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WIKIMAG n. 7 - Giugno 2013
Dante Alighieri
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- Togli il segno di spunta per disattivarla
Dante Alighieri |
Dante Alighieri, attributed to
Giotto, in the chapel of the
Bargello palace in Florence. This oldest picture of Dante
was painted just prior to his exile and has since been heavily
restored. |
Born |
Mid-May to mid-June, c. 1265
Florence |
Died |
September 9, 1321 (aged about 56)
Ravenna |
Occupation |
Statesman,
poet,
language theorist |
Nationality |
Italian |
Literary movement |
Dolce Stil Novo |
Durante degli Alighieri,
simply referred to as Dante (UK
/ˈdænti/,
US
/ˈdɑːnteɪ/;
Italian: [ˈdante];
c. 1265–1321), was a major Italian poet of the
Middle Ages. His
Divine Comedy, originally called
Commedia and later called
Divina by
Boccaccio, is widely considered the greatest literary work composed
in the
Italian language and a masterpiece of world
literature.[1]
In Italy he is known as il Sommo
Poeta ("the Supreme Poet") or just
il Poeta. He,
Petrarch and
Boccaccio are also known as "the three fountains" or "the three
crowns". Dante is also called the "Father of the Italian language".
Life
Dante was born in
Florence,
Italy. The exact date of birth is unknown, although it is generally
believed to be around 1265. This can be deduced from autobiographic
allusions in
La Divina Commedia. Its first section, the
Inferno, begins "Nel mezzo del cammin di nostra vita" ("Halfway
through the journey of our life"), implying that Dante was around 35
years old, since the average lifespan according to the Bible (Psalms
89:10, Vulgate) is 70 years; and since his imaginary travel to the
nether world took place in 1300, he must have been born around 1265.
Some verses of the Paradiso section of the
Divine Comedy also provide a possible clue that he was born
under the sign of
Gemini: "As I revolved with the eternal twins, I saw revealed, from
hills to river outlets, the threshing-floor that makes us so ferocious"
(XXII 151–154). In 1265, the sun was in Gemini between approximately May
11 and June 11.[2]
Portrait of Dante, from a fresco in the Palazzo dei Giudici,
Florence
Dante claimed that his family descended from the ancient Romans (Inferno,
XV, 76), but the earliest relative he could mention by name was
Cacciaguida degli Elisei (Paradiso, XV, 135), born no earlier
than about 1100. Dante's father, Alaghiero[3]
or Alighiero di Bellincione, was a White
Guelph who suffered no reprisals after the
Ghibellines won the
Battle of Montaperti in the middle of the 13th century. This
suggests that Alighiero or his family enjoyed some protective prestige
and status, although some suggest that the politically inactive
Alighiero was of such low standing that he was not considered worth
exiling.[citation
needed]
Dante's family had loyalties to the Guelphs, a political alliance
that supported the
Papacy and which was involved in complex opposition to the
Ghibellines, who were backed by the
Holy Roman Emperor. The poet's mother was Bella, likely a member of
the Abati family.[3]
She died when Dante was not yet ten years old, and Alighiero soon
married again, to Lapa di Chiarissimo Cialuffi. It is uncertain whether
he really married her, since widowers were socially limited in such
matters, but this woman definitely bore him two children, Dante's
half-brother Francesco and half-sister Tana (Gaetana). When Dante was
12, he was promised in marriage to Gemma di Manetto Donati, daughter of
Manetto Donati, member of the powerful Donati family.[3]
Contracting marriages at this early age was quite common and involved a
formal ceremony, including contracts signed before a
notary. But Dante by this time had fallen in love with another,
Beatrice Portinari (known also as Bice), whom he first met when he
was only nine. Years after his marriage to Gemma he claims to have met
Beatrice again; he wrote several sonnets to Beatrice but never mentioned
Gemma in any of his poems. The exact date of his marriage is not known:
the only certain information is that, before his exile in 1301, he had
three children (Pietro, Jacopo and Antonia).[3]
Dante fought with the Guelph cavalry at the
Battle of Campaldino (June 11, 1289). This victory brought about a
reformation of the
Florentine constitution. To take any part in public life one had to
enroll in one of the city's many commercial or artisan guilds, so Dante
entered the physicians' and apothecaries' guild. In the following years,
his name is occasionally recorded as speaking or voting in the various
councils of the republic. A substantial portion of minutes from such
meetings in the years 1298–1300 was lost during
World War II, however, so the true extent of Dante's participation
in the city's councils is uncertain.
