This bibliography is intended to include the Dante translations published in this country in 1966, and all Dante studies and reviews published in 1966 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 with the Dantean element in the study under review.

Not unexpectedly, the swell of Dantean publications relating to the centennial year continued into 1966, when, for example, some commemorative lectures made their delayed appearance in print. It is to be hoped that the enhanced interest in Dante occasioned by the 1965 centennial may in some measure carry into the future.

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 or a special issue of a periodical is given in brief, while the main entry of the volume is listed fully 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.

The Divine Comedy Translated into blank verse by Louis Biancolli. [Illustrated by Harry Bennett.] New York: Washington Square Press. 3 v. 23.5 cm. [1966]

Each cantica, with the Italian text from Moore's edition and the translation in "a flexible iambic pentameter" on facing pages, occupies a separate volume. The work comes with a brief textual acknowledgment preceding the Inferno, very brief notes at the end of each cantica, and, at the end of Volume III, a "Translator's Note" and brief information about the translator and the illustrator. For each part there are ten original halftone illustrations, one of which is repeated on the front cover. The translator's express aim was a "natural approach to Dante ' staying dose to the Florentine poet and maintaining the momentum. For reviews, see below.

Il Paradiso di Dante An English version by T. W. Ramsey, with a foreword by Roy Campbell. Aldington, Kent: The Hand and Flower Press [Chester Springs, Pennsylvania: Dufour] x, 148, (I) p.23 cm. [1966]

A reprint of the work, first published by The Hand and Flower Press in 1952. The version is done in tercets, with the first and third verse in rhyme.

[Inferno I, 1-31. Translated by G. W. Greene.] In Italica, XLIII (March), 40. [1966]

A hitherto unpublished fragment, in blank verse, of early American translation from Dante. (See the article on Greene and his translation by Fred C. Harrison below, under Studies.)

La Vita Nuova Translated by Mark Musa. Gloucester, Mass.: Peter Smith. xxii, 86 p. 21 cm. [1966]

"Midland Books" edition "rebound"; originally published in 1957 (New Brunswick, N.J.: Rutgers University Press) and reprinted with an introduction (pp. vii-xxii) in 1962 (Midland Book, MB 38; Bloomington; Indiana University Press). (See 76th Report, 40 and 56, and 81st Report, 20. Extensively reviewed.)

[Excerpts.] In Selections from Italian Poetry edited by A. Michael De Luca and William Giuliano (Irvington-on-Hudson, N.Y.: Harvey House), pp. 20-31. [1966]

Contains the Italian text and English version of the sonnet Tanto gentile (V. N., XXVI), by Rossetti; Inf. III, 1-57, and V, 82-142, by Fletcher; and Par. XXXIII, 1-21, by Longfellow. There is a foreword to the volume by Thomas G. Bergin, a brief argument to each selection, and illustrations by Ann Grifalconi.

Arcudi, Bruno A. "A Seicento View of the Divine Comedy " In Italica, XLIII (Dec.), 333-344. [1966]

Alessandro Tassoni's Postille on the Divine Comedy, never intended for publication, reveal the 16th-century man's extremely critical attitude toward Dante's poem. Although he exhibits an accurate knowledge of Provençal and illuminates the linguistic origins of several of Dante's phrases, Tassoni is limited by the climate of the Counter-Reformation and therefore unable to follow the theology basic to an understanding of the poem. Professor Arcudi attributes many of Tassoni's criticisms to the incorrectness of the Aldine text he used.

Baird, Julian. "Principles of Violence in Inferno XIII." In Italian Quarterly, X, No. 36-37 (Winter-Spring), 63-80. [1966]

Sees Dante's treatment of the suicides and spendthrifts as exemplifying the law underlying his treatment of violence: violence as uncontrolled action is punished in the Inferno by a contrappasso which involves some form of physical loss of control over action.

Baldwin, Gratia Eaton. The New Beatrice, or, The Virtus that Counsels: A Study in Dante New York: AMS Press. 88 p.23 cm. [1966]

Reprint of the work, first published in 1928 (New York: Columbia University Press), in which the author argues against the real existence of Beatrice, discusses her as symbol, and offers scantily supported interpretations of various elements in the last part of the Purgatorio Beatrice, in particular, would symbolize the Virtue that Counsels, or "in a larger aspect," the Word of God.

Baron, Hans. The Crisis of the Early Italian Renaissance: Civic Humanism and Republican Liberty in an Age of Classicism and Tyranny. Revised one-volume edition, with an epilogue. Princeton, N.J.: Princeton University Press. xviii, 584 p. illus. 21 cm. [1966]

Includes important references to Dante. On the original edition of 1955, see 74th Report, 46-47, 75th Report, 30-31, 77th Report, 62, and 78th Report, 38. For reviews of this edition, see below.

Bartlett, Elizabeth, and Antonio Illiano. "The Young Dante: Opposing Views." In Italian Quarterly, X, No. 38 (Fall), 57-67). [1966]

Seek to rectify an unfavorable view of Dante's youth attributed to a misinterpretation of Cavalcanti's sonnet 1' vegno il giorno a te infinite volte, addressed to Dante, by construing (with Barbi) the words vil, vilmente, and invilita in terms of 'depression' and 'suffering,' rather than 'baseness.' Also, Cecco Angiolieri's unflattering verses (e.g., Dante Alighieri, s' i' so' bon begolardo) which set Dante in a poor light are countered with a redeeming sonnet by Guelfo Taviani. New English versions of the three sonnets cited are provided by the authors.

Becker, Marvin. "Dante and His Literary Contemporaries as Political Men." In Speculum, XLI (Oct.), 665-680. [1966]

Finds a close correlation between the politics and the art and literature of Dante's Florence, where the communal paideia was based on moral suasion, rhetorical admonition, and allegorical modes of expression aimed at individual renovatio. A political ideology of laissez faire reigned, instead of strict enforcement of laws in the public self-interest. In time of crisis, however, the ordinarily casual rule was replaced by a brutally implemented factionalism which victimized literary men, like Dante, of more broadly conceived civic loyalties. After Dante and Petrarch, messianic political poetry and optimism about the educability of men waned, as collective government grew more effective. "The transformation of the mediaeval polis and the decline of the gentle paideia played their part in undermining the fruitful nexus between the rhetoric of admonition and that casual political style so characteristic of the Dugento commune."

Bietenholtz, Peter G. "Clio and Thalia: The Place of History in Dante's Comedy " In Canadian Journal of History, I ( Sept.), 1-25. [1966]

Contends that Dante does not adhere strictly to history in representing his characters, but focuses on their human figura, using historical allusion merely to enhance this dimension.

Cambon, Glauco. "Dante and the Drama of Language." In Chandler and Molinaro, eds., The World of Dante, pp. 3-24. [1966]

Chiefly in the Convivio, De vulgari eloquentia, and Commedia, the author examines from a theoretical and practical standpoint the development of Dante's conception of language as the specifically human act. Stressing the dramatic effect achieved by the poet in his epic struggle to realize full expression of his subject matter, Professor Cambon finds the Commedia is a supreme example of this drama of language, in which Dante exceeded the bounds of his own linguistic theory and brought the Italian vernacular from adolescence to full maturity as a human process.

Cambon, Glauco. "Dante's Presence in American Literature." In Dante Studies, LXXXIV, 27-50. [1966]

Contends that Dante helped, along with the Bible and Shakespeare, to shape the creative experience of the finest prose writers of the 19th-century "American Renaissance," especially in their rediscovery of literary archetypes, and has somewhat differently inspired poets of 20th-century America. After briefly discussing elements of Dantean influence in Poe, Melville, and Hawthorne, Professor Cambon focuses, with ample illustration from their works, on the pioneers of modern American poetry, Pound and Eliot, in whom Dante's influence brought out their most characteristic individual genius. In more recent poets, such as Wallace Stevens, Allen Tate, and Robert Lowell, Dante's legacy has continued to make itself felt in very significant degree.

Carlos, Alberto J. "Dante y 'El Aleph' de Borges." In Duquesne Hispanic Review, V (Spring), 35-50. [1966]

Cites several echoes and parallels with respect to the Commedia and Vita Nuova to establish a strong Dantean influence in Jorge Borges' story "El Aleph."

Chandler, S. Bernard, and J. A. Molinaro, eds. The World of Dante: Six Studies in Language and Thought [Toronto:] Published for the Dante Society by University of Toronto Press. xvi, 127 p. 23.5 cm. [1966]

The studies, separately listed in this bibliography, are by Cambon, Freccero, Mahoney, Mazzeo, Sarolli, and von Richthofen. See also the review-article by Dante Della Terza in this issue.

Chiarenza, Marguerite Mills. "Hippolytus' Exile: Paradiso XVII, vv. 46-48." In Dante Studies, LXXXIV, 65-68. [1966]

Contends that the whole of Hippolytus' fable must be considered here, including his revival after death and his life in exile under the new name, Virbius. Dante could have known various accounts of the fable (e.g., in Ovid and Virgil), the etymological construction of Virbius as "bis vir" (twice a man) by Servius, and the interpretation of Virbius as a figure of death and resurrection among Christian mythographers. Thus, in Par. XVII, 46-48, and especially as the opening image is completed by vv. 95-99, Cacciaguida's prophecy is seen to point beyond a mere political self-justification to the pilgrim's whole journey of spiritual rebirth.

