This bibliography is intended to include the Dante translations published in this country in 1972 and all Dante studies and reviews published in 1972 that are in any sense American. The latter criterion is construed to include foreign reviews of American publications pertaining to Dante. The listing of reviews in general is selective, particularly in the case of studies bearing only peripherally on Dante.

As a rule, items cited from Dissertation Abstracts International are registered without further abstracting, especially since the titles tend to be self-explanatory. Items not recorded in the bibliographies for previous years are entered as addenda to the present list.

NOTE. The citation of an individual study from a collected volume representing several authors is given in brief, while the main entry of the volume is listed with full bibliographical data in its 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.

La Divina Commedia. Edited and annotated by C.H. Grandgent; revised by Charles S. Singleton. Cambridge, Massachusetts: Harvard University Press. xxxvii, 950 p. illus. 22 cm. [1972]

After forty years since Grandgent's own revision of his masterly annotated edition of the Commedia in the Vandelli text, Professor Singleton has here further revised the work, substituting the new definitive text (1966-67) prepared by Giorgio Petrocchi. He has kept the Grandgent introductions, "arguments," and notes, revising where necessary in the light of a generation of subsequent scholarship. He has added a set of footnotes glossing poetic and archaic words with their modern Italian equivalents and he has provided translations of the Latin quotations found throughout the notes and commentary. A few illustrations and diagrams have also been added, while one or two of Grandgent's have been eliminated. There is a preface by Professor Singleton along with the two by Grandgent, a new "Bibliographical Note," and a "Note on the Revision." The work is available in paper as well as cloth binding.

The Vita Nuova of Dante. Translated with an introduction and notes by Sir Theodore Martin. Freeport, New York: Books for Libraries Press lviii, 120 p. port. 23 cm. [1972]

Reprint of the 1862 edition (London: Parker, Son, and Bourn). Includes, besides the translation, a dedicatory sonnet by the translator to his wife (p. v), general introduction (pp. vii-lviii), and notes and illustrations (pp. 77-120), with translations of several poems from Dante's Rime, the sonnets by Cavalcanti, Cino da Pistoia, and Dante Da Maiano in response to the first sonnet of the Vita Nuova, and Uhland's poem on Dante.

Monarchy and Three Political Letters. With an introduction by Donald Nicholl, and a note on the chronology of Dante's political works by Colin Hardie. With a new introduction for the Garland edition by Walter F. Bense. New York: Garland Publishing Company. 40, xxi, 121 p. 22 cm. (The Garland Library of War and Peace.) [1972]

Reprint of the 1954 edition (New York: Noonday Press; London: Weidenfeld and Nicolson), but with an additional introduction by Mr Bense. (See 73rd Report, p. 54-55.)

Banerjee, Ron D. K. "Dante Through the Looking Glass: Rossetti, Pound, and Eliot." In Comparative Literature, XXIV, 136-149. [1972]

Examines the Dantean influence in a few poems of Pound and Eliot as filtered through Rossetti's "Blessed Damozel."

Barricelli, Jean-Pierre. "Sogno and Sueño: Dante and Calderón." In Comparative Literature Studies, IX, 130-140. [1972]

Going beyond the usual comparisons between Dante and Calderón in terms of similarities of allegory and the ideal of transcending this world, the author examines the role of "dream" metaphysically understood in the Divina Commedia and La vida es sueño. Where Calderón's drama reflects a view of worldly reality as dream, Dante's three cantiche are seen to represent three states of awareness: unconsciousness in the Inferno, semi-consciousness in the Purgatorio, and consciousness in the Paradiso where Truth is beheld by the Pilgrim. By its nature then the Inferno, being more closely associated with a dream-like state than the other cantiche, yields the most similarities with Calderón's use of dream. But metaphysically the difference between the two writers is quite marked for Calderón views life as an impenetrable ambiguity of the self, while Dante sees it as potential realization of the self. However, their views converge in recognizing the Good and the Beautiful as life necessities at either level, fact or dream.

Bergel, Lienhard. "Vico for our Time." In Forum Italicum, VI, 575-583. [1972]

Review-article on Giambattista Vico: An International Symposium, edited by Giorgio Tagliacozzo, [etc.] (Baltimore: The Johns Hopkins Press, 1969), which contains an article on "Vico and Dante," by Glauco Cambon (pp. 15-28). (See Dante Studies, LXXXVIII, 179-180.)

Bergin, Thomas G. "The Bookshelf: Dante." In Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 97-115. [1972]

An omnibus review of recent Dante publications. Individual items discussed at some length are separately listed in the review section of this bibliography.

Berk, Philip R. "Some Sibylline Verses in Purgatorio X and XII." In Dante Studies, XC, 59-76. [1972]

Contends that the acrostic VOM in Purgatorio XII, 25-63, identifying Man (UOMO) with pride, continues through four more tercets (vv. 61-72) to form, again acrostically, VQMO, which is a flawed repetition of the initial acrostic. This can be considered a counterpart of a flawed acrostic, DIQ for God (DIO), formed by the three tercets at the very center of Canto X (vv. 67-75), thus constituting an opposition between the humility exemplified there and associated with God, and the pride associated with Man. In support of his interpretation the author discusses several stylistic and structural elements in Cantos X-XII, such as the poet's use of the sermo humilis for God and his contrastive treatment of human artistry and the divine encountered here. The Hebrew Psalms and the sibylline prophecies could have suggested Dante's use of acrostics, but he had ready literary precedent in Virgil's Aeneid, which contains sibylline passages that yield such acrostic patterns.

Bernardo, Aldo S. "Dante's Eighth Heaven: Ultimate Threshold to Reality." In Journal of Medieval and Renaissance Studies, II, 131-150 [1972]

Examines instances of Christian-Pagan syncretisms in Dante's Commedia and finds that syncretic elements are especially concentrated at the thresholds of the Pilgrim's passages from one realm to another, viz., at Inferno XXII-XXVII on the approach to the Pit, at Purgatorio XXV-XXVII before the entrance to the Garden, and particularly at Paradiso XXII-XXVII dealing with the preparation in the Eighth Heaven for the Pilgrim's translation to the ultimate realm of the spirit. The author notes a large number of echoes of earth and the classical heritage treated syncretically at this threshold by the poet, as a kind of last acknowledgement of classical antiquity's contribution to the evolution of humankind. On the suggestion of the traditional identification of the Eighth Heaven with the Church, confirming echoes are also seen in the sculptural representations at the several entrances (thresholds) of the Cathedral of Chartres. Like Chartres, Dante's eighth heaven syncretically reflects the multifarious elements syncretized by "the medieval model of reality" as characterized by C. S. Lewis.

Bolognese, Giuseppe G. A. "Poetic Status and Rivalry in Guittone, Dante, and Petrarch." In Dissertation Abstracts International, XXXII, 5773A. [1972]

Doctoral dissertation, The Catholic University of America, 1971.

Chiarenza, Marguerite Mills. "The Imageless Vision and Dante's Paradiso." In Dante Studies, XC, 77-91. [1972]

Since according to the medieval theology spiritual substance can be known in the human experience only through sensory images, in heaven alone directly, the author examines the paradox in Dante's poetics resulting from his assertion in the Paradiso that he saw the realm of pure spirit through direct intuition. For he must express himself in images while claiming to transcend them. A key to this paradoxical imagery of the Paradiso is found in the allusion to Narcissus in Canto III. The poet speaks in visual terms of an experience which is invisible, but he claims to be all anti-Narcissus, because while Narcissus saw an object which was not real, Dante experienced a reality which is beyond sensory perception. Thus, the Narcissus reference serves as an example of Dante's paradoxical use of imagery in the Paradiso and, occurring early in the cantica, serves as a preparation for it.

Ciardi, John. "Esthetic Wisdom." In Saturday Review, 8 April, p. 22. [1972]

Argues that Aristotle would have served better if Dante had wanted merely a figure to represent Human Reason, which Virgil is generally construed to symbolize, but that the latter was specifically chosen by the poet to represent what might be called Esthetic Wisdom, that is, the kind of reasoning or knowledge, possessed by the great artists, "that leads to a way of seeing, recognizing, reacting, and giving order to."

Cioffari, Vincenzo. "Lectura Dantis: Paradiso VIII." In Dante Studies, XC, 93-108. [1972]

Presents a reading of the canto which develops particularly the idea that Dante employs variations in human beings, here exemplified by Charles Martel and his brother Robert of Anjou, to demonstrate how Providence functions in the universe, creating diversity in this world as an organic part of the divine plan. Thus, the observable instances of deviation may appear as imperfections or defects only from the limited human point of view, whereas they are all part of the meaningful pattern in the Divine Mind which encompasses cosmically all causes and effects, regardless of temporal sequence. Deviations from Nature caused by Fortune may suggest indeterminism to man, but they actually represent some of the infinite possibilities open to the Divine Mind in its providential plan for society as a whole. If man could as God comprehend the whole providential system in a single glance, the element of indeterminism would disappear. (This is an English version of a "lectura Dantis" delivered in Florence on April 6, 1972, and subsequently published in the original Italian in L'Alighieri.)

