]

Includes references to Villani's Dante lectureship, as well as an account of his extensive use of Benvenuto da Imola's commentary on the Divina Commedia for revising, in 1395, his vita of Bonatti (Inferno XX, 118).

C. S. Singleton. Dante Studies 2. Journey to Beatrice. Cambridge (Mass.), Harvard University Press. [1958]

Passing from his general examination of the poem's structure in Dante Studies 1 (See 73rd Report, 60-61), Professor Singleton here focuses on the allegory of the Comedy, which he re-affirms is an imitation of God's allegory, is a vital, yet long deemed negligible, part of the poem, and has not claimed adequate study as a continuous dimension of the poem. The volume falls into two major parts: (1) "Journey to Beatrice"--with chapters on The Allegorical Journey; The Three Lights; The Three Conversions; Justification; Advent of Beatrice; Justification in History; The Goal at the Summit (See also below, under Addenda); and Lady Philosophy or Wisdom; and (2) "Return to Eden"--with chapters on A Lament for Eden; Rivers, Nymphs, and Stars; Virgo or Justice; Matelda; Natural Justice; and Crossing Over into Eden. There are copious notes and a reference list of theological writings cited in the notes. Parts of the chapters, here retouched, have appeared in the Annual Reports of the Dante Society as "Justice in Eden," in 68th-72nd Reports, 3-33, "Virgil Recognizes Beatrice," in 74th Report, 29-38, and "Stars over Eden," in 75th Report, 1-18. (See also 73rd Report, 61, 75th Report, 28-29, and 76th Report, 53, respectively.)

Bernard Stambler. Dante's Other World: The 'Purgatorio' as Guide to the 'Divine Comedy.' London, Owen. [1958]

Originally published by New York University Press in 1957. (See 76th Report, 53. For reviews, see below.)

J. M. Steadman. "St. Peter and Ecclesiastical Satire: Milton, Dante, and La Rappresentazione del dì del giudizio." In Notes and Queries, V, 141-142. [1958]

Points out in the Paradiso, the Rappresentazione, and Lycidas the use of the figure of St. Peter as an ideal representative of the pastoral office to voice denunciation of its abuse.

Wylie Sypher. Four Stages of Renaissance Style. London, Mayflower Publishing Co. [1958]

A British paperback edition of the work (originally published as a Doubleday Anchor Book, New York, 1955), which contains considerable reference to Dante. (See 74th Report, 55 and 60, and 75th Report, 33.)

Archer Taylor. "Dante, a German Incantation, and an Apocryphal Gospel." In 76th Annual Report of the Dante Society, 37-38. [1958]

Submits that an allusion in the twelfth-century Bamberger Blutsegen may explain Dante's reference to Charles of Valois in Purgatorio XX, 73-74, since the common source seems to be the apocryphal incident recorded in the Arabic Evangelium infantiae, ch. 35, and very likely known to both authors via oral transmission.

W. Y. Tindall. The Literary Symbol. Bloomington (Indiana), Indiana University Press. ("A Midland Book.") [1958]

A paperback edition of the work (originally published by Columbia University Press), which contains ample references to Dante. (See 74th Report, 56, 75th Report, 33, and 76th Report, 58.)

Maurice Valency. In Praise of Love: An Introduction to the Love-Poetry of the Renaissance. New York, Macmillan. [1958]

Focuses, with the non-specialist in mind, upon the formative stages of the lyric tradition culminating in the Vita Nuova, and therefore Dante looms large throughout the volume, which ends with chapters on "The New Style" and "New Life." Included are a preface, notes, a selective bibliography, and a detailed index.

Domenico Vittorini. High Points in the History of Italian Literature. New York, David McKay Company. [1958]

Contains seven Dantean essays: "Dante's Contribution to Aesthetics," "The Historical Reality of the Dolce Stil Nuovo" (See 75th Report, 29, on the original Italian version), "Dante and Courtly Language," "Dante's 'The Court of Heaven'," "Lights and Shadows in Dante's Vita Nuova" (See 68th-72nd Reports, 48, on the original Italian version), "Dante's Concept of Love," and "Francesca da Rimini and the Dolce Stil Nuovo." Indication is duly given of the original places of publication of these essays. (For reviews, see below.)