Chubb, Thomas Caldecot. Dante and His World. Boston and Toronto: Little, Brown and Company. xxviii, 831 p. illus., front. port., 8 plates. 24.5 cm. [1966]

A generously proportioned comprehensive biography of Dante in his historical context which seeks to enrich the account with many gleanings from the poet's works. Contents: I. The Roots of the Tree; II. Florence within Her Ancient Circuit of Walls; III. The Poet as a Young Man; IV. A Short History of the Fount of Joy and Valor; V. The New Life; VI. Morte Villana; VII. A Lady at a Window; VIII. All Men Do Naturally Desire Knowledge; IX. Thy Life So Vile; X. The Sack of Envy; XI. Prelude to the Ill-Omened Priorate; XII. The Lance of Judas; XIII. If I Go, Who Stays? XIV. Even as Hippolytus Was Driven from Athens; XV. The University of the White Party; XVI. Ship without Sails and without a Rudder; XVII. Lombardy, the Lunigiana, Lucca XVIII. Bread of the Angels and Other MaKers; XIX. The Street of the Strawsellers; XX. Alto Arrigo; XXI. Porciano, Poppi, Pisa; XXII. De Monarchia; XXIII. Can Grande's Castle and Beyond; XXIV. To the Eternal from the Temporal: An Account of the Commedia; XXV Tityrus in Ravenna; XXVI. The Last Mission. The End. Bibliography, pp. 801-805; A Note on the Illustrations, pp. 807-808; Index, pp. 811-831. The illustrations consist of various portraits of Dante in painting and sculpture. The excerpts from Dante's poetry are translated by the author.

Ciavolella, Massimo. "La fisiologia dell'amore nella Vita Nuova" In Proceedings of the Pacific Northwest Conference on Foreign Languages, XVII, 177-180. [1966]

Contends that the physiology and psychology of love in Dante's earlier poetry is based on ancient sources from Aristotle through Galen and Nemesius and Graeco-Arabic medicine by way of Sicily. The traditional physics of love, treated also by Andreas Capellanus, is reflected in the tenzone with Dante da Maiano and in Dante's later poems, including those of the Vita Nuova, except where Beatrice herself is concerned. For love of her, going beyond the human-sensual, causes a metamorphosis of the lover's heart.

Cioffari, Vincenzo. "La Dante Society of America." In Atti del Congresso Internazionale di Studi Danteschi. . . (20-27 aprile 1965), Vol. II (Firenze: Sansoni), pp. 37-40. [1966]

Outlines briefly the origins and growth of the Dante Society of America and its plans for the Dante centenary and its projects for the future.

Cioffari, Vincenzo. "In Memoriam: Ernest Hatch Wilkins (1880-1966)." In Italica, XLIII (June), 97-99. [1966]

Brief tribute to the prominent Italianist, among whose major interests was Dante as well as Petrarch.

Clements, Robert J. "Dante nel mondo." In Atti del Congresso Internazionale di Studi Danteschi. (20-27 aprile 1965), Vol. II (Firenze: Sansoni), pp. 407-431. [1966]

After a methodical rejection of Dante by 20th-century standards for his deliberate poetic obscurity, or ermetismo, and for his superannuated politicaL social, scientific, moral, juridicaL and religious thought, the author concludes that we can no longer accept Dante as a "contemporary," as did the 19th. century, but only as a strictly medieval man; and that, conditioned as we are by the four influences of Marx, Darwin, Einstein, and Freud, he has greatest value for us as an artist, poet, visionary hero, and individual--his significance is, in short, personal, not social. The latter part of this talk was pre-printed in Saturday Review, May 15, 1965, pp. 26-27 and 56. (See Dante Studies, LXXXIV, 81.)

Cook, Albert. The Classical Line: A Study in Epic Poetry. Bloomington and London: Indiana University Press. xvi, 314 p. 21.5 cm. [1966]

In this endeavor to ascertain the critical conditions under which each epic discussed has managed to succeed as a poem, the author focuses much on the example of Dante both in himself and as a term of comparison. The work is in two parts: 1) on "folk destinies," the lliad, and Odyssey; and 2) on "the refined style," the Aeneid, Divine Comedy, and Paradise Lost. The three last chapters examine the way Virgil, Dante, and Milton forged the refined style into an epic instrument whose line can be called classic To Dante specifically is devoted a chapter on "The Bread of Angels" (pp. 211-245), in which the author analyzes the style, diction, syntax, and rhythm and their effects in the Comedy as a particular epic achievement. "In the Divine Comedy the significances of a fourfold allegory converge in a verse whose refined style exhibits the completeness of the convergence by a remarkable simplicity of surface." The author here emphasizes the central role of analogy, as distinguished from metaphor, showing that through the principle of analogy the fourfold senses become one inhering in the literal. Moreover, Dante breaks through the refined style to a simplicity rooted in diction and coupled with an elaborate verse form unique in epic poetry. Indexed.

Della Terza, Dante. "I canti del disordinato amore: osservazioni sulla struttura e lo stile del Purgatorio " In Belfagor, XXI, 156-179. [1966]

Focusing on Purg. XVII-XVIII as keystone in the structure of the cantica and in relation to the cantos immediately preceding and following, the author notes the "tecnicizzazione filosofica" of the poet's vocabulary, the metamorphosis of the experience of love at this stage of the journey, and the effective consistency of theoretic explication, staging, imagery, and style at this significant juncture of the poem as a whole. Special attention is given to (1) the distinction and inter-play between what Dante sees and experiences as pilgrim along with the souls encountered ant what, on the other hand, he sees as in a dream (cf. Purg. XVII, 25-26); and (2) the rich and complex imagery of sight and blindness and of water and expiatory tears employed by the poet in connection with envy and wrath as particular forms of distorted love. The study doses with a discussion of Dante's growing experience and comprehension of love, and his "poetic memory" as evidenced in echoes and reminiscences of encounters in the Inferno, e.g., the Francesca and Ulysses episodes, discernible with enhanced significance in the Purgatorio and Paradiso.

Duncan, A. R. C. "To Hell with Dante?" In Queen's Quarterly, LXXIII (Spring), 6-74. [1966]

Examines the value of Dante's Comedy to himself and to the reading public of today and concludes that the poem, all of it, is eminently worth reading for its universality. The author discusses various aspects of the Comedy, including the availability of successful translations, outline of the poem, circumstances of its composition, brief facts about the poet, and its continuing relevance of meaning for all.

Eliot, T. S. "Quello che devo a Dante." In Lettere italiane, XVIII (gennaio-marzo), 1-10. [1966]

Italian version of "What Dante Means to Me," published in his To Criticize the Critic and Other Writings (New York: Farrar, Straus; London: Faber and Faber, 1965), pp. 125-135. (For the English original, see below, under Addenda.)

Evans, Arthur R., Jr. "A Nautical Metaphor in Dante and Claudel." In Romance Notes, VIII (Autumn), 1-5. [1966]

Notes correspondences in the use of nautical metaphor in the fourth of Claudel's Cinq grandes odes and in Purg. I and Par II. Both poets invoke the Muses and "their arduous voyage represents a total participation in the life of grace, and the reconciliation of man to God."

Fay, Edward Allen. Concordance of the Divina Commedia Graz, Austria: Akademische Druck- u. Verlagsanstalt vi, 819 p. 19 cm. [1966]

Photographic reprint of the first complete concordance of Dante's masterpiece, published in 1888 by the Dante Society, Cambridge, Mass. (In the new concordance, edited by E. H. Wilkins and T. G. Bergin [Cambridge, Mass.: Harvard University Press, 1965] the points of difference between this and Fay's are discussed in the preface. See Dante Studies, LXXXIV, 104.)

Fergusson, Francis. Dante New York: Macmillan; London: Collier-Macmillan Limited. x, 214 p. 21.5 cm. (Masters of World Literature.) [1966]

A comprehensive treatment of Dante's life and works. Contents: Part One. The Road to the Commedia -- I. Youth in Florence, 1265-1293; II. Dante's First Participation in Politics, 1293-1302; III. The Middle of the Journey: Dante's Cult of Reason, 1293-1308; IV. Political Catastrophe and the Final Years, 1308-1321. Part Two. The Commedia--I The Commedia: Dante's Fulfillment; II. The Inferno; III. The Purgatorio; IV. The Paradiso Bibliographical Notes, pp. 201-208; Index, pp. 209-214.

Fletcher, Jefferson Butler. Symbolism of the Divine Comedy New York: AMS Press. viii, 245 p. 18 cm. [1966]

Reprint of the work, first published in 1921 (New York: Columbia University Press), containing three essays: "Ariadne's Crown' which analyzes and interrelates the two sets of twelve souls circling Dante in the Heaven of the Sun (Par. X-XIV); "The Three Blessed Ladies," which interprets Mary, Lucia, and Beatrice as a counterpart of the Trinity; and 'The Comedy of Dante" (reprinted from Studies in Philology, XVIII [1921], 392-411), which construes the Latin title Comoedia Dantis in the dual significance of "Comedy of Dante" as poet-protagonist, as well as "Comedy by Dante."

Foster, Kenelm, O. P. "Dante in Great Britain, 1965." In Dante Studies, LXXXIV, 69-71. [1966]

Brief critical survey of the more important Dantean publications in Great Britain during the centenary year.

