BY ANTHONY L. PELLEGRINI

[Originally published in Dante Studies, vol. 82 (1964)]

This bibliography is intended to include Dante translations published in this country in 1963, and all Dante studies and reviews published in 1963 that are in any sense American. The latter criterion is construed to include foreign reviews of Dante publications by Americans. Systematic search for such foreign reviews has been restricted to the following Italian and British periodicals: Aevum, Convivium, Giornale Storico della Letteratura Italiana, Studi Danteschi, Italian Studies, and Modern Language Review; some random reviews from other foreign periodicals are also included.

The listing of reviews in general is selective, particularly in the case of studies bearing only peripherally on Dante. The determining factor here is whether the reviewer deals in some measure with the Dantean element in the study being reviewed.

Items not recorded in the bibliographies for previous years appear as addenda to the present list.

The Divine Comedy. Translated by Dorothy L. Sayers. With 26 full-page illustrations by William Blake. New York, Basic Books. 3 V. [1963]

De luxe hard-cover edition in three volumes, boxed, of Miss Sayers' version in terza rima, originally published by Penguin Books between 1949 and 1962 (see 74th Report, 45-46 and 57, 75th Report, 30 and 38, 76th Report, 56 and 61, 77th Report, 56, and 81st Report, 20 and 31).

John Arthos. Dante, Michelangelo and Milton. London, Routledge and Kegan Paul. [1963]

In the light of the Longinian view that through the sublime, achieved by the artist from his own noble nature, the reader can be "transhumanized," the author examines the works of the three artists in their relation to divine principles. In a pithy chapter on Dante (pp. 18-49), Professor Arthos focuses on Dante's philosophy of language in the evolution of his art, his conception of the poet as a creator on an analogy with God, and his preoccupation with his own individual relationship to the Divinity. The effect of Dante's art goes beyond Longinus by putting us in touch with what he sees in a kind of direct relationship to truth. "The sublime in Dante finally rests in the fulfilment of the idea of the unity of man and God."

Erich Auerbach. Studi su Dante. [Edited with an introduction by Dante Della Terza.] Milan, Feltrinelli. (I fatti e le idee. Saggi e biografie, 101.) [1963]

Gathers in Italian translation (from the German, by Maria Luisa De Piero Bonino; from the English, by Dante Della Terza) most of Auerbach's studies relating to Dante: Dante, poeta del mondo terreno; Sacrae Scripturae sermo humilis; Figura; Francesco d'Assisi nella "Commedia;" Passi della "Commedia" dantesca illustrati da testi figurali; L'orgoglio di Saul (Purg. XII, vv. 40-42); La preghiera di Dante alla Vergine (Par. XXXIII) ed antecedenti elogi; Gli appelli di Dante al lettore. A bibliographical account of the studies is given in the preface and in a "Nota ai testi" (pp. xx-xxi) by the editor. For analyses of many of the studies which appeared in recent years in English or otherwise, see 73th Report, 55; 78th Report, 26; 79th Report, 40 and 56; and 80th Report, 23. In a preface (pp. vii-xix), Professor Della Terza evaluates Auerbach as a student of Dante and his influence on recent Dante criticism. Indexed.

A. S. Bernardo. "The Three Beasts and Perspective in the Divine Comedy." In PMLA, LXXVIII, 15-24. [1963]

Synthesizes recent findings of such interpreters as Singleton, Freccero, and others, to support the contention that in turning away from the Wolf to follow Virgil as guide, the Wayfarer enacts a descent in humility, necessary prelude to ascending to grace. Metaphorically, he has gone to the bottom of the cosmos, or northern hemisphere full of cupidity and corruption, and has begun the ascent to "eternity's locus" in the southern hemisphere. The cone of Hell prefigures the Mount of Purgatory in outline, and descent down the cone is already an ascent up to the mount.