Cioffari, Vincenzo. (Joint editor and translator). "The Prologue to the Commentary of Guido da Pisa." See Guido da Pisa....

Cowan, Louise. "Allen Tate and the Garment of Dante." In Sewanee Review, LXXX (Sept.), 377-382. [1972]

A review-article on Radcliffe Squires, Allen Tate: A Literary Biography (New York: Pegasus, 1971) (see below, under Addenda), stressing Tate's use of Dante's "fourfold method" in the Commedia, the "widening" of his vision under Dante's influence, and his unique ability, among modern poets, "to get at" Dante.

Ellman, Richard. Ulysses on the Liffey. New York: Oxford University Press. xviii, 208 p. illus., pls. 21.5 cm. [1972]

Contains a number of suggestive references to Dante, passim, in connection with Joyce's Ulysses. (For a review, see below.)

Fata, Frank. "Some Elements in the Genesis of a Renaissance View of the Divine Comedy." In MLN, LXXXVII, 20-36. [1972]

Examines the allegorical method of interpreting poetry in such figures as the sixth-century Fulgentius the Mythographer who inaugurated the metaphoric and moral interpretation of Virgil in pagan terms, on the one hand, and the third-century Clement of Alexandria who exemplifies the adaptation of profane allegory as a vessel for Christian doctrine, on the other, and the much later Boccaccio whose Comento and defense of poetry in the Genealogia profoundly influenced a Renaissance commentator like Landino. The latter in the Humanist ambience of the 15th century, evincing no tension between secular learning and Christian doctrine, is free of the limitations of a Fulgentius or Clement, or Dante's own scholastic distinction where poetry and theology are concerned, or even Boccaccio's later scruples about poetic fiction versus truth. Far from a polarity we find a fusion in Landino's commentary, without distinction between the Christian and pagan spheres of action, "for the humanist's gloss depends upon a fundamental equation of the Christian and the pagan views of man's life and his destiny, stemming from a basic and confirmed faith in poetry." His implicit axiom was that Christian poet, Christian theologian equal pagan poet, pagan theologian, all seeking not two truths but one single truth attainable by the elevated human means of tropological reading of poetry. Because of such a position, however, Landino must slight much of the dramatic texture of the Commedia due to the tension between the two orders still recognized by the Christian poet. So, for Landino the literal meaning no longer held the importance it held for Dante, but only the allegorical mattered.

Foster, Kenelm, O.P. "The Celebration of Order: Paradiso X." In Dante Studies, XC, 109-124. [1972]

Presents a reading of Paradiso X, focusing on the note of order (and harmony) struck in the opening verses of the canto and developed thematically throughout this canto and continued through XIV, which together describe the heaven of the Sun. In the angelic hierarchy, these cantos (X-XIV) structurally reflect the Powers which contemplate the Son's relation to the Father, and so the implicit theme of the cantos is "that 'order" intrinsic to the Godhead itself, whereby intellectuality issues into love," or in earthly terms it is the theme of ideal human wisdom, the co-inherence of intellect and love, as figured by the harmonious circular grouping of Thomas Aquinas and his companions. In Thomas's presentation speech, wisdom is seen to be represented collectively by the spirits in the ring, who stand for particular aspects of wisdom distinguished implicitly in relation to society and their harmonious contribution to the common good, as will be brought out more clearly later in the figure of Solomon (Canto XIII). Finally, in accordance with the theme of order and unity in diversity, Dante's presentation of the sages in the heaven of the Sun is seen to figure a harmony of the various ways in which mankind may participate in one divine Wisdom. In this scheme, then, the enigmatic presence of Siger becomes clear: he represents philosophy pure and simple, based on reason alone.

Frappier, Jean. "Sur un procès fait à l'amour courtois." In Romania, XCIII, 145-193. [1972]

Long review-article on The Meaning of Courtly Love, edited by F. X. Newman; Papers of the first annual conference of the Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton, March 17-18, 1967 (Albany: State University of New York Press, 1968), which contains Charles S. Singleton, "Dante: Within Courtly Love and Beyond," pp. 53-54. (See Dante Studies, LXXXVII, 170-171, and XC, 191, and see below, under Reviews.)

Gardner, Edmund G. Dante's Ten Heavens: A Study of the Paradiso. Freeport, New York: Books for Libraries Press. xv, 351 p. 23 cm. [1972]

Reprint of the second edition revised of 1900 (Westminster [London]: Archibald Constable; New York: Charles Scribner's Sons). For another recent reprint and description of this well-known work, see Dante Studies, XC, 193-194.

Guido da Pisa. "The Prologue to the Commentary of Guido da Pisa," [edited by] Vincenzo Cioffari and Francesco Mazzoni. In Dante Studies, XC, 125-137. [1972]

This is a pre-printing of the Proem from the forthcoming first edition of Guido da Pisa's Expositiones on Dante's Inferno, based on the authoritative manuscript of Chantilly (Musée Condé 597) and collated with the British Museum Lond. Add. 31918. The prologue is important in laying down the basic principles of Guido's commentary. Accompanying the original Latin text, in parallel columns, is a literal translation in English by Mr. Cioffari, intended to help the English-speaking scholar place the interpretation of Dante in clearer perspective.

Gullace, Giovanni. "The Dante Studies of Giovanni Gentile." In Dante Studies, XC, 155-174. [1972]

Analyzes Gentile's approach to the Divina Commedia in his five Dantean essays published between 1904 and 1939, contrasting it with that of the other eminent philosopher-critic, Benedetto Croce, his contemporary. In opposition to the latter who drew a sharp theoretic distinction between structure and poetry and merely singled out select lyrical passages in Dante's poem as artistically perfect, Gentile rejected the dichotomy of poet and thinker, insisting upon the consideration of the whole man Dante and the inseparability of poetry, structure, and doctrine in the work of art.

Gullace, Giovanni. "Poésie et structure: Benedetto Croce et Giovanni Gentile interprètes de Dante." In Lettres romanes, XXVI, 332-359. [1972]

Reviews the critical positions of Croce and Gentile in general and with respect to Dante's Commedia in particular, stressing the fundamental disagreement between the two philosopher-critics. In sharp contrast to Croce's insistence on an aesthetic concern with poesia as opposed to structure, or non-poesia, distinguishing Dante the poet from Dante the philosopher, Gentile argued for the living unity of the human spirit and intellect and against the separation of art and poetry from the philosophical and cultural matrix, considering the whole Dante, both thinker and poet.

Guyler, Sam. "Virgil the Hypocrite--Almost: A Re-interpretation of Inferno XXIII." In Dante Studies, XC, 25-42. [1972]

Re-interprets Inferno XXIII on the basis of a new textual analysis of the beginning tercets of the canto and in the light of Cantos XXI and XXII, which form a unit with XXIII, the unifying element being their multifaceted humor and what the author sees as a professional rivalry signaled by a rift between Dante the pilgrim and Virgil his guide. For clarifying the unity of the three cantos, Mr. Guyler focuses on the reference to the frog and mouse fable, which he resolves with recourse to Walter of England's version of the fable. The latter supports the author's contention that in Inferno XXI-XXIII Dante develops the theme of hypocrisy in anticipation of the episode of the Hypocrites at the end of XXIII. Finally, Aesop's fable is seen to illuminate typologically the Pilgrim's journey with his guide through Hell.

Hallock, Ann H. "Dante's Selva oscura and Other Obscure Selvas." In Forum Italicum, VI, 57-78. [1972]

Examines Dante's various uses of selva (and derivatives) in the Commedia, the Convivio, and the De vulgari eloquentia, in order to clarify the meaning of "selva oscura" in Inferno I, 2. Beyond the literal significance of the term and the related imagery in the poem, the author discusses the traditional abstract sense of unformed primal matter associated with God's Creation and figuratively representing the moral state of the pilgrim at the beginning of the poem and of any man in this world in comparison with the perfection of form which is God and which may be attained by conforming to His way. This eventual perfection cannot be attained by man alone, but only by the divine guidance of a beatrice. Seen in this way, the poet's conception and use of selva is a key to understanding his life pattern and to the unity and doctrinal relationship of his various works.

Heilbronn, Denise. "At the Gate of Dis, in the Valley of the Princes and the Earthly Paradise in Dante's Divine Comedy." In Dissertation Abstracts International, XXXII, 4565A-4566A. [1972]

Doctoral dissertation, Indiana University, 1971.