Freccero, John. "Dante's Prologue Scene." In Dante Studies, LXXXIV, 1-25. [1966]

In a first section entitled "The Region of Unlikeness," Professor Freccero draws parallels between the prologue scene of Dante's Comedy and the "region of unlikeness" in which St. Augustine finds himself in Book VII of the Confessions, showing that we may consider Dante's entire spiritual autobiography as essentially Augustinian in structure. Contrary to the neoplatonist Plotinus, both Augustine and Dante recognize the flaw of self-confidence or philosophical pride, and the need for guidance on the interior journey, to be approached in humility. In a second section entitled "The Wings of Ulysses

(Inf XXVI, 125)," Professor Freccero discusses an analogous, perhaps even coordinate, use of neoplatonic imagery in the Ulysses canto to describe not simply the flight of the soul to the absolute, but also its inevitable failure if undertaken without the help of God. He suggests that "the voyage of Dante's Ulysses exists on the same plane of reality as its counterpart, the journey of the pilgrim; that is, as a dramatic representation of the journey of the mind." For Augustine too Ulysses had come to represent the archetype of the presumptuous philosopher who would reach the truth unaided. Dante's poem, like Augustine's Confessions, is the testament of a spiritual journey from a region of unlikeness to likeness, from the Dark Wood to "la nostra effige" in the vision of the Incarnation.

Freccero, John. "The River of Death: Inferno II, 108." In Chandler and Molinaro, eds., The World of Dante, pp.25-42. [1966]

Taking Dante's poetic journey according to the figure of Exodus, the author proceeds to identify the humana figurally as the Jordan, citing much Scriptural and exegetical support for this interpretation. The Jordan qualifies as a kind of Christian Oceanus and so is superior to any other body of water. The sea mentioned in the comparison can only be the Red Sea, which in the drama of Exodus exists on the same level of reality, liturgically and literally, as the Jordan, the first body of water representing a first, preparatory baptism of repentance, and the second, a sacramental baptism bringing grace. Thus, in the prologue scene, the figural landscape prefigures the successful journey that is to come all the way up the mount of Purgatory and across the stream to Beatrice.

Fucilla, Joseph G., and Remigio U. Pane, compilers. "Italian Language and Literature." {Section of the "1965 MLA International Bibliography"] In PMLA, LXXXI, No. 2 (May), 231-261. [1966]

Includes many items on Dante, entries 10357-10782.

Giamatti, A. Bartlett. The Earthly Paradise and the Renaissance Epic. Princeton, N.J.: Princeton University Press. viii, 374 p. 21 cm. [1966]

Explores the origins of the word 'paradise' and the concept of the Golden Age, tracing the development of the gardens into the Christian earthly paradise from classical poetry through medieval verse to Renaissance poetry, whose conflicts and concerns are found to center in these gardens as a literary motif. Regarding Dante's treatment specifically, the author contends that the Comedy contains the model by which to measure the later Renaissance versions. Dante's earthly paradise even points beyond itself as a prefiguration of the celestial paradise. The landscapes and gardens in the Inferno and Purgatorio reflect a condition of the soul, and Eden at the top of Purgatory constitutes a symbol of Dante's personal redemption.

Gilbert, Allan. 'Did Dante Dedicate the Paradiso to Can Grande?" In Italica XLIII (June), 100-124. [1966]

Casts serious doubt upon the attribution to Dante of the "Letter to Can Grande," pointing out that (1) there is no extant manuscript before the end of the 14th century, (2) in the commentaries to the Inferno by Guido da Pisa and Boccaccio there are several close textual parallels with the Letter with no citation from Dante, (3) there is no mention of the letter either in Boccaccio's Life of Dante or in the commentary to the Commedia by Dante's son Pietro, and (4) Dante can hardly be expected to have returned in such a letter to the kind of scholastic logic and style he had long since abandoned with such works as the De vulgari eloquentia, Convivio, and Monarchia Professor Gilbert concludes that the critical significance of the "Letter to Can Grande," regardless of authorship, has been overestimated and that interpreters should "expound the Commedia from the Commedia itself."

Gilson, Etienne. "La 'mirabile visione' di Dante." In Quaderni del Veltro, IV: "Dante," pp. 11-24. [1966]

Draws some general relationships between the Vita Nuova and the Commedia.

Grandgent, Charles H. Dante Alighieri. New York: F. Ungar Publishing Co. (8), 397 p. 20 cm. [1966]

Reprint of the eminent Dantist's general introduction to the life and works of Dante, first published in 1916 (New York: Duffield and Company; also, London, 1920) as part of the series, "Master Spirits of Literature." The work is cast under the following chapter headings: Dante Alighieri; Society and Politics in the Middle Ages; Church and State in Dante; Medieval Song; Language and Poetry; Didactic, Moral, Satirical, and Religious Literature; Medieval Learning; Theology; Man and His World; Man and His Work; Allegory; The Medieval Temper; The Masterpiece. Indexed.

Hagopian, John V. "'Pretty Mouth and Green My Eyes': Salinger's Paolo and Francesca in New York." In Modern Fiction Studies, XII (Autumn), 349-354. [1966]

Includes the suggestion that in a situation reminiscent of the Inferno "Salinger has rendered in an American idiom Dante's Paolo and Francesca in Manhattan."

Hardie, Colin. "Dante and the Tradition of Courtly Love." In John Lawlor, ed., Patterns of Love and Courtesy: Essays in Memory of C. S. Lewis (Evanston, Illinois: Northwestern University Press), pp. 26-44. [1966]

Rejecting the views, for example, of C. S. Lewis and C. S. Singleton, respecting the fusion of love and religion in Dante's Beatrician works, the Vita Nuova and Divina Commedia, Professor Hardie contends that the Vita Nuova does not transcend courtly love, indeed mixes parody and blasphemy with the religious elements which are used there as colori rettorici; that the Convivio is inconsistent in regard to Beatrice and the Donna Gentile; and that the canzone Amor, tu vedi ben che questa donna, rather than the Commedia, fulfills Dante's promise of V. N. XLII, though the canzone is for another woman, the Donna Pietra. The Commedia contains in Inf. V its own recantation of Dante's courtly love position of the Vita Nuova Dante has transferred the figure of Amor from the Vita Nuova to the theological framework of the Commedia, where it becomes the holy spirit of his poetry. Professor Hardie further holds that there is little if any allegory and personification in the Commedia, that Beatrice is an allegory, not of Grace, but of the poet's muse, and that Dante achieves genuine fusion and reconciliation of love and religion only in the Commedia, where spiritualization, however, involves, not escape from matter, but its acceptance and transformation.

Harrison, Fred C. "G. W. Greene and Dante." In Italica, XLIII (March), 38-42. [1966]

Introduces George Washington Greene (1811-1883), speculates on why he never published his translation of Inf. I, 1-31, discusses his friendship with Longfellow, and presents their respective English versions of the passage. (See above, under Translations.)

Hatcher, Anna Granville, and Mark Musa. "Lucifer's Legs Again." In Modern Language Notes, LXXXI (Jan.), 88-91. [1966]

RebuKing C. S. Singleton's criticism of their previous article, "Lucifer's Legs," in PMLA, LXXIX (1964), 191-199 (see 83rd Report, 54), the authors insist again that the passage in question (Inf. XXXIV, 79) refers to Lucifer's, not Virgil's, legs. They argue in particular from etymological theory, projecting back from the word "cianche" of today to a similar pejorative meaning in Dante's time for "zanche," which is therefore more applicable to Lucifer than to Virgil. They also point out that, were the legs referred to Virgil, the latter must illogically be construed to grapple on the hair of his own legs, "com'uom che sale."

Hatzfeld, Helmut. Estudios sobre el barroco. Madrid: Editorial Gredos. Segunda edición. 491 p. 20.5 cm. (Biblioteca romanica hispanica. II. Estudios y ensayos.) [1966]

Chapter VI on "Aspectos del estilo literario barroco comparado con otros estilos literarios" contains a sub-section on "Onomatologia religiosa en Tasso y Dante" (pp. 165-175), in which the author compares the Baroque Tasso and the "Gothic" Dante with respect to their moral-religious attitude and manner of expression in their respective masterpieces. He finds that Dante felt and poetized his religion more profoundly than Tasso, who is at his best in erotic and melancholic passages, while suffering the strictures and tensions of the Counter-Reformation. These essays, published before in English, German, and Italian, and here somewhat revised in Spanish translation, originally appeared in this collected volume in 1964.

Hunter, Frederick J. "Norman Bel Geddes' Conception of Dante's Divine Comedy " In Educational Theatre Journal, XVIII (Oct.), 238-246. [1966]

A sympathetic account of how Bel Geddes conceived and worked out in detail his Project for a Theatrical Production of the Divine Comedy of Dante Alighieri which was published (New York, 1924) though never actually staged. Accompanied by six plates of illustrations.

Hyde, J. K. Padua in the Age of Dante [Manchester, England] Manchester University Press; New York: Barnes and Noble. xii, 350 p. illus., front., 2 plates, 3 maps, 16 geneals. in text. 22 cm. [1966]

A social history of the Paduan city-state, with occasional references to Dante in various connections. Includes appendixes, list of sources, bibliography, and index.

Jackson, W. T. H. Medieval Literature: A History and a Guide. New York: Collier Books; London: Collier-Macmillan. 287 p. [1966]

Contains a general section on Dante, pp. 166-180.