Giovanni Boccaccio. Leonardo Bruni Aretino. The Earliest Lives of Dante. Introduction by Francesco Basetti-Sani. New York. Frederick Ungar Publishing Co. (Milestones of Thought.) [1963]

Paperback edition of the Lives as translated from the Italian by James Robinson Smith in 1901. The introduction consists of brief sections on Dante and his personality and on Boccaccio and Bruni and their biographies of Dante, respectively. Also included is a brief passage from The Life of Dante by Filippo Villani. Indexed.

Maud Bodkin. Archetypal Patterns in Poetry. New York, Oxford University Press. (Oxford Paperbacks, 66.) [1963]

Paperback edition of the work originally published in 1934 by Oxford University Press and in 1958 by Vintage Books. (See 79th Report, 56-57.)

Glauco Cambon. "Examples of Movement in the Divine Comedy (An Experiment in Reading)." In Italica, XL, 108-131. [1963]

Submits an "aesthetic" reading of three brief, but pregnant passages--Inf. XVII, 135-6; Purg. II, 51; Par. I, 92-3, each climactic in its immediate context, in order to show how in their subtly analyzed sonal, chromatic, rhythmic and kinetic effects, together with the conceptual meaning expressed, they recall within their respective cantiche, in a symmetric and mutually contrastive manner, the essential thematic movement of the Comedy as a whole.

E. R. Curtius. European Literature and the Latin Middle Ages. Translated from the German, Europäische Literatur und lateinisches Mittelalter, by Willard Trask. New York, Pantheon Books. 662 pp. [1963]

Another edition of the English translation of Curtius' well known work, first published in 1953, in the Bollingen Series. The German original appeared in 1948. (See 68th-72nd Reports, 45.)

E. R. Curtius. European Literature and the Latin Middle Ages. New York, Harper and Row. (Harper Torchbooks, TB-2015.) 658 pp. [1963]

Paperback edition.

Dante Della Terza. "Erich Auerbach." In Belfagor, XVIII, 306-322. [1963]

Appraises the Dantean, as well as general, scholarship of Auerbach who spent the last un years of his productive life in America. Includes a "nota bibliografica" (pp. 321-322) of works by and on Auerbach.

Jules Gelernt. Review Notes on the Divine Comedy by Dante. New York, [Thor Publications, Inc.] Distributed by Monarch Press. (Monarch Review Notes, No. 510.) [1963]

Paperback handbook, with an introduction arranged topically, and sections on the three cantiche, consisting of a brief introduction, a summary of each canto, and a comment on each canto. Includes a short section of "Questions and Answers on Key Points" and a select bibliography.

Allan H. Gilbert. Dante and His Comedy. [New York] New York University Press. Also in paperback. (The Gotham Library.) [1963]

Applies to Dante "the principles of minimum interpretation" in this general introduction designed primarily for the general reader. Chapters are arranged under the following major headings and subtopics: 1. "Fact or Fancy?"--Autobiography or Fiction?--Vision or Reality?--The Feigned Traveler's Experience--The Eyewitness in the Inferno--The Observer in Purgatory--Eyesight in Paradise--Other Vivid Impressions--What Does the Visitor Share with the Dead?; 2. "Poetry"--A String of Beads--To Please, to Teach, the Poet's Aim--A Poem on Poetry--Inferno--Purgatorio--Paradiso; 3. "Comedy" --Comedy through Dante's Eyes--The Comic Hero--Epic Figures Lowered--Common Life in the Action--Inferno and Purgatorio--Paradiso--Similes from Daily Life--Generally Recognized Comedy; 4. "Religion"--The Church in the Commedia--The Empty Chariot --The Traveler's Sins--Renown or Repentance?; 5. "Beatrice"--The Early Beatrice--Beatrice as Teacher and Guide--Beatrice in the Structure of Paradiso; 6. "Punishments and Rewards" --Punishments in Hell--Purification in Purgatory--Paradise; 7. "Outline-Analysis of the Commedia--Inferno--Purgatorio--Paradiso." Also included are a preface, a general index, and a "Key to Passages from Dante and his Commentators."

