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By Harold Bloom

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Excellent choice of severe remark for college kids of Dante.

Editor’s Note
Introduction - Harold Bloom
The sorts of Allegory - Charles S. Singleton
Figural artwork within the heart a while - Erich Auerbach
Epic culture and Inferno IX - David Quint
Manfred’s Wounds and the Poetics of the ‘Purgatorio’ - John Freccero
Autocitation and Autobiography - Teodolinda Barolini
Infernal Metamorphoses: An Interpretation of Dante’s “Counterpass” - Kenneth Gross
The mild of Venus and the Poetry of Dante: Vita Nuova and Inferno XXVII - Giuseppe Mazzotta
The Otherworldly global of the Paradiso - Jaroslav Pelikan
Synchronicity - María Rosa Menocal
Purgatory as Paradigm: touring the hot and Never-Before-Traveled direction of this Life/Poem - Teodolinda Barolini
Imagination and data in Purgatorio XVII–XVIII - Giuseppe Mazzotta
The Strangeness of Dante: Ulysses and Beatrice - Harold Bloom
Finding the Center - John Kleiner
Dante’s Interpretive trip: fact via Interpretation - William Franke

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Extra info for Dante Alighieri (Bloom's Modern Critical Views)

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13. Pietro di Dante, ... Commentarium, ed. V. Nannucci (Firenze: Guglielmo Piatti, 1845), p. 126. JOHN FRECCERO Manfred’s Wounds and the Poetics of the ‘Purgatorio’ I n the third canto of the Purgatorio, one of the excommunicants calls to Dante to ask if the pilgrim recognizes him: biondo era e bello e di gentile aspetto ma l’un de’ cigli un colpo avea diviso. ) The mark is not enough to identify him, so that the spirit names himself: ... ‘Or vedi’; e mostrommi una piaga a sommo ‘l petto. ’ and he showed me a wound at the top of his chest.

212 ff. D AV I D Q U I N T Epic Tradition and Inferno IX W hen Dante’s itinerary stalls before the gates of Dis, he and Virgil stand at a crossroads where two epic traditions of underworld descent diverge in opposite directions. The Furies misapply the typology of Theseus to the pilgrim; but Dante has not come to deprive the infernal kingdom of one of its denizens, nor will he, as the guardians of Dis demand, retrace his steps back to earth by the way he came. Passing through and beyond the underworld, Dante’s journey rather imitates the descent of Aeneas.

Pflaum shows a clear understanding of the situation in his Die religiose Disputation in der europäischen Dichtung des Mittelalters (GenevaFlorence, 1935). Recently (in Romania, LXIII) his sound understanding of the word figura enabled him to give a correct interpretation of some Old French verses that had been misunderstood by the editor and to restore the text. Perhaps other examples have escaped me,41 but I do not think that there is any systematic treatment of the subject. 42 In From Scenes from the Drama of European Literature.

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Dante Alighieri (Bloom's Modern Critical Views) by Harold Bloom

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