Karl Vossler. Mediaeval Culture: An Introduction to Dante and His Times. Translated by William Cranston Lawton. 2 vols. New York, Frederick Ungar Publishing Co. (Also, a British edition: 2 vols. London, Constable. "Mediaeval Historical Series.") [1958]

Vossler's well-known work is here reprinted from the original American edition (New York, Harcourt, Brace and Company, 1929), which was translated from the second German edition, under the title, Die Göttliche Komödie. Volume I deals with "The religious, philosophic, and ethical-political background of the Divine Comedy"; Volume II, with "The literary background and the poetry of the Divine Comedy."

J. D. Williams. "Notes on the Legend of the Eaten Heart in Spain." In Hispanic Review, XXVI, 91-98. [1958]

Notes that the figurative account of the eaten heart in Antonio de Torquemada's Coloquios satíricos (1553) is apparently modeled on Chapter III of Dante's Vita Nuova.

Edward Williamson. "De beatitudine huius vite." In 76th Annual Report of the Dante Society, 1-22. [1958]

Focuses upon Dante's Monarchia III, 16, and contends that, while the main issue of the treatise, regarding the proper relation between church and state, was a commonplace, Dante's reason for his view, i.e., the separate beatitudes of man, is a striking and important novelty. Asserting the independence of earthly happiness in being and essence and its accessibility to virtuous pagan and Christian alike, Dante runs counter to the traditional scholastic notion of hierarchy concerning the two beatitudes and anticipates the spirit of the Renaissance. Highly original, also, is Dante's conception of a universal temporal res publica, or humana universitas, extending indifferently over Christian and pagan and standing opposite a universal eternal church. In line with this interpretation of the Monarchia, Professor Williamson takes Virgil's words, "te sovra te corono e mitrio" (Purgatorio XXVII, 142), as a stock phrase referring to the imperial coronation, symbol here of Dante's attaining the earthly happiness which the Emperor assures; attainment of the heavenly happiness must be attributable to Beatrice's guidance.

George Yost, Jr. "A Source and Interpretation of Keats's Minos." In Journal of English and Germanic Philology, LVII, 220-229. [1958]

Documents the source of the Minos reference in Keats's sonnet, "The Town, the churchyard, and the setting sun" (1818), as a combination of Dante's stern Minos (Inferno V) and the classically conceived good-natured Minos Keats knew from Joseph Spence's Polymetis.

Floyd Zulli, Jr. "Dantean Allusions in La Comédie Humaine." In Italica, XXXV, 177-187. [1958]

Enumerates a considerable number of Dantean allusions in Balzac's novels, to show he was more aware of Dante than is usually believed, but at the same time cautions against over-emphasizing the Dante-Balzac relationship, which is "no more than an interesting literary liaison between two great but highly different figures."

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

C. B. Beall, in Romance Philology, XII, 100-104.

Dante Alighieri. The Divine Comedy. Translated by H. R. Huse. (See 73rd Report, 53, 74th Report, 57, and 75th Report, 37-38.) Reviewed by:

G. P. Elliott, in Hudson Review, XI, 597-611.

Dante Alighieri. The Divine Comedy. Translated by G. L. Swiggett. (See 75th Report, 19.) Reviewed by:

H. H. [Helmut Hatzfeld], in Comparative Literature, X, 81-184.

Dante Alighieri. The Inferno. Translated by John Ciardi. (See 73rd Report, 53-54, 74th Report, 57 and 62, 75th Report, 30, and 76th Report, 39, 55-56 and 61.) Reviewed by:

G. P. Elliott, in Hudson Review, XI, 597-611.

Dante Alighieri. The Comedy of Dante Alighieri the Florentine. Cantica I: Hell (L'Inferno). Translated by Dorothy L. Sayers. Baltimore, Penguin Books, 1949. Reviewed by:

G. P. Elliott, in Hudson Review, XI, 597-611.

Dante Alighieri. Purgatory. Translated by Dorothy L. Sayers. (See 74th Report, 45-46, 75th Report, 30 and 38, and 76th Report, 56 and 61.) Reviewed by:

G. P. Elliott, in Hudson Review, XI, 597-611.

Dante Alighieri. La Vita Nuova. Translated by Mark Musa. (See 76th Report, 40 and 56, and see below, p. 62.) Reviewed by:

T. G. Bergin, in Italian Quarterly, I, 4 (Winter), 79-85;

G. P. Elliott, in Hudson Review, XI, 597-611;

Colin Hardie, in Modern Language Review, LIII, 442-443;

L. V. McDonnell, in Catholic World, CLXXXVI, 398-399;

J. H. Mahoney, in Yearbook of Comparative and General Literature, VII, 76-77.

Erich Auerbach. Mimesis. Il Realismo nella letteratura occidentale. (See 76th Report, 59 and 61.) Reviewed by:

Michele Messina, in Studi Danteschi, XXXV, 299-302.