Allan H. Gilbert. "Dante as Gulliver." In Renaissance Papers, 1962. Durham, N.C. The Southeastern Renaissance Conference. pp. 27-32. [1963]

Contends that although Dante, like Swift, sometimes forgets art in his desire to teach, yet the artist, staging himself as a Gulliver-like traveler, exhibits the storyteller's pleasure in the narration of his grotesque adventure, as exemplified in the Geryon episode.

Allan H. Gilbert. "Dante's Hundred Cantos." In Italica, XL, 99-107. [1963]

Examines the anomalies in the otherwise symmetrical structure of Dante's poem and speculates on the probable gradual ideation and chronology of composition by the poet. Professor Gilbert concludes that the Comedy "may be considered a fusion and development of two poems, one on Beatrice angelicata . . . the other a progress through the world of the dead guided by the author of Aeneid 6." Dante was so many years at his artistic creation -- e.g. "the experienced humanity of Malebolge smack of late composition" -- that any portion of the finished poem may contain elements of both youthful endeavor and artistic maturity.

Etienne Gilson. Dante and Philosophy. Translated by David Moore. New York, Harper and Row. (Harper Torchbooks, TB1089.) [1963]

Paperback edition of Professor Gilson's well known work, originally published in French as Dante et la philosophie (Paris, Vrin, 1939; reprinted 1954) and subsequently in English as Dante the Philosopher (London, Sheed and Ward, 1948 and 1952). Writing as an historian of philosophy, the author examines Dante's philosophical thought and seeks to define his developing attitudes towards philosophy. His treatment is cast under the following major headings: I. Dante's Clerical Vocation and Metamorphoses of Beatrice; II. Philosophy in the Banquet; III. Philosophy in the Monarchy; IV. Philosophy in the Divine Comedy; and Eclaircissements. There are indices of proper names and of the principal questions discussed.

J. V. Hagopian. "A Prince in Babylon." In Fitzgerald Newsletter, No. 19 (Fall), 1-3. [1963]

Suggests that Fitzgerald's "Babylon Revisited" is a Dantesque story, noting that the protagonist's life reflects a pattern of repentance, moral rebirth, purgatorial suffering, and the promise of redemption by his Beatrice-like wife.

Helmut Hatzfeld. "The Stylization of Divine Love in Dante, St. John of the Cross, Pascal, and Angelus Silesius." In Saggi e ricerche in memoria di Ettore Li Gotti. 3 vols. Palermo, 1961-63. (Centro di studi filologici e linguistici siciliani. Bollettino, 6-8.) Vol. II, pp. 76-102. [1963]

Finds that the works of these four writers exhibit but four different structural and stylistic expressions of the same essential problem. After St. Thomas categorized the types of love and sharply separated the love benevolence from the love of concupiscence and upheld the concept of amicitia caritatis (Summa Theol., PS, Qu. 26, Art. 4c and SS, Qu. 25, Art. l0c), there was no question as to the incompatibility of any kind of earthly love with Love of God. Dante's position on love is examined in the Purgatory, along with the positions of the other three writers, respectively. All four stylizations, the author concludes, reveal the same identical approach to Divine Love: "there is no charity for them without the destruction of cupidity." The following conceptual and imagistic parallels are cited: for all four there is the same progress in charity, involving suffering on their way to bliss; the eyes as best reflecting the human soul as the corporeal symbol for the love attraction; recognition of God's invitation to love along the way of their inspiration and progress; superiority of the love of contemplation in the hierarchy of charity; and the identification of Divine Love (Charity) as the ultimate Wisdom.

E. M. Hood. "The Condition of Ulysses: Expansions and Contractions in Canto XXVI of the Inferno." In 81st Annual Report of the Dante Society, 1-17. [1963]

Interprets the Ulysses episode in terms of movements of expansion and contraction, reflected in every aspect--spiritual, ethical, aesthetic, stylistic.

B. F. Huppé and D. W. Robertson. Fruyt and Chaf: Studies in Chaucer's Allegories. Princeton, Princeton University Press. [1963]

Contains occasional references, passim, to Dante, especially to parallels between The Book of the Duchess and the Vita nuova. Indexed.