Heilbronn, Denise. "Dante's Valley of the Princes." In Dante Studies, XC, 43-58. [1972]

Contends that the Valley of the Princes (Purg. VII-VIII) in the area of Antepurgatory most closely reflects Dante's Christian world, with the threefold allegorical action that occurs there representing the daily coming of Christ to the faithful. For example, the driving away of the serpent by the angels figures Christ's struggle and eventual triumph over Satan in the world. Sordello with his Messianic theme also points to Christ as the ultimate ruler and light of the world. The author shows that after the various princes are identified they lose their former functional titles and become so many anonymous Christians souls on the scene about to unfold. In the two particular meetings of the Pilgrim with Nino Visconti and Currado Malaspina is exemplified, first negatively then positively, man's response to grace in this life. And the pilgrim himself, as a living man, exemplifies the human response to grace and temptation in the allegorical scene of Advent being represented.

Heppner, Ester Zago. "Il dolce stil novo: breve studio lessicale." In Proceedings, Pacific Northwest Conference on Foreign Languages, XXIII, 179-182. [1972]

Examines a number of key terms in Provencal poetry which were adopted or rejected by the stilnovisti in accordance with their increased interiorization and abstraction of the concepts and terminology associated with a more spiritual view of love and the love relationship.

Hirsh, John C. "Dante Among the Greeks: Paradiso XXVII, 82-84." In Neophilologus, LVI, 162-163. [1972]

Relates the Pilgrim's final backward glance towards earth in Paradiso XXVII, 82-84, to the punctum of Paradiso XXXIII, 94-96, and construes it as imparting the insight of self-forgetting so necessary on the way to God.

Kay, Richard. "Dante's Unnatural Lawyer: Francesco d'Accorso in Inferno XV." In Studia gratiana, XV, 147-200. [1972]

Rejects the identification of Francesco d'Accorso in Inferno XV, 110 with the sin of sodomy as unsatisfactory and as failing to explain why the runners in Brunetto's circle are divided into two mutually exclusive bands. In accordance with his thesis "that the two bands encountered among the violent against nature in Inferno XV-XVI correspond to those political and intellectual authorities who violate the natural order by their perverse government and false doctrine respectively," the author first establishes the identity of Francesco d'Accorso as son of the famous legal glossator, Accursus, then assembles a fairly detailed account of his life, works, and reputation, indicating what may be his unnatural thoughts and deeds, which in Dante's opinion would have qualified him for this particular form of damnation. In the popular mind, Francesco became the very type of the avaricious professor (of law) who accepted payment for his famous father's labor as if it were his own; but more to the point, because of his behavior of taking refuge in 1247 in the service of the English king, Edward, in order to escape the party strife in Bologna, "we may be tolerably certain that for contemporaries the name Francesco d'Accorso would evoke more than that of any other Bolognese legist the image of the Roman lawyer who through expediency became a Guelf." The author goes on to demonstrate the Dante of the Monarchia would have found contrary to nature both Francesco's service to Edward, an example of particularistic sovereignty as opposed to global authority of the Emperor, and his switching of allegiance to the Guelfs, as opposed to the clear superior hegemony of the imperial authority in this world. For Dante recognized the emperor as having full jurisdiction over canon law, thereby resolving the conflict of interest between imperium and sacerdotium. Proof of Dante's condemnation of Francesco is cited in particular from the latter's arenga he addressed, as Edward's nuncio, to Pope Nicholas III in 1274, which Dante could easily construe as proof positive of Francesco's complicity in diminishing the emperor's jurisdiction, an action made possible only by Francesco's deliberately ignoring the letter or misrepresenting the sense of the laws on which he was a professed authority. Just as many other types of sinners have their virtuous counterparts elsewhere in Dante's poem, so the unnatural legist Francesco may be paired with the canonist Gratian (Par. X, 104), paragon of juridical honesty. Because of family kinship to Dante, he may even be paired as infernal counterpart with the kinsman the poet placed in heaven, Cacciaguida, thus precluding any question of spite of Dante's part ill placing Francesco in hell.

Lawton, Ben. "Some Apparent Contradictions in Justinian's Monologue." In Proceedings, Pacific Northwest Conference on Foreign Language, XXIII, 183-187. [1972]

Seeks to clarify the nature of Justinian's deviation and merits by resolving apparent contradictions in his monologue (Par. VI) in terms of the notion of consostanza based on Paradiso I, 1-3. While Justinian was rightly motivated in the true faith, nevertheless excessive concern with his juridic activity led him to deviate from his imperial function and relinquish military duties to Belisarius. All this, along with his location in Heaven and the apparent contradictions in the infrastructure, is progressively made clear through the larger structural relationships in the cantica as a whole, as we become enlightened on the difference between the justice of man and the justice of God and the proper balancing of merit and desert.

Longfellow, Henry Wadsworth. The Letters of Henry Wadsworth Longfellow. Edited by Andrew Hilen... Cambridge, Massachusetts: The Belknap Press of Harvard University Press. 2 v. (xii, 572; ix, 530 p.) illus., facsims., ports. 24 cm. [1972]

The present volumes (III: 1844-1856; IV: 1857-1865) contain 1500 letters (to 425 correspondents) a goodly number of which, especially towards the end of the 22-year span represented, include references to Longfellow's progress on his translation of the Divina Commedia, to the formation of the Dante Club (which eventually evolved into the Dante Society), and other matters of Dantean interest.

Mazzoni, Francesco (Joint editor). "The Prologue to the Commentary of Guido da Pisa." See Guido da Pisa...

Mazzotta, Giuseppe. "Dante's Literary Typology." In MLN, LXXXVII, 1-19. [1972]

Interprets the sequence of poetic episodes in Purg. XXI-XXVI (with the pivotal Bonagiunta encounter in XXIV) in terms of "literary typology," based on the view that "Dante applies to the esthetic dimension the very technique of figural interpretation adopted by the patristic exegetes of biblical history." Mr. Mazzotta further sees the whole Commedia as a duplication of the notion of literary typology implied by the Augustinian idea that "the function of an ordered literary statement is to be a dramatic vehicle, an Exodus, to the Book of God." The Pauline equation of "Christ our Exodus" and Aquinas's explanation of "spiration" provide theological support for a Trinitarian view of the poetic process by analogy. Thus the creative process in man as a cognitive act has structural analogy with the Trinity and is further analogous to the Incarnation by being the dramatization, typologically, of Exodus. Among matters of detail in the distinction between Dante's and Bonagiunta's poetic modes referred to in Purg. XXIV, 55, the author suggests the nodo to be related to the knot of Solomon or pentangle, which in the Convivio Dante himself takes to symbolize the human condition of being sundered from perception of God; hence the idea of a moral gap in Bonagiunta's poetry, which is unable to transcend the natural order and attain to knowledge of God, as does the poet of the Commedia. Finally, the author submits that literature is an extension of the idea of figural history by providing a metaphor for history. While the single literary text, as illustrated by Dante's own poetic self-definition, is modeled on the Exodus-Christ paradigm, the succession of literary texts, or literary tradition, "constitutes a typology because each text acts as prophecy which is to be fulfilled by the reader's own spiritual experience." The cantos in question show how the process of the pilgrim's self-unification is dramatized in a landscape of literary history, a verbal universe where the Logos made flesh is the divine center.

Nagel, Alan F. (Joint editor and translator). The Three Crowns of Florence: Humanist Assessments of Dante, Petrarca and Boccaccio... (q. v.) [1972]

Paden, William D., Jr. "The Numerical Structure of the Divine Comedy: 1-33-33-33 or 34-67-100?" In Romance Philology, XXVI (August), 52-55. [1972]

Since setting off Inf. I or Inf. I-II as prologue does not work symmetrically, the author suggests it is more in keeping with Dante's way of "inclusive reckoning" to consider the division of the poem in three equal parts, rounding off the Inferno to 34 cantos and the Purgatorio at the 67th canto in making up the perfect number 100.

Paolucci, Anne. "Women in the Political Love-Ethic of the Divine Comedy and the Faerie Queene." In Dante Studies, XC, 139-153. [1972]

Examines the central role of women in the two great poems, in which they provide the initial impulse toward virtue and salvation along with political direction and purpose. In each poem, the figure of woman exerts a powerful influence in manifold ways, through her beauty, her love, her insights; as divinely endowed mediatrix, she is a guide to cosmic vision and, as inspirer of individual virtue, she points the way to universal peace. While less savory woman figures also play a part in the two epic poems, it is their virtuous counterparts, Beatrice and the Virgin Mary in the Divine Comedy and Una and Gloriana in the Faerie Queene, who guide away from enslaving evil to true knowledge, freedom, and happiness.