C. P. Brand. Italy and the English Romantics: The Italianate Fashion in Early Nineteenth-Century England. Cambridge (England), Cambridge University Press, 1957. (Contains a chapter on "Dante," pp. 49-72.) Reviewed by:

P. M. P. [P. M. Pasinetti], in Italian Quarterly, I, 4 (Winter), 102-105.

E. R. Curtius. La Littérature européenne et le moyen âge latin. Traduit de l'allemand par Jean Bréjoux. Paris, Presses Universitaires de France, 1956. (Contains substantial sections on Dante. See 68th-72nd Reports, 45.) Reviewed by:

W. T. H. Jackson, in Romanic Review, XLIV, 203-205.

C. T. Davis. Dante and the Idea of Rome. (See 76th Report, 42, and see above.) Reviewed by:

H. G. Hall, in American Oxonian, XLV, 151-152.

Francesco De Sanctis. De Sanctis on Dante. (See 76th Report, 42-43.) Reviewed by:

T. G. Bergin, in Italian Quarterly, I, 4 (Winter), 79-85;

Nicolae Iliescu, in Delta (Naples), N. S., No. 14, 65-68;

G. N. G. Orsini, in Comparative Literature, X, 174-176;

Nicolas Perella, in Romance Philology, XI, 415-416;

E. L. Rivers, in Italica, XXXV, 220-221;

J. A. Scott, in Modern Language Quarterly, XIX, 87-90.

Ruth Mary Fox. Dante Lights the Way. (See above.) Reviewed by:

V. R. Yanitelli, in America (New York), C, 376-377.

Robert Gittings. The Mask of Keats. (See 75th Report, 23-24, and 76th Report, 56 and 61, and see below, p. 63.) Reviewed by:

C. D. Thorpe, in Modern Language Notes, LXXIII, 219-223.

Ulrich Leo. Sehen und Wirklichkeit bei Dante. (See 76th Report, 46 and 56.) Reviewed by:

H. H. [Helmut Hatzfeld], in Comparative Literature, X, 274-276;

Hans Rheinfelder, in Romanische Forschungen, LXX, 393-404.

Penguin Book of Italian Verse. Contains Selected Poems by Dante. (See above, under Translations.) Reviewed by:

T. G. Bergin, in Italian Quarterly, II, 1 (Spring), 69-70.

Ezra Pound. Saggi letterari. (See 76th Report, 50, and also 73rd Report, 58.) Reviewed by:

Domenico De Robertis, in Studi Danteschi, XXXV, 286-287.

Mario Praz. The Flaming Heart. (See above.) Reviewed by:

C. B. Beall, in Comparative Literature, X, 358-360.

Elizabeth von Roon-Bassermann. Dante und Aristoteles: Das "Convivio" und der mehrfache Schriftsinn. Freiburg, Herder, 1956. Reviewed by:

Ulrich Leo, in Romanic Review, XLIX, 125-129.

Dorothy L. Sayers. Further Papers on Dante. (See 76th Report, 52 and 57, and see below, p. 63.) Reviewed by:

T. G. Bergin, in Italian Quarterly, I, 4 (Winter), 79-85;

G. P. Elliott, in Hudson Review, XI, 597-611;

Colin Hardie, in Italian Studies, XIII, 111-118;

L. V. McDonnell, in Catholic World, CLXXXVI, 398-399;

W. M. Miller, in Italica, XXXV, 211-214.

Dorothy L. Sayers. Introductory Papers on Dante. (See 74th Report, 59 and 61, and 75th Report, 32 and 39.) Reviewed by:

T. G. Bergin, in Speculum, XXXIII, 319-322;

G. P. Elliott, in Hudson Review, XI, 597-611.

C. S. Singleton. Dante Studies 1. (See 73rd Report, 60-61, 74th Report, 60, 75th Report, 33 and 39, and 76th Report, 61.) Reviewed by:

Andrea Ciotti, in Convivium, N. S., XXVI, 101-105.