C. K. Hyder. "Rossetti's Rose Mary: A study in the Occult." In Victorian Poetry, I, 197-207. [1963]

Contains references to Dantean parallels in D. G. Rossetti's poem.

G. W. Knight. The Christian Renaissance: With Interpretations of Dante, Shakespeare and Goethe. New York, The Norton Library. [1963]

Paperback edition of the work first published in 1933 and then in a revised edition in 1962. (See 81st Report, 24-25.)

D. A. Lenardon. "An Annotated List of Articles Dealing with Italian Literature Appearing in the Journal Encyclopédique from 1756 to 1793." In Italica, XL, 52-61. [1963]

Includes eight entries bearing upon Dante.

F. W. Locke. "Dante and T. S. Eliot's Prufrock." In Modern Language Notes, LXXVIII, 51-59. [1963]

Contends that Dante's verses (Inf. XXVII, 61-66) serving as epigraph to Eliot's Prufrock are to be construed as an integral part of the poem. The richer meaning achieved yields the suggestive analogy: Guido is to Dante as Prufrock is to you (the reader).

J. A. Mazzeo. "Hell vs. Hell: From Dante to Machiavelli." In Symposium, XVII, 245-267. [1963]

Despite the cultural distance between Dante (who could imagine a Purgatory and Paradise as well as Hell) and Machiavelli (who could imagine only a Hell), the Dantean Hell, conceived in terms of incontinence, force, and fraud, was preserved and transformed by Machiavelli in the later cosmological structure. It is this conception of Hell that the author identifies as Machiavelli's view of the world, as he examines the breakdown of hierarchy and the emergence of fortune and virtue. For Machiavelli, the force of incontinence, engendered by man's infinite desire which lacks an infinite object, is kept in check by the forces of violence and fraud. Understood as including shrewd actions and dissimulation, fraud may even be "good." "Freedom, reason, glory, law, ability are embedded in force, fraud, desire, chance, natural and cultural necessity. While these polarities may at times overcome one another, we must also grasp the fact that they create each other."

R. C. Melzi. "Castelvetro's Annotations to the Inferno: A Second Look at a Scarcely Known Manuscript." In Italica, XL, 306-319. [1963]

Argues for attribution to Castelvetro of the marginal notations in Ms. a. k. 1. 13 of the Biblioteca Estense, Modena: Dante's Commedia, with commentary by Landino (Venice, Quarengi, 1497). Designated as the Chiose, these marginal annotations are carefully compared with Castelvetro's later Sposizione ai primi XXXIX canti dell'Inferno dantesco. Professor Melzi submits that the Ckiose is a "working copy" from Castelvetro's liberal maturity in Modena, 1548-1558, exhibiting a profound reading of the Commedia combined with a modern aesthetic sensitivity. The Chiose is a valuable key to Castelvetro's later work of both Dantean and Petrarchan interest and enhances his importance as a new philologist.

A. L. Pellegrini. "American Dante Bibliography for 1962." In 81st Annual Report of the Dante Society, 19-37. [1963]

With brief analyses.

John Pettigrew. "Tennyson's 'Ulysses': A Reconciliation of Opposites." In Victorian Poetry, I, 27-45. [1963]

Contains references to Dante's Ulysses, which served to inspire the complex figure of Tennyson's poem.

Joseph Raben. "Milton's Influence on Shelley's Translation of Dante's 'Matilda Gathering Flowers.' " In Review of English Studies, XIV, 142-156. [1963]

Examines the three redactions of Shelley's translation of Purgatory XXVIII, 1-51, which was published posthumously as "Matilda Gathering Flowers," and finds that for his diction and imagery Shelley relied especially upon the verse of Milton, as the best model for recreating Dante in English.

Irene Samuel. "The Valley of the Serpents: Inferno XXIV-XXV and Paradise Lost X, 504-577." In PMLA, LXXVIII, 449-451. [1963]

Examines correspondences between Dante's and Milton's handling of figures of Hell in the transformation scenes to show that Milton learned much from Dante: "to people Hell with the recognizably human, to show Hell enacting its nature, and to attach finally to that enacted, recognizable, human evil such revulsion that the reader gladly escapes from Hell."