Gemma bore Dante several children. Although several others
subsequently claimed to be his offspring; it is likely that only
Jacopo, Pietro, Giovanni and Antonia were his actual children.
Antonia later became a nun, taking the name Sister Beatrice.
Education and
poetry
Not much is known about Dante's education; he presumably studied at
home or in a chapter school attached to a church or monastery in
Florence. It is known that he studied
Tuscan
poetry at a time when the
Sicilian school (Scuola poetica Siciliana), a cultural group
from Sicily,
was becoming known in Tuscany. His interests brought him to discover the
Provençal poetry of the
troubadours, such as
Arnaut Daniel, and the Latin writers of classical antiquity,
including
Cicero,
Ovid and especially
Virgil.
Statue of Dante at the
Uffizi, Florence
Dante said he first met
Beatrice Portinari, daughter of
Folco Portinari, at age nine, and claimed to have fallen in love
with her "at first sight", apparently without even talking with her. He
saw her frequently after age 18, often exchanging greetings in the
street, but never knew her well. In effect, he set an example of
so-called
courtly love, a phenomenon developed in French and Provençal poetry
of prior centuries. Dante's experience of such love was typical, but his
expression of it was unique. It was in the name of this love that Dante
left his imprint on the
dolce stil novo (sweet new style, a term which Dante
himself coined), and he would join other contemporary poets and writers
in exploring never-before-emphasized aspects of love (Amore).
Love for Beatrice (as
Petrarch would show for Laura somewhat differently) would be his
reason for poetry and for living, together with political passions. In
many of his poems, she is depicted as semi-divine, watching over him
constantly and providing spiritual instruction, sometimes harshly. When
Beatrice died in 1290, Dante sought refuge in Latin literature. The
Convivio chronicles his having read
Boethius's
De consolatione philosophiae and Cicero's
De Amicitia. He then dedicated himself to philosophical studies
at religious schools like the Dominican one in
Santa Maria Novella. He took part in the disputes that the two
principal
mendicant orders, the (Franciscan
and the
Dominican), publicly or indirectly held in Florence, the former
explaining the doctrines of the mystics and of St.
Bonaventure, the latter expounding on St.
Thomas Aquinas' theories.
At 18, Dante met
Guido Cavalcanti,
Lapo Gianni,
Cino da Pistoia and soon after
Brunetto Latini; together they became the leaders of the dolce
stil novo. Brunetto later received special mention in the Divine
Comedy (Inferno, XV, 28) for what he had taught Dante: Nor
speaking less on that account I go With Ser Brunetto, and I ask who are
his most known and most eminent companions. Some fifty poetical
commentaries by Dante are known (the so-called
Rime, rhymes), others being included in the later Vita Nuova
and Convivio. Other studies are reported, or deduced from Vita
Nuova or the Comedy, regarding painting and music.
Florence and
politics
Dante, like most Florentines of his day, was embroiled in the
Guelph–Ghibelline conflict. He fought in the
Battle of Campaldino (June 11, 1289), with the Florentine Guelphs
against
Arezzo Ghibellines; then in 1294 he was among the escorts of
Charles Martel of Anjou (grandson of
Charles I of Naples, more commonly called Charles of Anjou) while he
was in Florence. To further his political career, he became a
pharmacist. He did not intend to practice as one, but a law issued in
1295 required nobles aspiring to public office to be enrolled in one of
the Corporazioni delle Arti e dei Mestieri, so Dante obtained admission
to the apothecaries' guild. This profession was not inappropriate, since
at that time books were sold from apothecaries' shops. As a politician
he accomplished little, but held various offices over some years in a
city rife with political unrest.