Jakobson, Roman, and Paolo Valesio. "Vocabulorum constructio in Dante's Sonnet Se vedi li occhi miei." In Studi danteschi, XLIII, 7-33. [1966]

Following Dante's own theoretic discussion, in De vulgari eloquentia II, of lexical, metrical, and strophic arrangement, the authors present a very detailed and remarkably complex analysis of the indicated sonnet "to exemplify the supreme art of grammatical texture in the poet s craft. The structural devices in Dante's rime, combining the grammatical and the geometric, reveal a close relation to contemporary artists, such as Giotto, Arnolfo di Cambio, and Giovanni Pisano. The authors conclude that Poetic Grammar, e.g., in the dolce stil novo, and Geometry in the visual arts of the time offer a promising field for comparative investigation.

Lagercrantz, Olof. From Hell to Paradise: Dante and His Comedy Translated from the Swedish by Alan Blair. New York: Washington Square Press. vii, 219 p. illus. 22 cm. [1966]

This volume for the general reader is a very appreciative and personalized presentation of Dante's poem by the well known Swedish writer and newspaper editor, a self-styled amateur who sees that the values of the Comedy have continuing relevance for the modern world. The volume is in three parts corresponding to the three cantiche, with the following chapter headings: Man among Shades, The Art of Being in Hell, Francesca, The Moral Museum and Brunetto Latini, The Devils, Ulysses, Finale in Hell; The Delectable Life, To Write Like God, The Wonderful Friendship, Exile, Beatrice; The Light Eternal, Life with God, The Angels. There is a closing chapter on "The Comedy as a Freedom Drama" and an annotated select bibliography of books available in English. The 28 illustrations are by various artists from Giotto to the present.

Larkin, Neil M. "Inferno XXIII, 4-9, Again." In Modern Language Notes, LXXXI (Jan.), 85-88. [1966]

Argues cogently against Giorgio Padoan's recent reading (Studi danteschi, XLI [1964], 75-102) of Dante's use of the frog and mouse fable and reaffirms his own interpretation, equating wayfarer and Virgil with the mouse and the pursuing demons with the frog, as previously presented in his "Another Look at Dante's Frog and Mouse," in Modern Language Notes, LXXVII (1962), 94-99. (See 81st Report, 25.)

Leland, Charles W. "The Reality of Dante's Paradiso." In Basilian Teacher, X (March), 111-124. [1966]

Stresses the universal continuing relevance of the Comedy for its transcendent image of virtue and vision rooted in the Redemption.

Leo, Ulrich. Romanistische Aufsätze aus drei Jahfzehnten. Herausgegeben von Fritz Schalk. Koln, Graz: Böhlau-Verlag. xxii, 420 p. [1966]

Included among the fifteen articles reprinted from Professor Leo's writings between 1925 and 1962 is his "Vorrede zu einer 'Lectura Dantis " originally published in Deutsches Dante-Jahrbuch, XXXVIII (1960), 18-50. (See 81st Report, 35.) In addition to a preface of tributes by Geoffrey Stagg and Fritz Schalk, there is a bibliography (pp. 399-410) of the publications of Professor Leo, including several pieces on Dante. He was affiliated with the University of Toronto for many years until his recent death.

Lograsso, Angeline H. "Dante e Mister Justice Holmes." In Atti del Congresso Internazionale di Studi Danteschi. . . (20-27 aprile 1965), Vol. II (Firenze: Sansoni), pp. 515-520. [1966]

Points out Justice 0. W. Holmes' profound interest in Dante, dating from 1909, as revealed through his now published correspondence with Sir Frederick Pollock, Harold J. Laski, and Lewis Einstein.

Luciani, Vincent. "Dante Alighieri." In John H. Fisher, ed., The Medieval Literature of Western Europe: A Review of Research, Mainly 1930-1960 (New York: Published for the Modern Language Association of America by New York University Press), pp. 295-310. [1966]

In a general section devoted to medieval Italian literature is this selective, annotated bibliography on Dante, classified under the following headings: General Aids, Vita Nuova, Rime, Convivio, De vulgari eloquentia, Monarchia, Other Works, Divina Commedia--Editions, Date, Literary Sources, Dante and Medieval Thought, Criticism, Allegory and Symbolism, Characters: Lecturae Dantis, Style, Dante's Fortuna.

Mahoney, John F. "The Living and the Myth of Time: Christian Comedy." In Chandler and Molinaro, eds., The World of Dante, pp. 43-61. [1966]

Leads off from his earlier study on "The Role of Statius and the Structure of Purgatorio" (79th Report, 1961, pp. 11-37), showing the artistic importance of the historical evidence for the theme of the "Second Adam" in Dante's plan. Here, the author stresses that, unlike the stasis of the Inferno and Paradiso, the Purgatorio is a place of kinesis, temporal like the world of tenos (condition of man awaiting death) or prokope, and therefore Dante can most easily identify with the souls there. Time is related to eternity as stasis to kinesis Against the "Latin" theory of atonement, with its emphasis on sin, Dante seems to have favored the "Classic," with its emphasis on redemption. He is much concerned with time, and with those who are still in time, in his portrayal of the reality of man's hope as a redeemed people.

Mancini, Albert N. "A New Look at the Seicento." In Italian Quarterly, X, Nos. 36-37 (Winter-Spring), 51-62. [1966]

Review-article on Studi secenteschi, V-1964 ( 1965), which contains a piece by Uberto Limentani on "La fortuna di Dante nel Seicento."

Mathews, J. Chesley. "Dante and Major Nineteenth-Century American Men of Letters to about 1875." In Atti del Congresso Internazionale di Studi Danteschi . . . (20-27 aprile 1965), Vol. II (Firenze: Sansoni), pp. 509-513. [1966]

Reviews briefly the American interest in Dante's writings from its awakening around 1790 to its firm establishment by 1875, as evinced particularly by Irving, Bryant, Emerson, Hawthorne, Whittier, O. W. Holmes, Poe, Thoreau, Melville, Whitman, Longfellow, and J. R. Lowell.

Mazzeo, Joseph Anthony. "Dante's Three Communities: Mediation and Order." In Chandler and Molinaro, eds., The World of Dante, pp.62-79. [1966]

A richly meditative critical summary of the essential meaning of the Comedy It is a love poem, and "the most complete ordering of moral experience we possess." Men are defined by what and how they love, or fail to love. With love as the "ordering principle," Dante achieves self-definition, as he achieves higher levels of awareness; but his ultimate goal is reached only through external mediation, as he becomes one with "the Love that moves the sun and the other stars."

McNally, John J. "Chaucer's Topsy-Turvy Dante." In Studies in Medieval Culture, II, 104-110. [1966]

Cites parallels with the Divine Comedy in Troilus and Criseyde, which is construed as a reprobation of courtly love; Books I-III, in particular, reveal a parodic pattern of hell, purgatory, and paradise reminiscent, antithetically, of Dante's poem.

Meiss, Millard. "La prima interpretazione dell'Inferno nella miniatura veneta." In Dante e la cultura veneta (Firenze: Olschki), pp. 299-302. [1966]

Discusses briefly the earliest illustrations to the Inferno in Venetian illuminations, beginning with the 1330's, as exemplified in such codexes as the Marciano IX, 276, Ricciardiano 1035, Parigino italiano 78, Yates Thompson 36, etc Included are 14 plates of sample illuminations reproduced in halftone.

Melzi, Robert C. Castelvetro's Annotations to the Inferno: A New Perspective in Sixteenth Century Criticism The Hague; Paris: Mouton. 189 p. front, facsim. 21 cm. (Studies in Italian Literature, I.) [1966]

Studies the manuscript annotations to the Inferno, known as the Chiose, in a Landinian incunabulum (Ms. a. k. I. 13 of the Biblioteca Estense, Modena); authenticates the attribution of the Chiose to Castelvetro; and explains the latter's changing critical attitude by his anti-traditionalism and exile. In particular, the Chiose, done in Modena C.1548-1558, are compared with Castelvetro's later Sposizione to the first 29 cantos of Inferno, done during his exile in Vienna. Of perhaps greater interest to the Dante student is Professor Melzi's comparison of the Chiose with Landino's commentary, where Castelvetro is seen to lean to a more literal and philological, anti-allegorical interpretation. There is also an examination of Castelvetro's Sposizione alle Rime del Petrarca in relation to references to Petrarch in the Chiose, showing that the commentator held to a marked Dantean influence in Petrarch. Professor Melzi concludes that Castelvetro marks a transition from the Landinian period of allegorical commentary on Dante to one of more strongly philological and textual criticism. Includes a bibliography and index.

Memmo, Paul E., Jr. "The Poetry of the Stilnovisti and Love's Labour's Lost " In Comparative Literature, XVIII (Winter), 1-15. [1966]

Shows how in Love's Labour's Lost Shakespeare followed, though with some changes of his own, the Dantesque and Petrarchan love tradition. Through the intermediary of Spenser's Amoretti, for example, the lady, while still idealized like Beatrice and Laura, is, however, quite accessible to the lover here on earth after he is reborn under her ennobling influence.