Pellegrini, Anthony L. "American Dante Bibliography for 1971. In Dante Studies, XC, 175-198. [1972]

With brief analyses.

Peters, Edward M. "The Failure of Church and Empire: Paradiso, 30." In Mediaeval Studies, XXXIV, 326-335. [1972]

Takes Beatrice's last words to the Pilgrim in Paradiso XXX, 124-148, as Dante's final political testament, in which he recognizes the failure of any possible establishment of the vera città, or ideal empire, on earth because of the conflict between papacy and empire, due in turn to the opposition between justice and greed as the root of all earthly social and individual disorder. The question is resolved only here beyond the temporal world in terms of the contrasting relationship between divine justice and the earthly empire, for Dante at this point is disillusioned over the world's lack of readiness to achieve humana civilitas. Without the reform of the church which was vital to the success of the empire (represented by Beatrice's reference to Clement V and Henry VII), there was no hope of seeing the imperial ideal on earth. That was possible only in Heaven, where the true popol giusto e sano lives under Justice.

Picchio Simonelli, Maria. "Per l'esegesi e la critica testuale del De vulgari eloquentia." In Romance Philology, XXV (May), 390-400. [1972]

Review-article on Dante Alighieri, De vulgari eloquentia, a cura di Pier Vincenzo Mengaldo; I: Introduzione e testo (Padova: Editrice Antenore, 1968. Università di Padova: Biblioteca di filologia romanza e di storia della lingua italiana; "Vulgares eloquentes," III).

Presta, Vincenzo. "In margine al canto XIII dell'Inferno." In Dante Studies, XC, 124. [1972]

Seeks to resolve the question of unity in Inferno XIII, which was denied by the historical critics because of the apparent discrepancy between the Pier delle Vigne episode and the remainder of the canto. Granting the canto is dominated by the protonotaro, the author considers what follows as a further thematic development and therefore examines the relationship of prodigality to suicide, in order to determine for the canto a better conceptual and stylistic consistency. The author notes the presence of imitatio virgiliana and of a pietà for Piero on the poet's part similar to that expressed for Francesca in Canto V. But within the same Canto XIII the poet is not moved by a like pity for the Florentine suicide at the end. There is an obvious change in psychological tension in the abrupt transition from the Piero episode to the two squanderers who burst on the scene. Investigation of the lives of Lano and Giacomo yields a key both to distinguish their prodigality from that of the shades assigned to the Fourth Circle and to link their sin meaningfully to Piero's. For records show that Lano, after his squandering reduced him to poverty, deliberately sought death at the battle of Pieve del Toppo (1289); and Giacomo was so destructive in his squandering that the tyrant Ezzelino IV had him assassinated in 1239. On stylistic grounds, the author identifies the anonymous Florentine suicide at the end of the canto with Rocco de' Mozzi (rather than the judge Lotto degli Agli). Also, he points out that the moral position of Rocco differs markedly from that of Piero, for whom the poet shows great sympathy. In any case, it was the earlier commentators who first thought Dante's squanderers here to have been suicides. Rocco laments he was driven to suicide by financial troubles due to the disorders plaguing the city of Florence, but this excuse is but symptomatic of his own moral weakness after losing the easy life he had known. Thus the Thomistic-Aristotelian views on suicide and prodigality provide the underlying conceptual and moral unity that supports the stylistic unity of the canto: he that destroys himself or his possessions is ever a fool, that is, one who makes bad use of the light of his reason. This, seen after the episode of Piero delle Vigne, casts the latter episode in a more complex light. Dante can have pity for him as he sees how a brief moment of moral weakness in an otherwise just man can lead him to eternal damnation.

Priest, Harold M. The Divine Comedy: Paradiso. Notes. Lincoln, Nebraska: Cliff's Notes. 115 p. 21 cm. (Cliff's Notes.) [1972]

A study guide, including a general introduction, introduction to the Paradiso, synopsis, canto summaries and commentaries, list of characters, review questions, and study projects.

Quinones, Ricardo J. The Renaissance Discovery of Time. Cambridge, Massachusetts: Harvard University Press. xvi, 549 p. 24 cm. (Harvard Studies in Comparative Literature, 31.) [1972]

In a long chapter on "Dante" (pp. 28-105), the author presents a reading of the Commedia from the standpoint of his general thesis of a new Renaissance consciousness of time: in the context of burgeoning bourgeois values arose the importance of new forces such as children, secular education, and fame in the struggle to overcome time. The changing temporal conceptions, following shortly upon the invention of the mechanical clock at the end of the thirteenth century, are reflected in Renaissance literature beginning with the poetic revival in capitalistic Florence with Dante, Petrarch, and Boccaccio. Along with the varying conception of time found through the three cantiche of Dante's poem there is evidence of the poet's sensitivity to the new bourgeois values of the time. But while evincing the developing ethical imperative associated with recognition of time as a limited, precious commodity and imbued with the chiliastic faith for ultimate improvement in the temporal world, the "tight focus" of Dante's fundamental theocentric orientation subordinated all to the transcendent goal beyond time.

Rosenthal, Alan S. Baudelaire's Knowledge of Italian." In Romance Notes, XIV, 71-74. [1972]

Cites evidence that Baudelaire may have had a greater firsthand knowledge of Italian than heretofore supposed and therefore may have read Dante, Petrarch, and other favorite Italian writers in the original. (Cf. J. S. Patty, "Baudelaire's Knowledge and Use of Dante," in Studies in Philology, LIII [1956], 599-611; see 75th Report, 26.)

Satin, Joseph. "The Symbolic Role of Cordelia in King Lear." In Forum (Houston), IX, No. 3 (Fall-Winter), 14-17. [1972]

Contends that while her appearances are brief, Cordelia represents a vital symbol of ideal womanly beauty with the important effect of her love on others--all part of an old tradition best exemplified in Dante's Beatrice of the Vita Nuova.

Speroni, Charles. "Was Dante's Pelican a Vulture?" In Italian Quarterly, XV, No. 60 - XVI, No. 61 (Spring-Summer), 568. [1972]

Examines Dante's allusion to the pelican in Paradiso XXV, 112-114, in terms of the traditional medieval Christian symbolism based on a legend about pelicans killing their fledglings and then resuscitating them with their (the mother's or father's) blood. Reviewing the development of the legend with its Christological significance, the author finds the legend first recorded in the third-century Physiologus and repeated in numerous texts throughout the Middle Ages and even later. To this, he adds evidence indicating the pelican legend derived from an Egyptian myth about the vulture. Inspired by the Egyptian legend and by Psalm 102:6, the author of the Physiologus introduced the new element of the parent bird's blood resuscitating the dead fledgling after three days and thus made possible the mystic association of the pelican with Christ.

Thompson, David. "Figure and Allegory in the Commedia." In Dante Studies, XC, 1-11. [1972]

Questions the construing of Dante's poem as personification allegory and addresses the question of how the poem can both mean and be. The theories of such prominent critics as Auerbach, who is known for embracing the idea of figural realism, and Singleton, who favored Scriptural exegesis in support of an allegory of theologians, are found to be unsatisfactory. Actually, it was conventional to consider any epic poem allegorical as well as representational, and so Dante's literary mode is not unique. While applauding Singleton for stressing the importance of Dante's allegorical dimension (ignored by Auerbach) and for focusing on the poem's figural structure, the author concludes that Dante interpreted his life's journey theologically, but that he employed not a Scriptural but a literary form, viz., the allegorical dual journey, for representing the events which are figurally structured.

Thompson, David. (Joint editor and translator). The Three Crowns of Florence: Humanist Assessments of Dante, Petrarca and Boccaccio. . . (q. v.) [1972]

The Three Crowns of Florence: Humanist Assessments of Dante, Petrarca and Boccaccio. Edited and translated by David Thompson and Alan F. Nagel. New York, [etc.]: Harper and Row. xxxiv, 179 p. 20.5 cm. (Harper Torchbooks, HR 1623.)

"To illustrate the thought and literature of Italian Humanism," the compilers have focused, in their selections, on the question of how the humanists assess the "Three Crowns of Florence." The texts pertaining to Dante directly include a letter of 1399 by Salutati to Niccolò da Tuderano; an oration by Filelfo in praise of Dante; Bruni's life of Dante; a comparison of Dante and Petrarch, also by Bruni; a comparison of Dante, Petrarch, and Boccaccio by Manetti in his Three Illustrious Florentine Poets; a short passage by Ficino in the proem to Landino's commentary (1481) on the Commedia; Landino's proem to his commentary, Pico's praise of Lorenzo, with a critique of Dante and Petrarch. There are further brief references to Dante, passim, in other selections by Palmieri, Verino, and Bembo. The volume comes with a short bibliography of books and articles in English and an index. As an introduction to the volume, the compilers present a translation of Eugenio Garin's essay, "Dante nel Rinascimento" (pp. ix-xxxiv), originally published in Rinascimento, 2a serie, VII (1967), and reprinted in his L'età nuova (Napoli: Morano, 1969).