After defeating the Ghibellines, the Guelphs divided into two
factions: the White Guelphs (Guelfi Bianchi)—Dante's party, led
by Vieri dei Cerchi—and the Black Guelphs (Guelfi Neri), led by
Corso Donati. Although the split was along family lines at first,
ideological differences arose based on opposing views of the papal role
in Florentine affairs, with the Blacks supporting the Pope and the
Whites wanting more freedom from Rome. The Whites took power first and
expelled the Blacks. In response,
Pope Boniface VIII planned a military occupation of Florence. In
1301,
Charles of Valois, brother of King
Philip IV of France, was expected to visit Florence because the Pope
had appointed him peacemaker for
Tuscany.
But the city's government had treated the Pope's ambassadors badly a few
weeks before, seeking independence from papal influence. It was believed
that Charles had received other unofficial instructions, so the council
sent a delegation to Rome to ascertain the Pope's intentions. Dante was
one of the delegates.
Exile and death
Pope Boniface quickly dismissed the other delegates and asked Dante
alone to remain in Rome. At the same time (November 1, 1301), Charles of
Valois entered Florence with the Black Guelphs, who in the next six days
destroyed much of the city and killed many of their enemies. A new Black
Guelph government was installed, and
Cante de' Gabrielli da
Gubbio
was appointed
podestà
of the city. Dante was condemned to exile for two years and ordered to
pay a large fine. The poet was still in Rome where the Pope had
"suggested" he stay, and was therefore considered an absconder. He did
not pay the fine in part because he believed he was not guilty and in
part because all his assets in Florence had been seized by the Black
Guelphs. He was condemned to perpetual exile, and if he returned to
Florence without paying the fine, he could be burned at the stake. (The
city council of Florence finally passed a motion rescinding Dante's
sentence in June 2008.)[4]
He took part in several attempts by the White Guelphs to regain
power, but these failed due to treachery. Dante, bitter at the treatment
he received from his enemies, also grew disgusted with the infighting
and ineffectiveness of his erstwhile allies and vowed to become a party
of one. He went to
Verona as a guest of
Bartolomeo I della Scala, then moved to
Sarzana
in
Liguria. Later he is supposed to have lived in
Lucca
with a woman called Gentucca, who made his stay comfortable (and was
later gratefully mentioned in Purgatorio, XXIV, 37). Some
speculative sources claim he visited Paris between 1308 & 1310 and
others, even less trustworthy, took him to
Oxford:
these claims, first occurring in
Boccaccio's book on Dante several decades after his death, seem
inspired by readers being impressed with the poet's wide learning and
erudition. Evidently Dante's command of philosophy and his literary
interests deepened in exile, when he was no longer busy with the
day-to-day business of Florentine domestic politics, and this is
evidenced in his prose writings in this period, but there is no real
indication that he ever left Italy. Dante's Immensa Dei dilectione
testante to Henry VII of Luxembourg confirms his residence "beneath
the springs of Arno, near Tuscany" in March 1311.
In 1310, Holy Roman Emperor
Henry VII of
Luxembourg marched into Italy at the head of 5,000 troops. Dante saw
in him a new
Charlemagne who would restore the office of the Holy Roman Emperor
to its former glory and also retake Florence from the Black Guelphs. He
wrote to Henry and several Italian princes, demanding that they destroy
the Black Guelphs. Mixing religion and private concerns, he invoked the
worst anger of God against his city and suggested several particular
targets that were also his personal enemies. It was during this time
that he wrote
De Monarchia, proposing a
universal monarchy under Henry VII.
Statue of Dante in the Piazza di Santa Croce in Florence
At some point during his exile, he conceived of the Comedy,
but the date is uncertain. The work is much more assured and on a larger
scale than anything he had produced in Florence; it is likely that he
would have undertaken such a work only after he realized that his
political ambitions, which had been central to him up to his banishment,
had been halted for some time, possibly forever. It is also noticeable
that Beatrice has returned to his imagination with renewed force and
with a wider meaning than in the Vita Nuova; in Convivio
(written c.1304–07) he had declared that the memory of this youthful
romance belonged to the past.