Migliorini, Bruno. The Italian Language. Abridged and recast by T. Gwynfor Griffith. New York: Barnes and Noble. 533 p.22 cm. [1966]

In a chapter on "Dante" (pp. 117-129) are examined the poet's theories on language, particularly with respect to the volgare illustre, as expressed in the De vulgari eloquentia and Convivio, and his own actual usage, where the governing principle seems to be to accept any Florentine word he needs and to draw discriminately from other sources only words consecrated by literary use. The poet's personal example, proving the expressive capabilities of the vernacular, and his considerable linguistic influence would seem to confirm the common appraisal of Dante as the "father of the Italian language." Professor Migliorini's Storia della lingua italiana was first published in 1960 (Firenze: Sansoni) .

Montano, Rocco. "Dibattito su Dante." In Umanesimo, I, No. 2 (Nov.), 57-66. [1966]

Refers to a new critical approach initiated by him in many writings since as early as 1951-1952, in which he distinguishes dearly between Dante-poet and Dante-character in the reading of the Commedia He takes to task the majority of prominent Dante scholars for persisting in an old "romantic" position which attributes to Dante a favorable view of such figures as Francesca, Brunetto, Farinata, and Ulysses; and likewise indicts other scholars who have published identical or similar interpretations in recent years, without crediting his earlier publications. Professor Montano's method distinguishes Dante-poet, who is already converted, from Dante-wayfarer, who is still contaminated with sin. Although the latter can be expected to react with pity and admiration to many souls encountered in Hell, it is a grave error to attribute the same sentiments to the former, who has obviously already condemned them by their very location.

Montano, Rocco. "Idea del Rinascimento: Umanesimo e storia." In Umanesimo, I, No. 2 (Nov.), 30-48. [1966]

In this continuation of his study (see Umanesimo, I, No. I [Aug. 1966], 18-32), Professor Montano examines the medieval and Renaissance ideas of history from Dante to Machiavelli. He cites in Dante's Commedia the most profound, most conscious philosophy of history before Vico. The poem illustrates Dante's perfect capacity for distinguishing between what belongs to the mentality of the ancients and what is proper to the Christian mentality, yet he could relate the pagan Virgil to the Christian story. His Providential concept of history, based on faith in the Incarnation, allowed for individual freedom within the ultimate course of history. Evidence of Dante's lofty historical vision is his ability to see human events from a double point of view, that of individuals and that of history.

Montgomery, Robert L. "Allegory and the Incredible Fable: The Italian View from Dante to Tasso." In PMLA, LXXXI (March), 45-55. [1966]

Reviews the discussions of allegory and the incredible in relation to poetry, the verisimilar, and history, from Dante, Petrarch, and Boccaccio to the late 16th century, and concludes that Italian critical theorizing achieved some useful distinctions and classifications, especially in associating allegory strictly with the incredible and not with history. Included are references to Dante, passim, particularly from the standpoint of Renaissance critical attitudes towards him.

Otero, C. P. "Unamuno y Dante: 'Il gran rifiuto.'" In Revista nacional de cu1tura, XXVIII, No. 173 (enero-feb.), 100-102. [1966]

Discusses an echo of Inf. III, 59-60, in Unamuno's sonnet Al abrigo fatal de la cogulla, in his Rosario de sonetos líricos (Salamanca, 1910), xviii.

Pacifici, Sergio. "The Dante Anniversary: A Survey of Books." In Books Abroad, XL (Autumn), 405-410. [1966]

Omnibus review. Individual items are separately listed below. under Reviews, in particular those by Bergin, Cunningham, De Sua, Freccero, Limentani, Musa, Ruggiers, and Wilkins; also Centenary Essays on Dante.

Pellegrini, Anthony L. "American Dante Bibliography for 1965." In Dante Studies, LXXXlV, 73-113. [1966]

With brief analyses.

Phillips, Norma. "Milton's Limbo of Vanity and Dante's Vestibule." In English Language Notes, III (March), 177-182. [1966]

Contends that Dante's vestibule (Inf. III, 16-69) and Milton's Limbo of Vanity (Paradise Lost III, 440-497) reveal significant parallels; that while Milton's treatment is less somber and violent than Dante's, in keeping with his comic and sardonic perspective on evil, it expresses the same essential disdain for the souls in question; and that Limbo assumes an effective raison d'etre in Milton's poem by its very ambiguity and inconclusiveness, especially with the metaphorical substructure of Dantean influence.

Praz, Mario. "T. S. Eliot as a Critic." In Sewanee Review, LXXIV (Winter), 256-271. [1966]

Includes some discussion of Eliot's critical approach to Dante within the theme that "all his critical discoveries take the shape of a myth or of an image."

Ricciardelli, Michele. "Dante americano." In Parola del popolo, XVI, No. 78 (April-May), 31-33. Also separately printed as a brochure, [n.p., n.d.] 9 p. 21.5 cm. [1966]

Reviews various activities in the United States in observance of the recent Dante centenary and lists a number of American publications relating to the occasion.

Richthofen, Erich von. "The Twins of Latona and Other Symmetrical Symbols for Justice in Dante." In Chandler and Molinaro, eds., The World of Dante, pp. 1l7-l27. [1966]

Examines Dante's references to the twins of Latona (Apollo and Viana) and other parallel and contrasting pairings of allusions to and images of justice -- veltro and lupa, Saturn and Mars, John the Baprist and Mars, Charlemagne and Roland, etc. -- and relates them as used by Dante to their classical sources and to their occurrence in early medieval epics.

Rougement, Denis de. Love in the Western World. Translated by Montgomery Belgion. New York: Fawcett. (Premier, M 314.) [1966]

Paperback reprint of the work, which appeared in a revised and augmented edition in 1956 (New York: Pantheon Books). (See 75th Report, 27.)

Samuel, Irene. Dante and Milton: The "Commedia' and "Paradise Lost." Ithaca N.Y.: Cornell University Press. x, 299 p. 22 cm. [1966]

The author's stated purpose has been "to collect the evidence about Milton's interest in Dante and see what he may have learned from the Commedia that bears upon his writing of Paradise Lost," and to present the parallels, real or conjectural, and differences between them. The treatment is cast under the following major headings: I. Preliminaries; II. Milton's Reading of Dante, III. "Higher Argument Remains"; IV. Hell and Its Populace; V. Heaven and Eden; VI. The Purgatorial Way; VII. The Narrative of Meaning; Appendix A. Table of Milton's References to Dante Before Paradise Lost, B. The Tavole of Benedetto Buonmattei; C. Comments on the Relation of Milton and Dante, in Chronological Sequence; D. The Proems of Paradise Lost and the Commedia. Indexed. Parts of the volume have previously appeared in somewhat different form: "Purgatorio and the Dream of Eve," in Journal of English and Germanic Philology, LXIII (1964), 441-449; "Satan and the 'Diminisht' Stars," in Modern Philology, LIX ( I962), 239 247; "Higher Argument Remains " under the title "The Proems of the Commedia and Paradise Lost," in Bucknell Review, XII (1964), 31-46; and "The Valley of Serpents," in PMLA LXXVIII (1963), 449-451. (On the first three, see Dante Studies, LXXXIV 111-112; on the last, see 82nd Report, 55.) For reviews, see below.

Sarolli, Gian Roberto. "Dante's Katabasis and Mission." In Chandler and Molinaro, eds., The World of Dante, pp. 80-116. [1966]

Contends that Dante placed a real prophetic urgency in the writing of the Commedia, that this is in fact basic to its structure. The poet's use of "ritornerò" in Par. XXV, 8, signifies a "double katabasis, the return to earth after his fateful journey." With the word "continga" at the opening of the canto, the "se mai" has been invariably misread to indicate doubt; rather, it is, according to Professor Sarolli, an instance of argomentatio recessaria, a rhetorical device to express the poet's theological humility. The verbs "vedere" and "militare" (vv. 56 and 57) go together causally, reflecting Dante's mission. In Inf. I, Dante retreats from the beasts--an anabasis to the "selva"; Virgil moreover, moves him first away from God (anabasis), then toward Him (katabasis). This is not the typical epic, chivalrous pattern, though Dante does use chivalric material and language throughout the Commedia. Professor Sarolli feels that "con altra voce" and "con altro vello" have a correlated chronology, and do not refer, as one might think, simply to the aging of the poet. Further elucidated is "the polymorphic goal of Dante's mission, from the salvation of mankind realized for the whole of humanity in the salvation of one man, to the salvation of the city, the country, the Empire, and the Church --combined in the corpus Christi, figuraliter--due to perfectibility shown and described by the poet, truly the scriba Dei, chosen gratia Dei, as the mediator between spiritual and material power, between heaven and earth."

Sarolli, Gian Roberto. "'Ingigliarsi all'emme' (Par XVIII, 113): archetipo di poliunivoca concordanza." In Atti del Congresso Internazionale di Studi Danteschi (20-27 aprile 1965), Vol. II (Firenze: Sansoni), pp. 237-254. [1966]

Examines Dante's neologism "ingigliarsi" here in the sphere of Jupiter of just rulers, and traces a long typological tradition from the Old and the New Testaments on down associating the lily, as well as the eagle, with Christ as epitome of Empire and human history. The Eagle was symbol of the Heavenly Monarchy, of which Rome under the Pax Augusti was a providential prefiguration. The author concludes with typological-analogical equations associating Christ, lily, justice, and Eagle with both the earthly empire (prefiguration in Rome) and the heavenly (ultimate fulfillment). The study is illustrated iconographically with three plates.