Timpe, Eugene F. "Infernal Space: Structure and Context." In Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 73-95. [1972]

Recognizing that in the Purgatorio the temporal predominates over the spatial, while the reverse obtains in the Inferno, the author studies the structure of Dante's Hell and finds that, because of his spatial vision, the poet gave it spatial form suggested by the qualities of multiplicity and separation associated with the concept of the infernally damned. In accordance with such a spatial construct, images are illustrative of spatial metaphor, parallels are suggested with man's moral and subjective inner world, and the theme of increasing constraint from the top to the bottom of Hell is effectively developed. A number of specific episodes or loci exemplifying elements of spatiality are examined by the author for their structural relevance to stress that Dante distinguished himself by his consciousness and utilization of spatial concepts.

Uitti, Karl D. "Remarks on Old French Narrative: Courtly Love and poetic Form." In Romance Philology, XXVI (August), 77-93. [1972]

Review-article on The Meaning of Courtly Love, edited by F. X. Newman... (Albany: State University of New York Press, 1968) which contains Charles S. Singleton, "Dante: Within Courtly Love and Beyond, pp. 43-54. (See Dante Studies, LXXXVII, 170-171, and XC, 191, and see below, under Reviews.)

Utley, Francis L. Must we Abandon the Concept of Courtly Love?" In Medievalia et Humanistica, N.S., III, 299-324. [1972]

Review-article on four recent books concerning "courtly love," including The Meaning of Courtly Love, edited by F. X. Newman... (Albany: State University of New York Press, 1968), which contains Charles S. Singleton, "Dante: Within Courtly Love and Beyond," pp. 43-54. (See Dante Studies, LXXXVII, 170-171 and XC, 191, and see below, under Reviews.)

Vernon, William Warren. Readings on the Paradiso of Dante, Chiefly Based on the Commentary of Benvenuto da Imola. With an introduction by the Bishop of Ripon. Freeport, New York: Books for Libraries Press. 2 v. illus. 23 cm. [1972]

Reprint of the 1900 edition (London: Macmillan Company). The well known work includes the Italian text (Moore's), translation, and Commentary on the cantica.

Woodhouse, J. R. "A Survey of Techniques of Textual Criticism 1968-1971." In Italian Quarterly, XV, No. 60 - XVI, No. 61 (Spring-Summer), 91-101. [1972]

Includes a discussion of Luis Jenaro-MacLennan, "The Dating of Guido da Pisa's Commentary on the Inferno" (Italian Studies, XXIII [1968], 19-54).

Dante's Inferno. Translated with notes and commentary by Mark Musa. Bloomington and London: Indiana University Press, 1971. (See Dante Studies, XC, 175 and 189, and see below, Addenda, under Reviews.) Reviewed by:

[Anon.], in Choice, VIII (Jan.), 1456;

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter) 112-114.

The Paradiso. Translated by John Ciardi. Introduction by John Freccero. New York: New American Library, 1970. (See Dante Studies, LXXXIX, 108, and XC, 189.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 114.

Barbi, Michele. Life of Dante. Translated and edited by Paul G. Ruggiers. Berkeley and Los Angeles: University of California Press, 1960. (See 73rd Report, 55, 74th Report, 58 and 62, and 79th Report, 40-41.) Reviewed by:

B. L. [Ben Lawton], in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 118.

Bloomfield, Morton W. Essays and Explorations: Studies in Ideas, Language, and Literature. Cambridge, Massachusetts: Harvard University Press, 1970. Contains an essay of Dantean interest: "Symbolism in Medieval Literature," reprinted from Modern Philology, LVI (1958). (See 77th Report, 43, and Dante Studies, LXXXIX, 110.) Reviewed by:

Alfred David, in Speculum, XLVIII, 509-511.

Borlenghi, Aldo. Dante e il Trecento nella critica del Novecento. Milano: La Goliardica, 1968. 261 p. Reviewed by:

B. L. [Ben Lawton], in Italian Quarterly, XV, No. 60 - XVI, No. 61 (Spring-Summer), 113-114.

Boyde, Patrick. Dante's Style in His Lyric Poetry. Cambridge, [England:] At the University Press, 1971. xii, 359 p. 23.5 cm. Reviewed by:

[Anon.], in Choice, IX (June), 513;

Thomas G. Bergin, in Renaissance Quarterly, XXV, 440-442.

Brieger, Peter, Millard Meiss, and Charles S. Singleton. Illuminated Manuscripts of the Divine Comedy. Bollingen Series, LXXXI. [Princeton, New Jersey:] Princeton University Press, 1969. (See Dante Studies, LXXXVIII, 161-168 and 178, LXXXIX, 125, and XC, 190 and 197.) Reviewed by:

J. J. G. Alexander, in Speculum, XLVII, 514-517.

Calì, Pietro. Allegory and Vision in Dante and Langland. [Cork:] Cork University Press, [1971]. 198 p. 21.5 cm. Reviewed by: Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 107-109.

Cambon, Glauco. Dante's Craft: Studies in Language and Style. Minneapolis: University of Minnesota Press, 1969. (See Dante Studies, XXXVIII, 179, LXXXIX, 125, and XC, 190.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 98-104;

Aldo S. Bernardo, in Italica, XLIX, 76-80;

Irma Brandeis, in Comparative Literature, XXIV, 85-87.

Charity, A. C. Events and Their Afterlife: The Dialectics of Christian Typology in the Bible and Dante. Cambridge, England: University Press, 1966. (See Dante Studies, LXXXVI, 155, and LXXXVIII, 196.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 106-107.

Chierici, Joseph. Il grifo dantesco (unità fantastica e concettuale della Divina Commedia). Roma: Istituto Grafico Tiberino di S. De Luca, 1967. (See below, Addenda, under Studies. Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 110-111.

Cunningham, Gilbert F. The Divine Comedy in English: A Critical Bibliography. . . Edinburgh and London: Oliver and Boyd; New York: Barnes and Noble. Vol. I: 1782-1900, published in 1965 (see Dante Studies, LXXXIV, 82 and 107, LXXXV, 115, LXXXVI, 155 and 163, and LXXXVII, 175); Vol. II: 1901-1966, published in 1967 (see Dante Studies, LXXXVI, 142, and LXXXVII, 176). Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 114-115.

Ellman, Richard. Ulysses on the Liffey. New York: Oxford University Press. Contains references to Dante. (See above, under Studies.) Reviewed by:

Kenneth Connelly, in Yale Review, LXII, 94-105.

Federn, Karl. Dante and His Time. With an introduction by A. J Butler. New York: Haskell House, 1971. (See Dante Studies, LXXXIX; 112.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 115.

Florilegium Historiale: Essays Presented to Wallace K Ferguson. Edited by J. G. Rowe and W. H. Stockdale. Toronto: University of Toronto Press. . . 1971. Contains: Denys Hay, "The Italian View of Renaissance Italy," with references to Dante. (See below, Addenda, under Studies.) Reviewed by:

Cecil H. Clough, in Italian Studies, XXVII, 124-126;

Hanna Holborn Gray, in Journal of Modern History, XLIV, 246-249.

Giannantonio, Pompeo. Dante e l'allegorismo. Firenze: Leo S. Olschki, 1969. viii, 429 p. 25 cm. (Biblioteca dell'"Archivum romanicum" Serie I: Storia-Letteratura-Paleografia, Vol. 100.) Reviewed by:

Ferdinando D. Maurino, in Italica, XLIX, 508-511.

Hollander, Robert. Allegory in Dante's "Commedia." Princeton, New Jersey: Princeton University Press, 1969. (See Dante Studies, LXXXVIII, 185-186, LXXXIX, 125, and XC, 191 and 197.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 104-105;

Paolo Cherchi, in Modern Philology, LXIX (Feb.), 252-254;

Beatrice Corrigan, in Comparative Literature Studies, IX (March). 101-102;

Joan M. Ferrante. in Italica, XLIX, 252-254.

Innovation in Medieval Literature: Essays to the Memory of Alan Markman. Edited by Douglas Radcliff-Umstead. Pittsburgh: Medieval Studies Committee, University of Pittsburgh, 1971. Contains: Douglas Radcliff-Umstead, "Love in the Italian Sweet New Style" (pp. 63-75) of Dantean interest. (See below, Addenda, under Studies.) Reviewed by:

Norris J. Lacy, in French Review, XLIV (October), 142-143.