An early outside indication that the poem was underway is a notice by
Francesco da Barberino, tucked into his Documenti d'Amore
(Lessons of Love), written probably in 1314 or early 1315; speaking of
Virgil, Francesco notes in appreciative words that Dante followed the
Roman classic in a poem called "Comedy" and that the setting of this
poem (or part of it) was the underworld; i.e., hell.[5]
The brief note gives no incontestable indication that he himself had
seen or read even the Inferno or that this part had been
published at the time, but it indicates that composition was well
underway and that the sketching of the poem may likely have begun some
years before. (It has been suggested that a knowledge of Dante's work
also underlies some of the illuminations in Francesco da Barberino's
earlier Officiolum [c. 1305–08], a manuscript that came to light
only in 2003.[6])
We know that the Inferno had been published by 1317; this is
established by quoted lines interspersed in the margins of contemporary
dated records from
Bologna,
but there is no certainty whether the three parts of the poem were each
published in full or a few cantos at a time. Paradiso seems to
have been published posthumously.
In Florence, Baldo d'Aguglione pardoned most of the White Guelphs in
exile and allowed them to return; however, Dante had gone too far in his
violent letters to Arrigo (Henry VII) and his sentence was not
revoked.
In 1312 Henry assaulted Florence and defeated the Black Guelphs, but
there is no evidence that Dante was involved. Some say he refused to
participate in the assault on his city by a foreigner; others suggest
that he had become unpopular with the White Guelphs too, and that any
trace of his passage had carefully been removed. Henry VII died (from a
fever) in 1313, and with him any hope for Dante to see Florence again.
He returned to Verona, where
Cangrande I della Scala allowed him to live in certain security and,
presumably, in a fair degree of prosperity. Cangrande was admitted to
Dante's Paradise (Paradiso, XVII, 76).
In 1315, Florence was forced by
Uguccione della Faggiuola (the military officer controlling the
town) to grant an amnesty to those in exile, including Dante. But for
this, Florence required public penance in addition to a heavy fine.
Dante refused, preferring to remain in exile. When Uguccione defeated
Florence, Dante's death sentence was commuted to house arrest on
condition that he go to Florence to swear he would never enter the town
again. He refused to go, and his death sentence was confirmed and
extended to his sons. He still hoped late in life that he might be
invited back to Florence on honorable terms. For Dante exile was nearly
a form of death, stripping him of much of his identity and his heritage.
He addressed the pain of exile in Paradiso, XVII (55–60), where
Cacciaguida, his great-great-grandfather, warns him what to expect:
... Tu lascerai ogne cosa diletta |
... You shall leave everything you love most: |
più caramente; e questo è quello strale |
this is the arrow that the bow of exile |
che l'arco de lo essilio pria saetta. |
shoots first. You are to know the bitter taste |
Tu proverai sì come sa di sale |
of others' bread, how salty it is, and know |
lo pane altrui, e come è duro calle |
how hard a path it is for one who goes |
lo scendere e 'l salir per l'altrui scale ... |
ascending and descending others' stairs ... |
As for the hope of returning to Florence, he describes it as if he
had already accepted its impossibility (in Paradiso, XXV, 1–9):
Se mai continga che 'l poema sacro |
If it ever come to pass that the sacred poem |
al quale ha posto mano e cielo e terra, |
to which both heaven and earth have set their hand |
sì che m'ha fatto per molti anni macro, |
so as to have made me lean for many years |
vinca la crudeltà che fuor mi serra |
should overcome the cruelty that bars me |
del bello ovile ov'io dormi' agnello, |
from the fair sheepfold where I slept as a lamb, |
nimico ai lupi che li danno guerra; |
an enemy to the wolves that make war on it, |
con altra voce omai, con altro vello |
with another voice now and other fleece |
ritornerò poeta, e in sul fonte |
I shall return a poet and at the font |
del mio battesmo prenderò 'l cappello ... |
of my baptism take the
laurel crown ... |
Prince
Guido Novello da Polenta invited him to
Ravenna
in 1318, and he accepted. He finished Paradiso, and died in 1321
(aged 56) while returning to Ravenna from a diplomatic mission to
Venice, possibly of
malaria
contracted there. He was buried in Ravenna at the Church of San Pier
Maggiore (later called San Francesco). Bernardo Bembo,
praetor
of Venice,
erected a tomb for him in 1483.
