Moore, Malcolm (17 June 2008). "Dante's infernal crimes forgiven". The Daily Telegraph. Archived from the original on 22 June 2008 . Retrieved 18 June 2008. Prelude to Hell [ edit ] Canto I [ edit ] Gustave Doré's engravings illustrated the Divine Comedy (1861–1868). Here, Dante is lost at the start of Canto I of the Inferno. De vulgari Eloquentia". Dante online. Archived from the original on 27 September 2008 . Retrieved 2 September 2008. The basic structural component of The Divine Comedy is the canto. The poem consists of 100 cantos, which are grouped together into three sections, or canticles, Inferno, Purgatorio, and Paradiso. Technically there are 33 cantos in each canticle and one additional canto, contained in the Inferno, which serves as an introduction to the entire poem. For the most part the cantos range from about 136 to about 151 lines. The poem’s rhyme scheme is the terza rima ( aba, bcb, cdc, etc.). Thus, the divine number of three is present in every part of the work. Scott, John (1995). "The Unfinished 'Convivio' as a Pathway to the 'Comedy' ". Dante Studies, with the Annual Report of the Dante Society. 113 (113): 31–56. JSTOR 40166505– via JSTOR.

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The work was originally simply titled Comedìa ( pronounced [komeˈdiːa], Tuscan for "Comedy") – so also in the first printed edition, published in 1472 – later adjusted to the modern Italian Commedia. The adjective Divina was added by Giovanni Boccaccio, [13] owing to its subject matter and lofty style, [14] and the first edition to name the poem Divina Comedia in the title was that of the Venetian humanist Lodovico Dolce, [15] published in 1555 by Gabriele Giolito de' Ferrari.The 19th century saw a "Dante revival", a product of the medieval revival, which was itself an important aspect of Romanticism. [63] Thomas Carlyle profiled him in "The Hero as Poet", the third lecture in On Heroes, Hero-Worship, & the Heroic in History (1841): "He is world-great not because he is worldwide, but because he is world-deep. . . . Dante is the spokesman of the Middle Ages; the Thought they lived by stands here, in everlasting music." [64] Leigh Hunt, Henry Francis Cary and Henry Wadsworth Longfellow were among Dante's translators of the era. Monarchia". Dante online. Archived from the original on 27 September 2008 . Retrieved 2 September 2008.

Dante: Biography, Medieval Italian Poet, The Divine Comedy Dante: Biography, Medieval Italian Poet, The Divine Comedy

Garin, Eugenio (2008). History of Italian Philosophy: VIBS. Rodopi. p.85. ISBN 978-90-420-2321-5 . Retrieved 27 March 2017.Patterson, Victoria (2011-11-15). "Great Farts in Literature". The Nervous Breakdown . Retrieved 7 March 2012. Mandelbaum, note to his translation, p. 357 of the Bantam Dell edition, 2004, says that Dante may simply be preserving an ancient conflation of the two deities; Peter Bondanella in his note to the translation of Henry Wadsworth Longfellow, The Inferno: Dante Alighieri (Barnes & Noble Classics, 2003), pp. 202–203, thinks Plutus is meant, since Pluto is usually identified with Dis, and Dis is a distinct figure. Richard P. McBrien (1997). Lives of the Popes: The Pontiffs from St. Peter to John Paul II. HarperCollins. pp.82–83. ISBN 978-0-06-065304-0 . Retrieved 8 March 2013. 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)

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Hudson-Williams, T. (1951). "Dante and the Classics". Greece & Rome. 20 (58): 38–42. doi: 10.1017/s0017383500011128. JSTOR 641391. S2CID 162510309. Dante is not free from error in his allocation of sinners; he consigned Pope Anastasius II to the burning cauldrons of the Heretics because he mistook him for the emperor of the same name Allitt, John Stewart (2011). Dante, il pellegrino (in Italian). Villa di Serio (BG): Edizioni Villadiseriane. ISBN 978-88-96199-80-0. Geryon, the winged monster who allows Dante and Virgil to descend a vast cliff to reach the Eighth Circle, was traditionally represented as a giant with three heads and three conjoined bodies. [77] Dante's Geryon, meanwhile, is an image of fraud, [78] combining human, bestial, and reptilian elements: Geryon is a "monster with the general shape of a wyvern but with the tail of a scorpion, hairy arms, a gaudily-marked reptilian body, and the face of a just and honest man". [79] The pleasant human face on this grotesque body evokes the insincere fraudster whose intentions "behind the face" are all monstrous, cold-blooded, and stinging with poison. Santagata, Marco (2016). Dante: The Story of His Life. Harvard University Press. ISBN 9780674504868.Some 16th-century English Protestants, such as John Bale and John Foxe, argued that Dante was a proto-Protestant because of his opposition to the pope. [61] [62] Senior, Matthew (1994). In the Grip of Minos: Confessional Discourse in Dante, Corneille, and Racine. Columbus: Ohio State University Press. pp.48–49. OCLC 625327952.

Best Dante books: a deep dive into the medieval poet Best Dante books: a deep dive into the medieval poet

Dante's final days were spent in Ravenna, where he had been invited to stay in the city in 1318 by its prince, Guido II da Polenta. Dante died in Ravenna on 14 September 1321, aged about 56, of quartan malaria contracted while returning from a diplomatic mission to the Republic of Venice. He was attended by his three children, and possibly by Gemma Donati, and by friends and admirers he had in the city. [51] He was buried in Ravenna at the Church of San Pier Maggiore (later called Basilica di San Francesco). Bernardo Bembo, praetor of Venice, erected a tomb for him in 1483. [52] [53]

The Divine Comedy is a fulcrum in Western history. It brings together literary and theological expression, pagan and Christian, that came before it while also containing the DNA of the modern world to come. It may not hold the meaning of life, but it is Western literature’s very own theory of everything. Israely, Jeff (31 July 2008). "A City's Infernal Dante Dispute". Time. ISSN 0040-781X . Retrieved 25 September 2018. Dante is known for establishing the use of the vernacular in literature at a time when most poetry was written in Latin, which was accessible only to educated readers. His De vulgari eloquentia ( On Eloquence in the Vernacular) was one of the first scholarly defenses of the vernacular. His use of the Florentine dialect for works such as The New Life (1295) and Divine Comedy helped establish the modern-day standardized Italian language. By writing his poem in the Italian vernacular rather than in Latin, Dante influenced the course of literary development, making Italian the literary language in western Europe for several centuries. [11] His work set a precedent that important Italian writers such as Petrarch and Boccaccio would later follow. Chimenz, Siro A. (1960). "Alighieri, Dante". Dizionario Biografico degli Italiani (in Italian). Vol.2. Istituto dell'Enciclopedia Italiana.