Scott, Tom. "Ulysses' Last Voyage--A Reply." In Studies in Scottish Literature, III (April), 256. [1966]

In reply to an article by Robin Fulton (see below, under Addenda), the Scottish poet cites his preparation for allegorical narrative by translating the Inferno into Scots, before writing his poem The Ship--the Titanic--also in Scots, following a method he calls, echoing Dante, "polysemous veritism."

Simonelli, Maria. "Il tema della nobiltà in Andrea Cappellano e in Dante." In Dante Studies, LXXXIV, 51-64. [1966]

In Andreas' De amore, which Dante could perhaps have known directly in Florentine manuscripts, the concept of love as an ennobling force is in line with the lyric tradition of courtly love; but he does not make it such a socially exclusive thing. For he saw that love, like nature, makes no distinction of birth, status, shape, or sex. Rather, he emphasizes spiritual nobility as determining personal excellence. Dante, in the new, more democratic climate of his Florence, is seen to develop the changed concept of nobility even further than Andreas. Without claiming a direct influence, Professor Simonelli finds many parallels and similarities of thought and argumentation between Andreas and Dante, such as in the latter's canzone Le dolci rime d'amor, ch'io solía and in the Fourth Treatise of the Convivio With the Commedia their ways part, for by that time Dante had superseded the artistic position associated with Andreas and courtly love.

Singleton, Charles S. "Sull'intervento di G. Padoan." In Atti del Congresso Internazionale di Studi Danteschi. (20-27 aprile 1965), Vol. II (Firenze: Sansoni) p. 75. [1966]

Remarking the coincidence at the conference of Giorgio Padoan's distinction between two kinds of allegory, Professor Singleton concluded his own intervento by reading from the Appendix (pp. 137-154) of his Studi su Dante I. Introduzione alla Divina Commedia (Napoli: Scalabrini, 1961), where he had made such a distinction--allegory of poets and allegory of theologians--fifteen years earlier in an original English version, "Dante's Allegory;' in Speculum, XXV (1950), 78-86, which was then reprinted in his Dante Studies 1. Commedia: Elements of Structure (Cambridge, Mass.: Harvard University Press, 1954), pp. 84-98.

Singleton, Charles S. "The Vistas in Retrospect" In Modern Language Notes, LXXXI (Jan.), 55-80. [1966]

Reprinted from Atti del Congresso Internazionale di Studi Danteschi

(20-27 aprile 1965), Vol. I (Firenze: Sansoni, 1965), pp. 279-304. (See Dante Studies, LXXXIV, 101.)

Strandberg, Victor. "Dante's Inferno XIX, 13-27." In Explicator, XXV (Oct.), Item 15. [1966]

The simonists' burning feet protruding from the round holes are taken to image lighted wicks of the votive candles whose sale the clergy often abused on earth.

Stuart, David H. "Cather's Mortal Comedy." In Queen's Quarterly, LXXIII (Summer), 244-259. [1966]

Cites in Willa Cather's Death Comes for the Archbishop an important parallel in structure and meaning with Dante's Comedy: Dante's Beatrice is related to Cather's Virgin Mary, worship of whom reveals the novel's aesthetic and ethical basis--"the romantic equation of art and religion."

Ternay, Kalman. "Dante e la sua opera nella poesia ungherese." In Proceedings of the Pacific Northwest Conference on Foreign Languages, XVII, 164-169. [1966]

Outlines briefly Dante's inspiration to Hungarian poets from the mid-19th century to the present, citing in particular the most successful Hungarian translation ( 1913-1923) of the Comedy by M. Babits (awarded the San Remo Prize in 1940) and many poetic tributes to Dante by such poets as Kosztolanyi, Ady, Olah, Balla, Kozma, Harsanyi, and others.

Tusiani, Joseph. "Dante Alighieri." In Catholic World, CCIII (Aug), 301-306. [1966]

Reports on Pope Paul VI's Motu Proprio on the 700th anniversary of Dante's birth, in which the pope acknowledges the poet's criticism of the Church in his day and hails him as an "ecumenical poet" belonging to all the peoples. The pope also announced the institution of a Chair of Dante Studies at the Università Cattolica del Sacro Cuore in Milan.

Vergani, Luisa. "Dante e Verona." In Italica, XLIII (March), 32-37. [1966]

Discusses briefly Dante's various stays in Verona, thanks to Scaliger generosity; cites the city's archives from which Dante might have drawn historical material for his poem; and outlines the history of the poet's family in Verona from his son Pietro to a female branch (Serego-Alighieri) still living there today.

Werge, Thomas. "Dante's Tesoro: Inferno XV. In Romance Notes, VII (Spring), 203-206. [1966]

Brunetto's Tresor, referred to in his last words to Dante (Inf. XV, 118-120), sums up his earthly wisdom as a claim to fame; but this is only partial wisdom, falling far short of the ultimate wisdom found only in Christ.

Yuen, Toby. "New Aspects of Botticelli's Late Works: A Suggestion for the Dating of the Dante Illustrations and Francesco di Giorgio's Influence." In Marsyas: Studies in the History of Art, XII, 1964-1965 (New York: Published by the Students of the Institute of Fine Arts, New York University), pp. 22-33. [1966]

Confirms, by internal evidence found in Botticelli's sketch for Purg. X, that the artist was working on the illustrations to the Commedia throughout the last two decades of his life (1490-1510) and submits evidence that his fluid linear style in the illustrations is traceable to Sienese influence through Francesco di Giorgio. Plates with twenty-five halftone reproductions accompany the study.

Zbieránska, K. A. P. "Dante in Poland: A Retrospect." In Polish Review, XI (Summer), 56-61. [1966]

Brief survey of the Polish interest in Dante from 1415 to the centennial celebrations of 1965 in Warsaw and Lublin.

Dante. The Divine Comedy Translated into blank verse by Louis Biancolli. (See above, under Translations.) Reviewed by:

Edmund Fuller, in The Wall Street Journal, October 28, p. 16;

James V. Mirollo, in New York Times Book Review, Oct. 16, p.24.

Dante. The Divine Comedy. Text and Translation lh the metre of the original by Geoffrey L. Bickersteth . . . Cambridge, Mass.: Harvard University Press; Oxford: Basil Blackwell, 1965. (See Dante Studies, LXXXIV, 73-74.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 (Fall), 68-78;

Francis Fergusson, in New York Review of Books, VI (Feb. 17), 17.

Auerbach, Erich. Literary Language and Its Public in Late Latin Antiquity and in the Middle Ages New York: Pantheon Books, 1965. (See Dante Studies, LXXXIV, 75 and 106.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 ( Fall), 6818;

J. B. Trapp, in Encounter, XXVI (April), 79.

Baron, Hans. The Crisis of the Early Italian Renaissance. (See above, under Studies.) Reviewed by:

Werner L. Gundersheimer, in Renaissance News, XIX (Autumn), 236-238;

A. Sottili, in Romanische Forschungen, LXXVIII, 603-605.

Bergin, Thomas G. Dante. New York: Orion Press, 1965. (See Dante Studies, LXXXIV, 76 and 106.) Reviewed by:

D. J. Donno, in Speculum, XLI (Jan.), 111-113;

Sergio Pacifici, in Books Abroad, XL, 405-410;

Olga Ragusa, in Romanic Review, LVII (Dec.), 288;

C. S. (Charles Speroni), in Italian Quarterly, X, No. 38 (Fall), 93-95;

J. H. Whitfield, in Italian Studies, XXI, 107.

Bigongiari, Dino. Essays on Dante and Medieval Culture. . . Firenze: Olschki, 1964. (See 83rd Report, 50-51, and Dante Studies, LXXXIV, 106.) Reviewed by:

Colin Hardie, in Medium Aevum, XXXV, 144-146;

Howard H. Schless, in Romanic Review LVII (Feb.), 57.

Casella, Mario. Introduzione alle opere di Dante. Milano: Bompiani, 1965. Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 (Fall), 68-78.

Centenary Essays on Dante. By Members of the Oxford Dante Society. Oxford: Clarendon Press, 1965. Reviewed by:

Sergio Pacifici, in Books Abroad, XL, 405-410.

Cronia, Arturo. La fortuna di Dante nella letteratura serbo-croata. Padova: Antenore, 1965. Reviewed by:

Nikola R. Pribic, in Books Abroad, XL, 74-75.

Cunningham, Gilbert F. The Divine Comedy in English: A Critical Bibliography, 1782-1900. Edinburgh and London: Oliver and Boyd; New York: Barnes and Noble, 1965. (See Dante Studies, LXXXIV, 82 and 107.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 ( Fall), 68-78;

Francis Fergusson, in New York Review of Books, VI (Feb. 17), 17;

Sergio Pacifici, in Books Abroad, XL, 405-410.

Damon, Phillip W. "Dante's Ulysses and the Mythic Tradition." In William Matthews, ed. Medieval Secular Literature: Four Essays (Berkeley and Los Angeles: University of California Press, 1965), pp.25-45. (See Dante Studies, LXXXIV, 82.) Reviewed by:

D. D. R. Owen, in Forum for Modern Foreign Language Studies, II, 281-286 (p.282).

De Sua, William J. Dante into English: A Study of the Translation of the "Divine Comedy" in Britain and America Chapel Hill: University of North Carolina Press, 1964. (See 83rd Report, 52, and Dante Studies, LXXXIV, 107.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 ( Fall), 68-78;

Francis Fergusson, in New York Review of Books, VI ( Feb. 17), 17;

A. Bartlett Giamatti, in Comparative Literature Studies, III, 83-87;

Nicolas J. Perella, in Romance Philology, XIX (Feb.), 529-530.