Dante's tomb in
Ravenna, built in 1780
Cenotaph in Basilica of Santa Croce, Florence
On the grave, some verses of Bernardo Canaccio, a friend of Dante,
dedicated to Florence:
- parvi Florentia mater amoris
- "Florence, mother of little love"
The first formal biography of Dante was the Vita di Dante
(also known as Trattatello in laude di Dante) written after 1348
by
Giovanni Boccaccio;[7]
Although several statements and episodes of it have been deemed
unreliable on the basis of modern research, an earlier account of
Dante's life and works had been included in the
Nuova Cronica of the Florentine chronicler
Giovanni Villani.[8]
Florence eventually came to regret Dante's exile, and the city made
repeated requests for the return of his remains. The custodians of the
body in Ravenna refused, at one point going so far as to conceal the
bones in a false wall of the monastery. Nonetheless, a tomb was built
for him in Florence in 1829, in the basilica of
Santa Croce. That
tomb
has been empty ever since, with Dante's body remaining in Ravenna,
far from the land he had loved so dearly. The front of his tomb in
Florence reads Onorate l'altissimo poeta—which roughly translates
as "Honor the most exalted poet". The phrase is a quote from the fourth
canto of the Inferno, depicting Virgil's welcome as he returns
among the great ancient poets spending eternity in limbo. The ensuing
line, L'ombra sua torna, ch'era dipartita ("his spirit, which had
left us, returns"), is poignantly absent from the empty tomb.
In 2007, a reconstruction of Dante's face was undertaken in a
collaborative project. Artists from Pisa University and engineers at the
University of Bologna at Forli constructed the model, portraying Dante's
features as somewhat different from what was once thought.[9][10]
Works
- See also
Works by Dante Alighieri
The
Divine Comedy describes Dante's journey through
Hell (Inferno),
Purgatory (Purgatorio), and
Paradise (Paradiso), guided first by the Roman poet
Virgil
and then by
Beatrice, the subject of his love and of another of his works,
La Vita Nuova. While the vision of Hell, the Inferno, is
vivid for modern readers, the theological niceties presented in the
other books require a certain amount of patience and knowledge to
appreciate. Purgatorio, the most lyrical and human of the three,
also has the most poets in it; Paradiso, the most heavily
theological, has the most beautiful and ecstatic mystic passages in
which Dante tries to describe what he confesses he is unable to convey
(e.g., when Dante looks into the face of God: "all'alta fantasia qui
mancò possa" — "at this high moment, ability failed my capacity to
describe," Paradiso, XXXIII, 142).
Dante, poised between the mountain of purgatory and the city
of Florence, displays the
incipit Nel mezzo del cammin di nostra vita in a
detail of Domenico di Michelino's painting, Florence, 1465.
With its seriousness of purpose, its literary stature and the range —
both stylistically and subjectwise—of its content, the Comedy
soon became a cornerstone in the evolution of Italian as an established
literary language. Dante was more aware than most earlier Italian
writers of the variety of Italian dialects and of the need to create a
literature, and a unified literary language, beyond the limits of Latin
writing at the time; in that sense he is a forerunner of the
Renaissance, with its effort to create vernacular literature in
competition with earlier classical writers. Dante's in-depth knowledge
(within the limits of his time) of Roman antiquity, and his evident
admiration for some aspects of pagan Rome, also point forward to the
15th century. Ironically, while he was widely honored in the centuries
after his death, the Comedy slipped out of fashion among men of
letters: too medieval, too rough and tragic, and not stylistically
refined in the respects that the high and late Renaissance came to
demand of literature.
He wrote the Comedy in a language he called "Italian", in some
sense an amalgamated literary language mostly based on the regional
dialect of Tuscany, but with some elements of Latin and other regional
dialects. He deliberately aimed to reach a readership throughout Italy
including laymen, clergymen and other poets. By creating a poem of epic
structure and philosophic purpose, he established that the
Italian language was suitable for the highest sort of expression. In
French, Italian is sometimes nicknamed la langue de Dante.