Josipovici, Gabriel. The World and the Book: A Study of Modern Fiction. Stanford, California: Stanford University Press; London: Macmillan, 1971. Contains substantial reference to Dante. (See below, Addenda under Studies.) Reviewed by:

Priscilla P. Clark, in Comparative Literature Studies, IX, 473-474.

Lo Castro, Antonino. Dante e la società. Messina: Peloritana Editrice, 1968. 163 p. illus. Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 111-112.

The Meaning of Courtly Love. Edited by F. X. Newman. Papers of the first annual conference of the Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton, March 17-18, 1967. Albany: State University of New York Press, 1968. Contains: Charles S. Singleton, Dante: Within Courtly Love and Beyond," pp. 43-54. (See Dante Studies, LXXXVII, 170-171, and XC, 191, and see above, under Studies: Frappier. . .) Reviewed by:

Joan M. Ferrante, in Romanic Review, LXIII, 42-43;

John V. Fleming, in Comparative Literature Studies, IX, 93-95.

Medieval Miscellany Presented to Eugène Vinaver by Pupils, Colleagues and Friends. Edited by F. Whitehead, A. H. Deverres, and F. E. Sutcliffe. Manchester: Manchester University Press; New York: Barnes and Noble, 1965. Contains a Dantean piece: E. F. Jacob, "The Giants (Inferno XXXI)," pp. 167-185. (See Dante Studies, LXXXIV, 89-90, LXXXVII, 176, and XC, 197.) Reviewed by:

A. Giacchetti, in Romance Philology, XXVI (August), 178-185.

Mineo, Nicolò. Profetismo e apocalittica in Dante. Struttura e temi profetico-apocalittici in Dante: dalla Vita Nuova alla Divina Commedia. Catania: Università di Catania, Facoltà di Lettere e Filosofia, 1968. 357 p. 24 cm. (Università di Catania. Pubblicazioni della Facoltà di Lettere e Filosofia, 24.) Reviewed by:

Thomas G. Bergin, in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 109-110.

Montano, Rocco. Lo spirito e le lettere: Disegno storico della letteratura italiana. Milano: Marzorati, 1970. 2 v. (349, 367 p.) 21 cm. Contains three chapters on Dante. (See below, Addenda, under Studies.) Reviewed by:

Guido Di Pino, in Comparative Literature Studies, IX, 103-106.

Needler, Howard. Saint Francis and Saint Dominic in the Divine Comedy. Krefeld: Scherpe Verlag, 1969. 70 p. (Schriften und Vorträge des Petrarca-Instituts Köln, XXIII.) (See below, Addenda, under Studies.) Reviewed by:

Giuseppe Mazzotta, in Italica, XLIX, 506-508.

Pasquazi, Silvio, editor. Aggiornamenti di critica dantesca. Firenze: Le Monnier, 1972. 865 p. Anthology of selections from recent Dante criticism. Reviewed by:

D. D. [Dennis Dutschke], in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 118-119.

Pépin, Jean. Dante et la tradition de l'allégorie. Montreal: Institut d'Etudes Médiévales, 1970. (See Dante Studies, LXXXIX, 118.) Reviewed by:

Daniel J. Donno, in Renaissance Quarterly, XXV, 442-444.

Piehler, Paul. The Visionary Landscape: A Study in Medieval Allegory. Montreal: McGill-Queens University Press, 1971. (First published, London: Edward Arnold, 1971). Contains a chapter on Dante. (Sec Dante Studies, XC, 186-187.) Reviewed by:

Kenneth A. Bleeth, in Speculum, XLVII, 138-141.

Quinones, Ricardo J. The Renaissance Discovery of Time. Cambridge, Massachusetts: Harvard University Press. Contains a chapter on Dante (See above, under Studies.) Reviewed by:

Robert E. Carter, in Queen's Quarterly, LXXIX, 560-561;

Earl G. Schreiber, in Library Journal, XCVII (October 1), 3161.

Raimondi, Ezio. Metafora e storia: Studi su Dante e Petrarca. Torino: Einaudi, 1970. 218 p. Reviewed by:

K.O'B. [Kathy O'Brien], in Italian Quarterly, XVI, No. 62-63 (Fall-Winter), 117.

Simonelli, Maria. Materiali per un'edizione critica del "Convivio" di Dante. Roma: Edizioni dell'Ateneo, 1970. 445 p. Reviewed by:

Glauco Cambon, in Forum Italicum, VI, 160-162;

L. W. [Laura White], in Italian Quarterly, XV, No. 60 - XVI, No. 61 (Spring-Summer), 112-113.

Vallese, Giulio. "Luce di grazia ed ombra della carne nel canto di Manfredi: Lettura del III del Purgatorio." In Le Parole e le Idee, XI, No. 1-2 (1969), 3-23. (Also published as an estratto--Napoli: Libreria Editrice Ferraro, 1970.) Reviewed by:

Robert J. Rodini, in Italica, XLIX, 82-86.

Vallone, Aldo. Dante. Milano: Vallardi, 1971. xi, 626 p. (Storia letteraria d'Italia.) Reviewed by:

Tibor Wlassics, in Forum Italicum, VI, 607-611.

Vallone, Aldo. L'interpretazione di Dante nel Cinquecento: Studi e ricerche. Firenze: Olschki, 1969. 306 p. Reviewed by:

Joseph Chierici, in Italica, XLIX, 81-82.

Vallone, Aldo. Lettura interna delle Rime di Dante. Roma: Signorelli, 1971. 127 p. Reviewed by:

Helmut Hatzfeld, in Forum Italicum, VI, 606-607.

Viator, I (1970). Contains: David Thompson, "Dante and Bernard Silvestris," pp. 201-206. (See Dante Studies, XC, 195-196.) Reviewed by:

Beryl Rowland, in American Notes and Queries, XI, 14-16.

The Divine Comedy. [I.] Inferno. Translated, with a commentary, by Charles S. Singleton. London: Routledge and K. Paul, 1971, 2 v. 21 cm. (Bollingen Series, LXXX.)

The British edition is the same as the original American edition (Princeton University Press, 1970). (See Dante Studies, LXXXIX, 107-108, XC, 189, and see below, under Reviews.)

Appel, Anne M. "Dante, Poet of the Grail: A Study in the Relationship between the Commedia and the Queste del Saint Graal." In Dissertation Abstracts International, XXXI (1971), 6044A.

Doctoral dissertation, Rutgers University, 1970.

Bergin, Thomas G. Dante's Divine Comedy. Englewood Cliffs, New Jersey: Prentice-Hall, Inc., [1971. xi, 116 p. illus. 21 cm. (Landmarks in Literature.)

A general introduction to Dante's Commedia made up of the last four chapters on the Comedy--Narrative; Allegory; Doctrine; and Tools and Tactics--of Professor Bergin's Dante, published in 1965 (see Dante Studies, LXXXIV, 76), and the three chapters--Ingredients and Proportion: The World of the Comedy; Themes and Variations: The Design of the Comedy; and Whose Dante? Which Comedy?-of his Perspectives on the Divine Comedy, published in 1967 (see Dante Studies, LXXXVI, 139-140), and a short bibliography (pp. 109-111). (For an Italian edition of this work, Invito alla Divina Commedia, published in 1971, see Dante Studies XC, 176.)

Bidney, Martin P. "Ruskin's Uses of Dante. In Dissertation Abstracts International, XXXII (1971), 2631A-26324.

Doctoral dissertation, Indiana University, 1971.

Cambon, Glauco. "Le modulazioni della sollecitudine nel canto V del Purgatorio." In Ausonia, XXV, No. 6 (1970), 9-18.

An Italian version of the author's article, "Purgatorio, Canto V: The Modulations of Solicitude," originally published in Books Abroad, Dante Issue (May 1965), 69-73 (see Dante Studies, LXXXIV, 80), and reprinted in his volume, Dante's Craft: Studies in Language and Style (Minneapolis: University of Minnesota Press, 1969), pp. 106-116 (see Dante Studies, LXXXVIII 179).

Carozza, Davy. "Delle traduzioni francesi di Dante: Problemi e soluzioni." In Trimestre, IV (1970), 223-242.

Discusses a number of problems that must be faced by a translator of Dante's Commedia into French, whose "genius" so differs from the sister language as to make direct rendering at best very difficult, at worst virtually impossible. In his illustrations drawn from the version by Henri Longnon, the author cites several happy solutions as well as many shortcomings in the translation from Italian to French. The general result is that the French reader cannot know adequately the pictorial quality, the strategic focusing, the immediacy and vividness, but especially the dynamism, of Dante's poem.