J. A. Scott. "Dante's Use of the Word Intelletto." In Italica, XL, 215-224. [1963]

Takes profound issue with Donald Heiney's study, "Intelletto and the Theory of Love in the Dolce Stil Nuovo" (see 81st Report, 23-24), and demonstrates that, far from being a non-rational "passive sensibility of love possessed by superior souls" (Heiney), the intelletto referred to in Dante's Donne ch'avete intelletto d'amore is indeed an intellectual faculty by which the select few have real understanding of the nature of nobility and therefore of true love. (cf., e.g., Conv. IV, xx, 9).

F. A. Stebbins. "Dante in Orbit." In Journal of the Royal Astronomical Society of Canada, LVII, 210-217. [1963]

Summarizes Dante's time references in the Divine Comedy, noting the poet's remarkable astronomical exactitude, and points out, with reference to the Paradiso, that Dante seems to be the first, among those who saw it simply with the mind's eye, to see the earth from orbit. Includes two sets of illustrative diagrams.

J. G. Taaffe. "Circle Imagery in Tennyson's In Memoriam." In Victorian Poetry, I, 123-131. [1963]

Explains the circle imagery as a Dantean parallel, since Tennyson records that In Memoriam "was meant to be a kind of Divina Commedia, ending with happiness."

E. H. Wilkins. "The First Two Triumphs of Petrarch." In Italica, XL, 7-17. [1963]

Contains a brief section on Dante's influence (pp. 15-16), citing the many fewer Dantean parallels in the later Triumphs as a reflection of Petrarch's changed attitude toward Dante. Submitting two further instances of Dantean influence, Dr. Wilkins cites as equivalent the Massinissa-Sophonisba (Triumph of Love) and Paolo-Francesca episodes.

Dante Alighieri. The Inferno. Translated by Warwick Chipman. (See 80th Report, 21-22, and 81st Report, 31.) Reviewed by:

H. W. Hilborn, in Queen's Quarterly, LXX, 450-451.

Dante Alighieri. La Vita Nuova. Translated by Mark Musa. (See 81st Report, 20.) Reviewed by:

Morris Bishop, in Italica, XL, 182-183.

John Arthos. Dante, Michelangelo and Milton. (See above.) Reviewed by:

Anon., in Times Literary Supplement, 14 Nov., p. 928.

Erich Auerbach. Dante: Poet of the Secular World. (See 80th Report, 23, and 81st Report, 31.) Reviewed by:

Beatrice Corrigan, in University of Toronto Quarterly, XXXII, 193-198;

D. J. Donno, in Renaissance News, XVI, 114-115;

Francis Fergusson, in Modern Philology, LX, 283-286;

H. W. Hilborn, in Queen's Quarterly, LXX, 450-451.

Irma Brandeis. The Ladder of Vision. (See 79th Report, 41 and 52, 80th Report, 24 and 34-35, and 81st Report, 21 and 32.) Reviewed by:

L. R. Rossi, in Italica, XL, 281-285.

Dorothy Bethurum, ed. Critical Approaches to Medieval Literature. (See 79th Report, 47, under Schless.) Reviewed by:

Helaine Newstead, in Romance Philology, XVII, 190-194.

Phillip Damon. Modes of Analogy in Ancient and Medieval Verse. (See 81st Report, 34.) Reviewed by:

L. J. Friedman, in Romance Philology, XVII, 186-190.

Enzo Esposito. Critica letteraria. Rassegna degli studi sulla letteratura italiana apparsi nei periodici del 1961. Rome, Società Editoriale Idea, 1962. (Lists 43 Dante items.) Reviewed by:

J. G. Fucilla, in Italica, XL, 195-196.

D. M. Foerster. The Fortunes of Epic Poetry. (See 81st Report, 21-22.) Reviewed by:

B. K. Campbell, in Romance Philology, XVI, 384-385.

Sister Feliciana Groppi. Dante traduttore. 2a. edizione notevolmente accresciuta. Rome, Tipografia Poliglotta Vaticana, 1962. Reviewed by:

H. A. Hatzfeld, in Catholic Historical Review, XLVIII, 572-573.

Baxter Hathaway. The Age of Criticism. (See 81st Report, 23 and 32.) Reviewed by:

Glauco Cambon, in Poetry, CII, 198-201;

J. H. Whitfield, in Italian Studies, XVIII, 147-150.

Italian Studies in Honor of E. R. Vincent. Edited by C. P. Brand, K. Foster, and U. Limentani. Cambridge (England), W. Heffer, 1962. (Contains three Dantean pieces by U. Bosco, C. Grayson, and F. May.) Reviewed by:

C[harles] S[peroni], in Italian Quarterly, VII, No. 25, 60-65.

Luigi Malagoli. Saggio sulla "Divina Commedia." Florence, La Nuova Italia, 1962. Reviewed by:

Arshi Pipa, in Italica, XL, 183-187.

C. S. Singleton. Dante Studies 2. Journey to Beatrice. (See 77th Report, 52-53, etc. Widely reviewed.) Reviewed by:

T. G. Bergin, in Speculum, XXXVIII, 501-504.

T. K. Swing. The Fragile Leaves of the Sibyl. (See 81st Report, 29-30.) Reviewed by:

H. A. Hatzfeld, in Catholic Historical Review, XLVIII, 572-573;

E. C. Witke, in Speculum, XXXVIII, 666-667.

Giulio Vallese. Da Dante ad Erasmo. Naples, G. Scalabrini Editore, 1962. (See 81st Report, 33.) Reviewed by:

Frank Rosengarten, in Italica, XL, 192-195.

Bernard Weinberg. A History of Literary Criticism in the Italian Renaissance. (See 80th Report, 33, and 81st Report, 33 and 37.) Reviewed by:

Glauco Cambon, in Poetry, CII, 198-201; C. Grayson, in Romance Philology, XVII, 490-496;

Ralph Nash, in Criticism, V, 281-283;

1. J. Schoeck, in University of Toronto Quarterly, XXXII, 199-204.
   
   

(for 1962, unless otherwise indicated)

Luigi Borelli. Il cavaliere azzurro e altri saggi. Turin, Edizioni Palatine. [1960]

Contains an essay, "Dolcissimi affanni" (pp. 55-99), on Dante and Petrarch, their artistic and historical relationship, with further reference to the modern artist: "abbiamo da un lato la tecnica dell'imagine imposta al verbo poetico, dall'altro il verbo poetico imposto sull'imagine." The author emphasizes that Dante's attention is focused on the concrete, that his poetry seeks the representation of a sensible reality.

John Ciardi. "How to Read Dante." In Varieties of Literary Experience: Eighteen Essays in World Literature. Edited by Stanley Burnshaw. [New York] New York University Press. Pp. 171-182. [1962]

Reprinted from Saturday Review, June 3, 1961, pp. 12-14 and 53-54. (See 80th Report, 24.)

R. L. Greene. "A Middle English Love Poem and the 'O-and-I' Refrain-Phrase." In Medium Aevum, XXX, 170-175. [1961]

Examines the text of a newly found poem, along with others, containing the puzzling 'O-and-I' phrase and cites the Dantean instance in Inf. XXIV, 97-102, to explain it as an expression of great speed, the quickness with which a scribe writes an 'O' or an 'I'.

L. Palanca. "Similes in Dante." In Proceedings of the Linguistic Circle of Manitoba and North Dakota, III, 10-11. [1962]

Brief remarks on animal similes combined with onomatopoeia in the Divine Comedy, reflecting Dante's keen observation and love of nature.

Renato Poggioli. "Tragedy or Romance? A Reading of the Paolo and Francesca Episode in Dante's Inferno." In PMLA, LXXII (1957), 313-358. (See 76th Report, 50.) Reviewed by:

Dante Della Terza, in Rassegna della Letteratura Italiana, LXII [1958], 384-387.