Publishing in the vernacular language marked Dante as one of the first
(among others such as
Geoffrey Chaucer and
Giovanni Boccaccio) to break free from standards of publishing in
only Latin (the language of
liturgy,
history and scholarship in general but often also of lyric poetry). This
break set a precedent and allowed more literature to be published for a
wider audience, setting the stage for greater levels of literacy in the
future. However, unlike
Boccaccio,
Milton or
Ariosto, Dante did not really become an author read all over Europe
until the Romantic era. To the Romantics, Dante, like Homer and
Shakespeare, was a prime example of the "original genius" who sets his
own rules, creates persons of overpowering stature and depth and goes
far beyond any imitation of the patterns of earlier masters and who, in
turn, cannot really be imitated. Throughout the 19th century, Dante's
reputation grew and solidified, and by the time of the 1865 jubilee, he
had become solidly established as one of the greatest literary icons of
the Western world.
Readers often cannot understand how such a serious work may be called
a "comedy". In Dante's time, all serious scholarly works were written in
Latin, a tradition that would persist for several hundred years more
until the waning years of the
Enlightenment, and works written in any other language were assumed
to be more trivial in nature. Furthermore, the word "comedy"
in the classical sense refers to works which reflect belief in an
ordered universe, in which events tended toward not only a happy or
amusing ending but one influenced by a Providential will that orders all
things to an ultimate good. By this meaning of the word, as Dante
himself wrote in a letter to
Cangrande I della Scala, the progression of the pilgrimage from Hell
to Paradise is the paradigmatic expression of comedy since the work
begins with the pilgrim's moral confusion and ends with the vision of
God.
Statue of Dante Alighieri in
Verona
Dante's other works include
Convivio ("The Banquet"),[11]
a collection of his longest poems with an (unfinished) allegorical
commentary;
Monarchia,[12]
a summary treatise of political philosophy in Latin which was condemned
and burned after Dante's death[13][14]
by the Papal Legate
Bertrando del Poggetto, which argues for the necessity of a
universal or global monarchy in order to establish universal peace in
this life, and this monarchy's relationship to the Roman Catholic Church
as guide to eternal peace;
De vulgari eloquentia ("On the Eloquence of Vernacular"),[15]
on vernacular literature, partly inspired by the Razos de trobar
of
Raimon Vidal de Bezaudun; and,
La Vita Nuova ("The New Life"),[16]
the story of his love for
Beatrice Portinari, who also served as the ultimate symbol of
salvation in the Comedy. The Vita Nuova contains many of
Dante's love poems in Tuscan, which was not unprecedented; the
vernacular had been regularly used for lyric works before, during all
the thirteenth century. However, Dante's commentary on his own work is
also in the vernacular—both in the Vita Nuova and in the
Convivio—instead of the Latin that was almost universally used.
References to Divina Commedia are in the format (book, canto,
verse), e.g., (Inferno, XV, 76).
References
-
^
Bloom, Harold (1994). The Western Canon.
-
^
His birth date is listed as
"probably in the end of May" by Robert Hollander in "Dante" in
Dictionary of the Middle Ages, volume 4. According to
Boccaccio, the poet himself said he was born in May. See
"ALIGHIERI, Dante" in the Dizionario Biografico degli
Italiani.
- ^
a
b
c
d
Chimenz, S.A.
ALIGHIERI, Dante (in Italian).
Enciclopedia Italiana.
-
^
Malcolm Moore
"Dante's infernal crimes forgiven", Daily Telegraph,
June 17, 2008. Retrieved on June 18, 2008.
-
^
See
Bookrags.com and Tigerstedt, E.N. 1967, Dante; Tiden
Mannen Verket (Dante; The Age, the Man, the Work),
Bonniers, Stockholm, 1967.
-
^
Fabio M.
Bertolo (2003).
"L′Officiolum ritrovato di Francesco da Barberino".
Spolia—Journal of Medieval Studies.
Retrieved August 18, 2012.
-
^
"Dante Alighieri". The Catholic Encyclopedia.
Retrieved May 2, 2010.
-
^
Vauchez, André; Dobson, Richard Barrie; Lapidge, Michael (2000).