Chiarenza, Marguerite Mills. "Myths in Dante's Paradiso and Their Sources in the Latin Tradition." In Dissertation Abstracts International, XXXI (1971), 6596A.

Doctoral dissertation, Cornell University, 1970.

Chierici, Joseph. Il grifo dantesco (unità fantastica e concettuale della Divina Commedia). Roma: Istituto Grafico Tiberino di S. De Luca. 1967. 314 p. 25 cm.

Identifies the Veltro in Inferno I and the Gryphon at the top of Purgatory as Christ symbols by way of a long and complex investigation construing Dante's grifone as a winged dog figure and therefore also associated with the veltro. In support of this reading are cited figures on the puteali preromanici of the basilica of Aquileia and mosaics on the pavement of San Miniato al Monte, as well as quotations from Aeschylus and linguistic evidence of a link between 'Cherub' and the Greek root of grifo. The author further sees in the name of Matelda an anagram of AMATE Legem Dei, breaking down the L of Legem as a Roman numeral into its two factors X and V, which together with the D of Dei produce the DVX (or DVX) of Purgatorio XXXIII. (For a brief review, see above.)

Collins, Ben L. "The Stanzaic Pattern of Shelley's 'Ode to the West Wind.'" In Keats-Shelley Journal, XIX (1970), 7-8.

Suggests that in Shelley's "Ode to the West Wind" the final rhymed couplet, in combination with the terza rima, turns each stanza into a sonnet, thus shifting the poem from epic to lyric structure. The author further points out that the poem was inspired under a particular set of Dantesque circumstances near Florence and under the general influence of Dante's verse.

Cumpiano, Marion W. "Howells's Bridge: A Study of the Artistry of Indian Summer." In Modern Fiction Studies, XVI (1970), 363-382.

Points out some figurative Dantean parallels in Indian Summer suggesting the protagonist finds himself in a situation like that of the pilgrim in the Divine Comedy, puzzled over what course to take in the middle of life's journey, thus setting up sets of polarities that create tensions in the novel.

Francon, Marcel. "Montaigne, Dante et le Tasse." In Bulletin de la Société des Amis de Montaigne, XXV-XXVI (1971), 121-123.

Contends that Montaigne's citation in Italian of the proverbial saying made famous by Dante (Inf. V, 121-123) that recollection of past joy increases present pain can not be attributed to Tasso as immediate source.

Garratt, Walden. "Dante's Friend." In Ball State University Forum, XII, No. 4 (Autumn 1971), 47-50.

Tribute to the custodian of Dante's tomb in Ravenna, with a description of the poet's last resting-place.

Gladden, Washington. Witnesses of the Light. Freeport, New York: Books for Libraries Press, [1969]. 285 p. ports. 23 cm. (Essay Index Reprint Series).

Reprint of the 1903 edition of Witnesses of the Light; Being the William Belden Noble Lectures for 1903 (Boston and New York: Houghton Mifflin and Company). The opening chapter by the noted clergyman and early advocate of the social gospel is on "Dante, the Poet" (pp 1-50).

Hatzantonis, Emmanuel. "Variations of a Virgilian Theme in Dante and Lope de Vega." In Pacific Coast Philology, VI (April 1971), 35-42.

Analyzes the adaptation, under Virgil's influence, of the figure of Charon in Dante's Inferno III and in Lope de Vega's La Circe III, showing the differences in treatment--the first emphasizing the demonic nature of Charon as an agent of the Christian God and the second employing him simply as a symbol of pre-Christian savage fierceness. The two treatments thus reflect the historical moments, Middle Ages and Renaissance, in which the two poets were writing.

Hay, Denys. "The Italian View of Renaissance Italy." In Florilegium Historiale: Essays Presented to Wallace K. Ferguson, edited by J. G. Rowe and W. H. Stockdale (Toronto: University of Toronto Press, 1971), pp. 3-17.

Includes discussion of Dante's view of Italy as a geographical-cultural entity, especially in the De vulgari eloquentia. (For reviews of this volume, see above.)

Hayward, Ralph Malcolm, III. "Dante Gabriel Rossetti's The Early Italian Poets: A Study in the Art of Translation." In Dissertation Abstracts International, XXXII (1971), 2643A.

Doctoral dissertation, Tulane University, 1971.

Josipovici, Gabriel. The World and the Book: A Study of Modern Fiction. Stanford, California: Stanford University Press; London: Macmillan, 1971. xviii, 318 p. 22 cm.

Contains substantial reference to Dante, passim (esp. pp. 34-47, in the chapter on "The World as a Book," and pp. 122-130, in the chapter on "Some Thoughts on the Rise of the Novel"). The author takes as point of vantage Dante and the art of the Middle Ages with their ordered conception of the world based on a series of analogies, in order to examine and define the modern novel with its labyrinthine and solipsistic qualities. (For a review, see above.)

Kay, Richard. "Rucco di Cambio de' Mozzi in France and England." In Studi danteschi, XLVII (1970), 49-57.

Offers evidence from the English royal records to document the presence of Rucco on business in England during the late 1250's and early '60's and in France during the early '60's. He seems to have died between 1285 and 1292, and possibly by suicide because of the crisis suffered by Italian bankers in Paris under Philip the Fair in 1291. Since Dante uses the Gallicism gibetto in Inf. XIII, 151, the verse may refer more certainly to Rucco than Lotto degli Agli, concerning whom there are no French associations.

Lipson, Lawrence. "Apollinaire Student of Dante?" In Studi francesi, XV (1971), 98-100.

Finds some parallels in Les Colchiques and Le Brasier with elements in the later cantos of the Paradiso, suggesting Apollinaire's interest in Dante as well as other areas of Italian literature.

Manca, Marie A. "Harmony and the Poet: Six Studies in the Creative Ordering of Reality." In Dissertation Abstracts International, XXXII (1971), 2647A.

Doctoral dissertation, Yale University, 1971. (Studies the art of Dante, Shakespeare, Rimbaud, Char, and W. H. Crane with respect to the two modes of Harmony according to Plato--seeking of transcendent order beyond discord, and Heraclitus--acceptance of discord as part of ultimate reality. Dante is seen to come closest to the Platonic vision of Harmony.)

Mandelstam, Osip. "Talking about Dante." (Translated by Clarence Brown and Robert Hughes.) In Delos, No. 6 (1971), 65-106.

A highly imaginative critical appreciation and attempt at definition (enhanced by metaphorical analogies drawn from crystallography, chemistry, painting, the dance, and music) of Dante's achievement in the Commedia as the greatest, "most powerful chemical conductor of a poetic composition." Illustrations are drawn from many passages in the poem and affinities cited with several modern poets.

Mathews, J. Chesley. "Longfellow's Dante Collection." n Emerson Society Quarterly, No. 62 (Winter 1971), 10-22.

Presents a classified, descriptive list of works by and on Dante, including some non-literary items, originally accumulated by Longfellow and now preserved in the Longfellow House in Cambridge, Massachusetts.

Meiners, R. K. The Last Alternatives: A Study of the Works of Allen Tate. Denver: Alan Swallow, [1963]. 217 p. 22 cm.

Contains references, passim, to the Dantean influences on the poet considered by some to be closest to Dante among the moderns.

Meiss, Millard. "A Note on the Marciana Dante and Its Signature.' In Art Bulletin, LIII (1971), 310-311.

Disagrees with Mirella Levi D'Ancona's reading of the "signature" of Jacopo da Verona as illuminator on folio 6v of the Marciana Dante manuscript. Upon re-examination, Mr. Meiss finds the putative letters to be an accidental flaking off of the paint, and he does not consider the work attributable to Jacopo in any case.

Miller, Stephen. "Studies in the Idea of the City in Western Literature. " In Dissertation Abstracts International, XXXI (1971), 6018A.

Doctoral Dissertation, Rutgers University, 1970. (Argues that Dante, Baudelaire, T. S. Eliot, and Robert Lowell owe their ways of considering and describing the city to a body of classical and Christian conventions, while Whitman broke this tradition.)

Montano, Rocco. Lo spirito e le lettere: Disegno storico della letteratura italiana. Milano: Marzorati, 1970. 2 v. (349, 367 p.). 21 cm.

Volume I contains a section on Dante, "Dante e la conclusione del mondo gotico" (pp. 123-179), in three chapters: "La formazione spirituale e letteraria," "L'opera filosofica politica e retorica," and "La Divina Commedia," written from the work's general perspective of historicism and the historical relativism of literary genres and aesthetic judgment. (For a review, see above.)

Needler, Howard. Saint Francis and Saint Dominic in the Divine Comedy. Krefeld: Scherpe Verlag, 1969. 70 p. 21 cm. (Schrifte und Vorträge des Petrarca-Institus Köln, XXIII.)