De Sua, William J., and Gino Rizzo, eds. A Dante Symposium in Commemoration of the 700th Anniversary of the Poet's Birth (1265-1965) . . . Chapel Hill: University of North Carolina University Press, 1965. (See Dante Studies, LXXXIV, 83.) Reviewed by:

Sergio Pacifici, in Books Abroad, XL, 405-410.

Fasani, Remo. Il poema sacro. Firenze: Olschki, 1964. Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 ( Fall), 68-78;

Thomas G. Bergin, in Speculum, XLI (Oct.), 742-743;

Olga Ragusa, in Romanic Review, LVII (Dec.), 288.

Fergusson, Francis. Dante. New York: Macmillan. (See above, under Studies.) Reviewed by:

[Anon.] in New York Times Book Review, Nov. 20, p.22.

Freccero, John, ed. Dante: A Collection of Critical Essays. Englewood Cliffs, N.J.: Prentice-Hall, 1965. (See Dante Studies, LXXXIV, 85 and 107.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 ( Fall), 68-78;

Sergio Pacifici, in Books Abroad, XL, 405-410;

Aldo D. Scaglione, in Romance Philology, XIX (Feb.), 524-525.

Gilbert, Allan H. Dante and His Comedy. New York: New York University Press, 1963. (See 82nd Report, 50-51, and Dante Studies, LXXXIV, 107.) Reviewed by:

Charles T. Davis, in Speculum, XLI (Jan.), 128-130;

Gino Rizzo, in Modern Language Journal, L (Jan.), 48-49.

Grant, W. Leonard. Neo-Latin Literature and the Pastoral (See below, under Addenda.) Reviewed by:

Michele Ricciardelli, in Comparative Literature, XVIII (Summer), 266-269;

John Hazel Smith, in Renaissance News, XIX (Spring), 16-18.

Hyde, J. K. Padua in the Age of Dante. (See above, under Studies.) Reviewed by:

Benjamin G. Kohl, in Speculum, XLI (Oct.), 748-750;

Sylvia L Thrupp, in Manuscripta, X (Nov.), 173-175.

Limentani, U. The Fortunes of Dante in Seventeenth-Century Italy. Cambridge, England: Cambridge University Press, 1964. (See Dante Studies, LXXXIV, 107.) Reviewed by:

M. Tetel, in Modern Language Journal, L (Jan.), 49.

Limentani, U., ed. The Mind of Dante. Cambridge, England: At the University Press, 1965. (Contains seven essays by Sapegno, McNair, Foster, Boyde, Limentani, Cremona, and Brand.) Reviewed by:

Francis Fergusson, in New York Review of Books, VI (Feb. 17), 17;

Sergio Pacifici, in Books Abroad, XL, 405-410.

Matthews, William, ed. Medieval Secular Literature: Four Essays. Berkeley and Los Angeles: University of California Press, 1965. Contains an essay by Phillip Damon, "Dante's Ulysses and the Mythic Tradition," pp. 25-45. (See Dante Studies, LXXXIV, 82.) Reviewed by:

June Hall Martin, in Comparative Literature, XVIII, 186-189.

Montano, Rocco. Storia della poesia di Dante. Napoli: Quaderni di Delta. I-II, 1962-1963. (See below, under Addenda.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 (Fall), 68-78.

Musa, Mark, ed. Essays on Dante. Bloomington: Indiana University Press, 1964. (See 83rd Report, 56, and Dante Studies, LXXXIV, 107.) Reviewed by:

Sergio Pacifici, in Books Abroad, XL, 405-410;

Aldo D. Scaglione, in Romance Philology, XIX (Feb.), 524-525.

Poggioli, Renato. The Spirit of the Letter: Essays in European Literature. Cambridge, Mass.: Harvard University Press; New York: Oxford University Press, 1965. Contains his essay, "Tragedy or Romance? A Reading of the Paolo and Francesca Episode in Dante's Inferno," pp. 50-102. (See Dante Studies, LXXXIV, 97 and 107.) Reviewed by:

[Anon.] in Times Literary Supplement, June 23, p. 547;

George Gibian, in Comparative Literature, XVIII (Summer), 276.

Roppen, Georg, and Richard Sommer. Strangers and Pilgrims: An Essay on the Metaphor of Journey. New York: Humanities Press, 1964. (See Dante Studies, LXXXIV, 111.) Reviewed by:

Herbert Lindenberger, in Modern Language Quarterly, XXVII (June), 212-220.

Ruggiers, Paul G. Florence in the Age of Dante. Norman: University of Oklahoma Press, 1964. (See 83rd Report, 57.) Reviewed by:

Sergio Pacifici, in Books Abroad, XL, 405-410.

Saginati, Liana, and Giacomina Calcagno, compilers. La Collezione Dantesca della Biblioteca Civica Berio di Genova. Firenze: Leo S. Olschki, 1966.506 p. (Biblioteca di bibliografia italiana, XLVI.) Reviewed by:

[Anon.] in Papers of the Bibliographical Society of America, LX, 276.

Samuel, Irene. Dante and Milton: The "Commedia" and "Paradise Lost" (See above, under Studies.) Reviewed by:

Madeleine Babin, in Comparative Literature, XVIII (Summer), 269-272.

Stanford, W. B. The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. 2nd ed. (See below, under Addenda ) Reviewed by:

Emmanuel Hatzantonis, in Comparative Literature, XVIII (Winter), 83-84.

Toynbee, Paget. Dante Alighieri: His Life and Works Edited with an introduction, notes, and bibliography by Charles S. Singleton. New York: Harper and Row, 1965. (See Dante Studies, LXXXIV, 103.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, X, No. 38 (Fall), 68-78.

Wilkins, Ernest Hatch, and Thomas G. Bergin, eds. A Concordance to the Divine Comedy of Dante Alighieri. Cambridge, Mass.: Belknap Press of the Harvard University Press, 1965. (See Dante Studies, LXXXIV, 104 and 108 and see below, under Addenda: Reviews ) Reviewed by:

Luigi Blasucci, in Giornale storico della letteratura italiana, CXLIII, fasc. 441, pp. 152-153;

Daniel J. Donno, in Renaissance News, XIX (Winter), 359-361;

Francis Fergusson, in New York Review of Books, VI (Feb. 17), 19;

Colin Hardie, in Medium Aevum, XXXV, 146-149.

Sergio Pacifici, in Books Abroad, XL, 405-410;

Mario Pecoraro, in Lettere italiane, XVIII (luglio-sett.), 318-324.

The Divine Comedy: The Inferno, Purgatorio, and Paradiso. A new translation into English blank verse, by Lawrence Grant White, with illustrations by Gustave Doré. New York: Pantheon Books, 1965. xiv, 187, (I), p. illus., plates. 27 cm.

Reprint of the familiar version, first published in 1948.

Monarchy, and Three Political Letters Introduction by Donald Nicholl. Note on the chronology of Dante's political works by Colin Hardie. London: Weidenfeld and Nicolson [New York: Hillary House, 1965] xxi, 121 p. 19 cm. (Library of Ideas.)

Reprint of the work, first published in 1954. (See 73rd Report, 54-55.)

[Verse selections.] In Medieval Age. Edited, with an introduction, by Angel Flores. [New York: Dell Publishing Co., 1963] 606, (2) p. 16.5 cm. (The Laurel Masterpieces of World Literature, TM 674623.)

The anthology contains a chapter devoted to Dante (pp. 493-503), with a brief introduction and verse translations by various hands, as follows: from the Vita Nuova XXI, the sonnet Ne li occhi porta, unrhymed (by Doreen Bell); from the Rime, in the original rhyme-schemes, the sestina Al poco giorno (Bell), the canzone Così nel mio parlar (Bell), and the canzone Io son venuto (Harry Strickhausen); and from the Commedia, Inf V, 73-142, in "triple assonance" instead of terza rima (Edwin Morgan).

Carrier, Warren. "Dubliners: Joyce's Dantean Vision." In Renascence, XVII (Summer 1965),211-215.

Contends that James Joyce's art "operates within a Dantean Christian vision," as evidenced, for example, in his collection of stories Dubliners

Clifford, Nicholas R. "A Note on Heroes." In Four Quarters, XV, No. I (Nov. 1965), 13-17.

Includes, in a discussion of various heroes (e.g., Achilles, Odysseus, Aeneas, Thucydides, Machiavelli, Hegel), the figure of Dante in the Comedy as the heroic type who criticizes the existing order.

Eliot, T. S. "What Dante Means to Me." In his To Criticize the Critics and Other Writings (New York: Farrar, Straus; London: Faber and Faber, 1965), pp. 125-135.

Recognizing Dante's poetry as the deepest, most persistent influence on his own verse, Eliot cites three lessons to be learned from Dante: craft, speech, and width of emotional range. He considers Little Gidding his nearest equivalent of a canto of Inferno or Purgatorio. This talk was originally given at the Italian Institute, London, July 4, 1950. (For an Italian version, see main section above, under Studies.)

Fletcher, Jefferson Butler. Litetature of the Italian Renaissance Port Washington, N.Y.: Kennikat Press, 1964. (X), 347 p. 22 cm.