Encyclopedia of the Middle Ages. Chicago: Fitzroy
Dearborn Publishers. p. 1517.;
Caesar, Michael (1989). Dante,
the Critical Heritage, 1314(?)–1870. London: Routledge.
p. xi.
-
^
Pullella, Philip (January 12, 2007).
"Dante gets posthumous nose job – 700 years on".
Statesman (Reuters).
Retrieved November 5, 2007.
-
^
Benazzi S. (2009). "The Face of the
Poet Dante Alighieri, Reconstructed by Virtual Modelling and
Forensic Anthropology Techniques". Journal of Archaeological
Science 36 (2): 278–283.
doi:10.1016/j.jas.2008.09.006
-
^
"Banquet". Dante online.
Retrieved September 2, 2008.
-
^
"Monarchia". Dante online.
Retrieved September 2, 2008.
-
^
Anthony K. Cassell
The Monarchia Controversy. The Monarchia stayed on the
Index Librorum Prohibitorum from its inception until 1881.
-
^
Giuseppe Cappelli,
La divina commedia di Dante Alighieri, in Italian.
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^
"De vulgari Eloquentia". Dante online.
Retrieved September 2, 2008.
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^
"New Life". Dante online.
Retrieved September 2, 2008.
Sources
- Allitt, John Stewart (2011).
Dante, il Pellegrino (in Italian) (Edizioni Villadiseriane ed.).
Villa di Serio (BG).
-
Gardner, Edmund Garratt (1921).
Dante. London: Oxford University Press.
OCLC 690699123.
- Hede, Jesper (2007). Reading
Dante: The Pursuit of Meaning. Lanham: Lexington Books.
ISBN 9780739121962.
- Miles, Thomas (2008). "Dante: Tours
of Hell: Mapping the Landscape of Sin and Despair". In Stewart, Jon.
Kierkegaard and the Patristic and Medieval Traditions.
Ashgate. pp. 223–236.
ISBN 9780754663911.
- Raffa, Guy P. (2009). The
Complete Danteworlds: A Reader's Guide to the Divine Comedy.
Chicago: University of Chicago Press.
ISBN 9780226702704.
-
Scartazzini, Giovanni Andrea (1874–1890). La Divina Commedia
riveduta e commentata (4 volumes).
OCLC 558999245.
- Scartazzini, Giovanni Andrea
(1896–1898). Enciclopedia dantesca: dizionario critico e
ragionato di quanto concerne la vita e le opere di Dante Alighieri
(2 volumes).
OCLC 12202483.
- Scott, John A. (1996). Dante's
Political Purgatory. Philadelphia: University of Pennsylvania
Press.
ISBN 9780585127248.
-
Seung, T. K. (1962). The Fragile Leaves of the Sibyl: Dante's
Master Plan. Westminster, MD: Newman Press.
OCLC 1426455.
- Toynbee, Paget (1898).
A Dictionary of the Proper Names and Notable Matters in the Works
of Dante. London: The Clarendon Press.
OCLC 343895.
- Whiting, Mary Bradford (1922).
Dante the Man and the Poet. Cambridge: W. Heffer & Sons.
OCLC 224789.
Further reading
- Guénon, René (1925). The Esoterism of Dante, trans. by C.
B. Berhill, in the Perennial Wisdom Series. Ghent, N.Y.:
Sophia Perennis et Universalis, 1996. viii, 72 p. N.B.:
Originally published in French, entitled L'Esoterisme de Danté, in
1925.
ISBN 0-900588-02-0
External links
-
Dante Alighieri entry by Winthrop Wetherbee in the
Stanford Encyclopedia of Philosophy
- The
World of Dante multimedia, texts, maps, gallery, searchable
database, music, teacher resources, timeline
- The
Princeton Dante Project texts and multimedia
- The
Dartmouth Dante Project searchable database of commentary
-
Società Dantesca Italiana (bilingual site) manuscripts of
works, images and text transcripts
-
"Digital Dante" – Divine Comedy with commentary, other
works, scholars on Dante
-
Yale Course on Dante
-
Works Italian and Latin texts, concordances and frequency
lists
-
Works by or about Dante Alighieri in libraries (WorldCat
catalog)
-
Works by Dante Alighieri at
Project Gutenberg
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