Bernard Stambler. Dante's Other World. (See 76th Report, 53, and see above.) Reviewed by:

Lienhard Bergel, in Books Abroad, XXXII, 448-449;

T. G. Bergin, in Italian Quarterly, I, 4 (Winter), 79-85;

W. M. Crittenden, in The Personalist, XXXIX, 417-418;

G. P. Elliott, in Hudson Review, XI, 597-611;

W. M. Miller, in Italica, XXXV, 211-214;

V. R. Yanitelli, in America (New York), C, 376-377.

Domenico Vittorini. The Age of Dante. (See 76th Report, 54.) Reviewed by:

T. G. Bergin, in Italian Quarterly, I, 4 (Winter), 79-85;

Vincenzo Cioffari, in Books Abroad, XXXII, 450;

A. J. De Vito, in Modern Language Journal, XLII, 158;

Pearl Kibre, in American Historical Review, LXIII, 647-648;

J. C. Nelson, in American Scholar, XXVII, 122-124.

Domenico Vittorini. High Points in the History of Italian Literature. (See above.) Reviewed by:

Sergio Pacifici, in Saturday Review, XLI, No 18 (3 May), 32.

Samuel Beckett. "Dante and the Lobster." In Evergreen Review, I, No. 1, 24-36. [1957]

An amusing short story (by the author of Waiting for Godot) inspired by Dante's Belacqua.

Giorgio Del Vecchio. "Dante as Apostle of World Unity." In Scienza Nuova (Oxford, England), I, Nos. 3-4, 41-46. [1957]

Reprinted from 73rd Annual Report of the Dante Society (1955), 23-30. (See also 74th Report, 50.)

R. O. Evans. "Conrad's Underworld." In Modern Fiction Studies, II, 56-62. [1956]

Notes that in Heart of Darkness Conrad made extensive use of Dante's Inferno.

R. W. Frank, Jr. "The Art of Reading Medieval Personification-Allegory." In ELH, XX, 237-250. [1953]

Distinguishes between 'symbol-allegory' and 'personification-allegory', and proceeds to focus on the second type as exemplified in Piers Plowman, while using the Divine Comedy as a contrasting example of the first. The author warns, moreover, against assuming a fourfold scheme of allegory in medieval works; its use, even by Dante, is yet to be proved.

J. G. Fucilla. "Annual Bibliography for 1956. Italian Language and Literature." In PMLA, LXXII, 2 (April), 299-313. [1957]

Contains a substantial list of selected Dante studies published both here and abroad, pp. 302-303.

R. E. Lott. "Marco Lombardo." In Delta (Naples), N. S., Nos. 11-12, 77-86. [1957]

Contends that in his statements in Purgatorio XVI Marco Lombardo does not directly express Dante's current thought on the relative position of Empire and Church, but symbolizes (1) the past world of chivalry, which is insufficient for salvation, (2) some of Dante's own former errors in political philosophy, and (3) Dante's struggle with the discursive reason before attaining the true lumen naturale preliminary to divine enlightenment.

Renato Poggioli. "Notarella aneddotica su un titolo." In Letteratura (Rome), III, 17-18 (Sept.-Dec.), 149-154. [1955]

Relates the experience of discovering an apparent parallel between the title and topography of Eliot's poem, "The Waste Land," and the paese guasto of Inferno XIV, 94-99, and, despite much supporting evidence, of ultimately having to yield to the incontrovertible testimony of Eliot himself, indicating a different source of inspiration. Professor Poggioli must conclude the parallel to be a case of pure coincidence, constituting moreover a confirmation of the archetypal myth.

C. S. Singleton. "The Goal at the Summit." In Delta (Naples), N. S., Nos. 11-12, 61-76. [1957]

Interprets the goal at the top of Dante's Purgatory in terms of the traditional Aristotelian-Christian ideal of happiness: the attainment, based on the prerequisite of justice in the soul, of "perfection in both the active and the contemplative orders of life, the contemplative being the higher of the two and the 'final' goal." This is borne out by the prophetic dream of Leah and Rachel (Purgatorio XXVII, 94-108) and its fulfilment in the poem: Leah symbolizes justice, to which Virgil leads, and is preparation for Rachel, symbol of contemplation or one of the aspects of Beatrice, who fulfills the dream by her advent in the Earthly Paradise. The study is preprinted from Dante Studies 2. (See above, p. 52.)