Reprint of the work, first published in 1934 (New York: Macmillan Company), containing a chapter on Dante (pp. 25-53) in which the Florentine poet is presented as both the epitome of medieval culture and harbinger of Renaissance humanitas, nationalism, and literary language and style.

Fulton, Robin. "Two Versions of Ulysses' Last Voyage." In Studies in Scottish Literature, II (April 1965), 251-257.

Compares the unrhymed version of Inferno XXVI in Scots by Tom Scott with the English version in terza rima by Dorothy L. Sayers, and concludes that English rhyme weakens Dante's poem, while unrhymed Scots comes nearer in vigor to the original.

Gibson, William M. "Faulkner's The Sound and the Fury " In Explicator, XXII (1964), Item 33.

Suggests Dante's Inferno as a possible source for the motivation of Quentin Compson, whose dream of union in hell parallels the condition of Paolo and Francesca.

Grant, W. Leonard. Neo-Latin Literature and the Pastoral. Chapel Hill: University of North Carolina Press [1965] X, 434 p. 23.5 cm.

Devotes the first part of a chapter on the "Pre-Humanist Pastoral: I" (pp. 77-110) to a discussion of Dante's pastoral exchange with Dante Del Virgilio and includes occasional further reference to Dante, passim, in the context of the study as a whole. Indexed.

Gurteen, S. Humphries. The Epic of the Fall of Man: A Comparative Study of Caedmon, Dante and Milton New York: Haskell House, 1964. xi, 449 p. 23 cm,

Reprint of the work originally published in 1896 (New York and London: G. P. Putnam), containing two chapters on "Three Poetic Hells: The Torturehouse of Caedmon, the Inferno of Dante, and the Hell of Milton" ( pp. 304-366) and "Three Poetic Hells: Conclusion" (pp. 367-386). In the first chapter, the author outlines the geography of Dante's Comedy and contrasts its philosophically ordered regions with Caedmon's and Milton's, pointing out that Dante alone distinguishes degree of guilt. A canto-by-canto reading of Inferno specifically stresses Dante's use of realistic symbols to portray the subjective state of the sinner--"the hell within him." In the second chapter, many passages from Paradise Lost are cited to illustrate Milton's conception of a hell of promiscuous punishment, comparative gaiety, and crude theological discussion, in which the fallen angels all feel a sense of injury, of having been wronged. The author concludes that, despite individual differences, all three poets exhibit "the current of sympathetic world-feeling." Caedmon and Milton deal with the "infinite past" when evil entered the world, while Dante deals with the infinite Hereafter determined by the use of free will in the present. Illustrated.

Harrison, Frederick C. "Dante in America: A Delayed Arrival." In Proceedings of the Pacific Northwest Conference on Foreign Languages, XVI (1965), 9-17.

Relates how difficult it was, especially because of the religious gap, for Dante to be accepted in America in the first half of the 19th century. Thanks to New Englanders who traveled in Italy and to Longfellow's first complete American translation of the Comedy, the poet can be said to have "arrived" by the 1860's.

King, Adele. "Structure and Meaning in La Chute." In PMLA, LXXVII (Dec. 1962), 660-667.

Examines Camus's La Chute and finds that its formal structure closely follows that of Dante's Inferno. The protagonist Clamence is a modern Satan, and even the tonal pattern of the novel is related to the descent into hell.

Mackay, L. A. "Statius in Purgatory." In Classica et Mediaevalia (Copenhagen), XXVI (1965), 293-305.

Examines the nature of Statius' poetic works, especially the Thebaid, and concludes that, despite the bloody tales he told, he had a gentle spirit concerned more with love and reconciliation. Noting that Dante himself admired the lucidity of Statius' style and placed him in Purgatory with the prodigals on scant information, the author suggests that Statius represents poetic intuition, a subsidiary means to truth, thus complementing Virgil (as human reason) and Christian revelation.

Maradea, Francesco. Cenni critici sulla "Divina Commedia." A cura di Francesco Grillo. Cosenza [no pub.] 1965. 15 p. 24.5 cm.

Professor Grillo (New York) here republishes these preliminary notes by Maradea, which originally appeared in ll popolano (Corigliano Calabro), XIV, Nos. 9, 10, 11, 12, 13, and 16 (giugno-ottobre 1896). Maradea's annotations, which were to be incorporated in a book that was never finished, draw fundamental distinctions between antiquity and the Middle Ages with respect to cultural milieu, spiritual orientation, and aesthetic attitude. Concerning Dante in particular, Maradea brands him as "il poeta dei commentatori . . . poeta di cervello," because Dante's kind of imagination was vulnerable to subsequent scientific findings and did not address itself to the mentality and traditions of the "popolo."

Marraro, Howard R. "Dante negli Stati Uniti." In Dante nel mondo, ed. Vittore Branca and Ettore Caccia (Firenze: Olschki, 1965), pp. 433-559.

Describes in the first part (pp. 433-455) the growth of Dante studies in the United States from the late 18th century to the present, with particular attention to the many American translations of Dante's various works, and concludes with a "Bibliografia dantesca americana dal 1921 al 1964" (pp. 455-559), containing 1371 entries arranged alphabetically. This bibliography is a continuation of Professor Marraro's "Bibliografia dantesca americana dal Settecento al 1921;' in Atti dell'Istituto veneto di scienze, lettere ed arti (Classe di scienze morali e lettere), CXXIII (1964-1965), 189-277. (See Dante Studies, LXXXIV, 93.)

Montano, Rocco. Storia della poesia di Dante Napoli: Quaderni di Delta, 1962-1963. 2 v. (558, 670 p.) 20.5 cm. (Quaderni di critica e testi, 2-3.)

Professor Montano's express purpose is to re-interpret the whole of Dante in the light of our latest knowledge of the medieval world; to trace the history of Dante's poetry, avoiding the extremes of both historical and Crocean criticism; to present organically an anthology of all necessary texts for understanding Dante's poetry; to offer a critical commentary for guiding the reader to a unified, comprehensive view of the Comedy, based on rigorous historical awareness and quite opposed to the De Sanctis-Croce critical position; to resolve various essential problems pertaining to Dante's poetry; and to offer a fresh reading of single major episodes in the Comedy The work is arranged in four parts: (Vol. I:) I. Il cammino verso la verità; II. Inferno; (Vol. II:) III. Purgatorio; and IV. Paradiso; these are in turn subdivided into chapters under various topical headings. In a prefatory note, Professor Montano cites his many Dante studies previously published (especially in Delta, between 1952 and 1959), of which the present work represents a synthesis and tentative conclusion. (See, for example, 77th Report, 50, 78th Report, 33 and 43, and 79th Report, 58, and see main section above, under Reviews.)

Ricciardelli, Michele. "A Homage to America, Dante's New Ravenna." In Proceedings of the Pacific Northwest Conference on Foreign Languages, XVI (1965), 7-8.

Tribute to America's active study and appreciation of Dante, especially as manifested in the centenary year.

Spitzer, Leo. Classical and Christian Ideas of World Harmony: Prolegomena to an Interpretation of the Word "Stimmung." Edited by Anna Granville Hatcher; preface by René Wellek. Baltimore: The Johns Hopkins Press, 1963. xi, (5), 232 p. 22 cm.

In the context of this study in "historical semantics," combining lexicography and history of ideas, the author includes a discussion (pp. 92-95) of Dante's harmonizing imagination and synesthetic devices in welding together not only the supernatural and the earthly spheres, but also ancient beliefs and modern techniques. The work, originally published in Traditio, II (1944), 409-464, and III ( 1945), 307-364, is here revised and expanded by Professor Hatcher. Indexed.

Stanford, W. B. The Ulysses Theme: A Study in the Adaptability of a Traditional Hero. Second edition. New York: Barnes and Noble, 1964. x, 340 p.

The first 280 pages are a reprint, with minor revisions, of the work as originally published in 1954 (Oxford: Blackwell; New York: Macmillan). (See 7sth Report, 33, and 36-37, and 76th Report, 58.) Six appendixes have been added in the present edition. For reviews, see main section above, under Reviews.

Wilhelm, James J. The Cruelest Month: Spring, Nature, and Love in Classical and Medieval Lyrics. New Haven and London: Yale University Press, 1965. xx, 310 p. 22 cm.

Examines the spring motif particularly as found in poetry of the lyrical tradition of "courtly love" from the Troubadours to the Italian poets of the dolce stil novo. In a concluding section on "Italy: Heaven and the Aftermath" (pp. 245-263), the author focuses on the unique synthesis by Dante who, blending philosophical idealism with dramatic realism, created a bridge between the earlier secular love poetry of Provence and the metaphysical poetry of Italy. Dante "entirely subsumes secular expression within religious expression in a way that was never done again." There is further reference to Dante, passim. Indexed.

Dante Alighieri, 1265-1321: Handscriften, Bildnisse und Drucke des 14. bis 16. Jahrhunderts vornehmlich aus den Schätzen der Württembergischen Landesbibliothek. Stuttgart, 1965. 48 p. Reviewed by:

[Anon.] in Papers of the Bibliographical Society of America, LIX (1965), 465.

Wilkins, Ernest Hatch, and Thomas G. Bergin, eds. A Concordance to the Divine Comedy of Dante Alighieri. (See above, main section, under Reviews.) Reviewed by:

[Anon.] in Papers of the Bibliographical Society of America, LIX (1965), 466-467.

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