Monographic essay seeking to demonstrate how the element of monasticism is worked into Dante's general doctrine of spiritual reform, using Saint Francis and Saint Dominic as points of reference to illustrate the poet's critique of reality. The author includes a historical and doctrinal account of the two monastic orders, an interpretation of the fictionalized lives of the two saints, and an examination of the theological and moral basis of the reform movement. Dante's conception of the heavenly city is construed in Augustinian terms, based on the saint's and the poet's common vision of justice and peace. (For a review, see above.)

Park, Dabney Glenn, Jr. "Dante as a Reformer." In Dissertation Abstracts International, XXXII (1971), 865A.

Doctoral Dissertation. Tulane University, 1971.

Priest, Paul Lambert. "Dante and the Song of Songs." In Dissertation Abstracts International, XXXI (1971), 6021A.

Doctoral dissertation, University of North Carolina, 1970.

Radcliff-Umstead, Douglas. "Love in the Italian Sweet New Style." In Innovation in Medieval Literature: Essays to the Memory of Alan Markman, edited by Douglas Radcliff-Umstead (Pittsburgh: Medieval Studies Committee, University of Pittsburgh, 1971), pp. 63-75.

Briefly surveys the three major Italian poets of the last quarter of the thirteenth century, Guinizelli, Calvacanti, and Dante, stressing their conception of the transcendent effect of pure creature-love as their major contribution to the lyrical tradition. (For a review of this volume, see above.)

Rosenthal, Earl. "Plus ultra, Non plus ultra, and the Columnar Device of Emperor Charles V." In Journal of the Warburg and Courtauld Institutes, XXXIV (1971), 204-228.

Investigating the origin of Charles V's device, Plus ultra, the author concludes, in the absence of any tradition of the formerly posited Non or Ne plus ultra, that the emperor's device apparently originated from Dante's più oltre (Inf: XXVI, 109) in the Burgundian version, Plus oultre, which was then translated, for political reasons, into the (incorrect) Latin form of his device.

Sarolli, Gian Roberto. Prolegomena alla "Divina Commedia." Firenze: Leo S. Olschki Editore, 1971. lxxi, 456 p. illus., plates 25 cm. (Biblioteca dell'"Archivum romanicum." Serie I: 8toria-Letteratura-Paleografia Vol. 112.)

Brings together in one volume a number of his Dantean studies published between 1958 and 1966, along with further pieces written expressly for the volume, and printed here in their original language of composition (Italian, English). Contents: Parte I ("Mira profunditas": Tradizione e innovazione)--Cap. 1. Autogenesi dantesca e tradizione esegetica medievale; 2. Strategia d'Autore: il Salmo CXIII e la polisemia; 3. Purgatorio II: dal Convivio alla Divina Commedia; 4. Profezia e Visione: profilo d'un genere letterario--(a) Dicotomia delle "Visioni": Dante e Alano; (b) La visione dantesca come visione paolina; 5. Dalla Vita Nuova alla Commedia: gradatio stilistico-culturale; 6. I quattro "sensi" figurati: fondamenta strutturali della Commedia. Parte II (Dante scriba Dei: teoria e simbolo)--Cap. 1. Simbolismo tipologico: Natàn profeta di Salomone-Cristo (Par. X, 98-138; XII, 127-41)--(a) Natàn "elettore" di Salomone; (b) Natàn nel conflitto dei due poteri alla luce della teologia politica; (c) Natàn e la salvezza di Salomone; (d) Natàn e la tradizione evangelica; (e) Natàn o della dignita della profezia; (f) Natàn "quod interpretatur dantis": equazione tipologica Natàn-Dante; 2. Dante e la teologia politica: Simbolismo cristologico e cristomimetico--(a) "DXV" e "Veltro": simboli cristomimetici; (b) "Veltro" - "DXV" e i "Versus retrogradi"; (c) Parallelismi antitetici: Inferno Paradiso; (d) La "M" che diventa Aquila; 3. Dante poeta teologo-politico: Poesia come "milizia letteraria." Appendici--1. "Ingigliarsi all'emme" (Par. XVIII, 113): Archetipo di poliunivoca concordanza; 2. Noterella biblica sui sette P. Parte III ("Summum bonum-Surnma pulchritudo" et contra)-Cap. 1. Musical Symbolism: Inferno XXI, 136-9, exemplum of Musica Diaboli versus Musica Dei; 2. Dante's katabasis and Mission. The original places of publication of the reprinted items are duly cited in the "Avvertenza"; and an analytical index has been provided to the volume as a whole: "Indice dei nomi a delle cose notevoli" (pp. 423-453).

Schulz, Max F. "Mailer's Divine Comedy." In Contemporary Literature (formerly Wisconsin Studies in Contemporary Literature), IX (1968), 36-57.

Notes a Dantesque unity in Mailer's Barbary Shore (purgatory), The Deer Park (hell), and An American Dream (heaven) and points out some specific parallels with the Divine Comedy, within a general discussion of the three novels.

Shapiro, Marianne Goldner. "Woman, Earthly and Divine, in the Comedy of Dante." In Dissertation Abstracts International, XXXI (1971), 4794A.

Doctoral dissertation, Columbia University, 1968.

Spector, Stephen Joel. "The Centripetal Journey: The poetry of Dante and Gabriel Rossetti." In Dissertation Abstracts International, XXXI (1970), 1241A.

Doctoral dissertation, University of Pennsylvania, 1969.

Squires, Radcliffe. Allen Tate: A Literary Biography. New York: Pegasus, [1971]. 231 p. 21 cm. (Pegasus American Authors.)

Includes references, passim (esp. pp. 165-171), to the Dantean influence in Tate's work.

Tosello, Matthew, I.M.C. "The Relationship between Dante Alighieri (1265-1321) and Edmund Spenser (1552-1599)." In Dissertation Abstracts International, XXXI (1970), 2357A.

Doctoral dissertation, Duquesne University, 1970.

Vergani, Luisa. The Divine Comedy: Inferno. Notes... Consulting editor, James L. Roberts. Lincoln, Nebraska: Cliffs Notes, 1969. 111 p. 21 cm. (Cliff's Notes.)

A study guide to the Divine Comedy, including a general introduction, introduction to the Inferno, synopsis, canto summaries and commentaries, a list of characters, review questions and study projects.

Wlassics, Tibor. "La trinità della terzina (note di prosodia dantesca)." In Ausonia, XXVI, No. 1-2 (1971), 24-34.

Explores the trinitarian facets of Dante's terza rima, the poet's own invention inspired by his essentially triadic and syllogistic forma mentis as he contemplated the physical and metaphysical world. The author suggests analogies of the terza rima with the terzetto in musical terms and with the triptych of early painting. Finally, he focuses upon the third verse (as most powerful) of each tercet throughout the poem taken as a group, which the poet may have composed initially and independently of the poem's context and which then effectively served as the determining element for completing the tercets. Thus, according to the author, in the third verses of the terzina taken as a group may lie the key to the poetics of Dante's Commedia.

The Divine Comedy. [I.] Inferno... Translated, with a commentary, by Charles S. Singleton. Bollingen Series, LXXX. [Princeton, New Jersey:] Princeton University Press, 1970. 2 v. (See Dante Studies, LXXXIX, 107-108, and XC, 189.) Reviewed by:

[Anon.], in Times Literary Supplement, 4 June 1971, p. 654;

William J. Roscelli, in Library Journal, XCVI, 2088-2089.

Dante's Inferno. Translated with notes and commentary by Mark Musa. Bloomington and London: Indiana University Press, 1971. (See Dante Studies, XC, 175 and 189, and see above, main section, under Reviews.) Reviewed by:

William J. Roscelli, in Library Journal, XCVI, 483.

Bergin, Thomas G. Dante. Boston: Houghton, Mifflin, 1965. (See Dante Studies, LXXXIV, 76, LXXXV, 115, LXXXVI, 154 and 163, and LXXXVIII, 204.) Reviewed by:

Antonio Di Preta, in Rassegna della letteratura italiana, LXXV (1971), 482.

Boyde, Patrick. Dante's Style in His Lyric Poetry. Cambridge, [England:] At the University Press, 1971. (See above, main section, under Reviews.) Reviewed by:

[Anon.], in Times Literary Supplement, 15 October 1971, p. 1292

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

Riccardo Scrivano, In Rassegna della letteratura italiana, LXXV (1971), 402-403.

Singleton, Charles S. Viaggio a Beatrice. Bologna: Il Mulino, 1968. (See Dante Studies, LXXXVII, 171, and XC, 198.) Reviewed by:

Mario Marti, in Giornale storico della letteratura italiana, CXLVIII (1971), 589-594.

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