Leo Spitzer. "Il Canto XIII dell' Inferno." In Letture Dantesche. I. Inferno. [A cura di Giovanni Getto.] Florence, Sansoni. Pp. 221-248. [1955]

Italian version of an article originally published in English as "Speech and Language in Inferno XIII," in Italica, XIX (1942), 81-104. Professor Spitzer shows that in this canto, apart from employing traditional rhetorical devices usually pointed out by previous commentators, Dante exhibits great artistic skill in fitting style to content, both in the language of the narrative, where he makes skillful use of brau lengage of Provençal tradition, in keeping with the harsh subject-matter, and in the speech (or language-production) of the sinner here, in keeping with his infernal condition as a uomo-pianta and with the general concept of contrapasso.

A. I. Viscusi. "Order and Passion in Claudel and Dante." In French Review, XXX, 442-450. [1957]

Discusses the profound affinities and differences between Claudel and Dante. What they have in common is their recognition of design in God's universe, their acceptance of Christian dogmas, their conception of the poet as mediator between God and man, and their "catholicité, that is, la passion de l'univers." The difference in their poetry, however, is due to a difference in temperament: thus, while Dante is interested in expressing the essential, universal element of his experiences, is able to subdue his passions, and is intense and terse in expressing them, Claudel, lacking Dante's order and terseness, simply lists his experiences, believing his analogies will suggest their unity, is unable to control his passions, and is prolix in expression.

E. J. Webber. "Santillana's Dantesque Comedy." In Bulletin of Hispanic Studies, XXXIV, 37-40. [1957]

Contends that Santillana's Comedieta de Ponza (between 1435-1444) is modeled upon Dante's Divina Commedia as 'comedy', and not--according to customary classification--as allegorical vision poem.

René Wellek. "Francesco De Sanctis." In Italian Quarterly, I, 1 (Spring), 5-43. [1957]

Contains a discussion and evaluation of De Sanctis' critical approach to Dante's masterpiece.

George Williamson. A Reader's Guide to T. S. Eliot: A Poem-by-Poem Analysis. New York, Noonday Press. [1957]

Includes many indications of the profound and continual influence of Dante on Eliot, passim and especially in the section on the Waste Land poems. This is a paperback edition identical to the original American edition (also by Noonday Press) in 1953 and the British edition (London, Thames and Hudson) in 1955.

Dante Alighieri. La Vita Nuova. Translated by Mark Musa. (See above, p. 56.) Reviewed by:

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

Hans Baron. The Crisis of the Early Italian Renaissance. (See 74th Report, 46-47, and 75th Report, 30-31.) Reviewed by:

Francesco Tateo, in Convivium, N. S., XXV, 354-359;

Giuseppe Toffanin, in Comparative Literature, IX, 66-70.

Francesco De Sanctis. Lezioni e saggi su Dante. A cura di Sergio Romagnoli. Turin, Einaudi, 1955. Reviewed by:

A. M. Galpin, in Books Abroad, XXXI, 189.

Francesco De Sanctis. Lezioni sulla "Divina Commedia." A cura di Michele Manfredi. Bari, Laterza, 1955. Reviewed by:

A. M. Galpin, in Books Abroad, XXXI, 189.

Robert Gittings. The Mask of Keats. (See above, p. 57.) Reviewed by:

C. R. Woodring, in Journal of English and Germanic Philology, LVI, 290-292.

George Santayana. Essays in Literary Criticism. (See 75th Report, 27-28 and 32.) Reviewed by:

Marvin Mudrick, in Hudson Review, X, 275-281.

Dorothy L. Sayers. Further Papers on Dante. (See above, p. 58.) Reviewed by:

J. C. [John Ciardi?], in Saturday Review, XL, No. 45 (9 Nov.), 44.

A. L. Sells. The Italian Influence in English Poetry. (See 74th Report, 53 and 60, 75th Report, 32-33, and 76th Report, 57 and 61.) Reviewed by:

J. Voisine, in Revue de Littérature Comparée, XXXI, 442-444.

W. Y. Tindall. The Literary Symbol. (See above, p. 53.) Reviewed by:

W. K. Wimsatt, Jr., in Renascence, IX, 206-208.