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Dante Dartmouth Project Full text of more than 70 Italian, Latin, and English commentaries on the Commedia, ranging in date from 1322 (Iacopo Alighieri) to the 2000s (Robert Hollander) Dante's Divine Comedy presented by the Electronic Literature Foundation. Multiple editions, with Italian and English facing page and interpolated versions.
A complete listing and criticism of all English translations of at least one of the three cantiche (parts) was made by Cunningham in 1966. [12] The table below summarises Cunningham's data with additions between 1966 and the present, many of which are taken from the Dante Society of America's yearly North American bibliography [13] and Società Dantesca Italiana [] 's international ...
Dante gazes at Mount Purgatory in an allegorical portrait by Agnolo Bronzino, painted c. 1530. The Divine Comedy is composed of 14,233 lines that are divided into three cantiche (singular cantica) – Inferno (), Purgatorio (), and Paradiso () – each consisting of 33 cantos (Italian plural canti).
The Monk's Tale from The Canterbury Tales describes (in greater and more emphatic detail) the plight of Count Ugolino (Inferno, cantos 32 and 33), referring explicitly to Dante's original text in 7.2459–2462. The beginning of the last stanza of Troilus and Criseyde (5.1863-65) is modelled on Paradiso 12.28–30. [6]
Dante, poised between the mountain of purgatory and the city of Florence, a detail of a painting by Domenico di Michelino, Florence 1465.. The Divine Comedy by Dante Alighieri is a long allegorical poem in three parts (or canticas): the Inferno (), Purgatorio (), and Paradiso (), and 100 cantos, with the Inferno having 34, Purgatorio having 33, and Paradiso having 33 cantos.
An early humanist, he still wrote in medieval Latin. [6] His commentary on Dante was known as the Comentum super Dantis Aligherii comoediam.Charles Eliot Norton considered that Benvenuto's commentary on Dante had "a value beyond that of any of the other fourteenth-century commentators". [7]
After being appointed rector of the painter's guild in 1441, Giovanni di Paolo was the clear choice to illuminate Dante's Paradiso. [20] Working on what is known today as Yates Thompson 36 in the British Library's catalog, Giovanni created 61 images to accompany the vernacular poem. [ 21 ]
We have the text pages for the last cantos, Paradiso, XXXI to XXXIII, but the drawings were never begun. [21] The differing degrees of completion, and the canto numbers and first lines of the matching text inscribed on some sequences of pages but not others, all complicate understanding Botticelli's progress, and have been extensively debated. [22]