uses, see The Divine Comedy (disambiguation) .

"La Divina Commedia" redirects here. For other uses, see Commedia (disambiguation) .

Dante shown holding a copy of the Divine Comedy , next to the entrance to Hell, the seven terraces of
Mount Purgatory and the city of Florence, with the spheres of Heaven above, in Michelino 's fresco

The Divine Comedy ( Italian : Divina Commedia [diˈviːna komˈmɛːdja] ) is a long narrative poem by

Dante Alighieri , begun c. 1308 and completed in 1320, a year before his death in 1321. It is widely
considered to be the preeminent work in Italian literature [1] and one of the greatest works of

world literature. [2] The poem's imaginative vision of the afterlife is representative of the

medieval world-view as it had developed in the

Western Church by the 14th century. It helped establish the Tuscan language, in which it is written, as
the standardized Italian language . [3] It is divided into three parts: Inferno, Purgatorio , and Paradiso .

The narrative describes Dante's travels through

Hell, Purgatory , and Paradise or Heaven , [4] while

allegorically the poem represents the soul's journey towards God. [5] Dante draws on medieval Christian
theology and philosophy, especially Thomistic philosophy and the Summa Theologica of Thomas Aquinas
. [6] Consequently, the Divine Comedy has been called "the Summa in verse". [7] In Dante's work, Virgil is
presented as human reason and Beatrice is presented as divine knowledge. [8]

The work was originally simply titled Comedia (pronounced [komeˈdiːa] ; so also in the first printed
edition, published in 1472). The adjective

Divina was added by Giovanni Boccaccio, and the first edition to name the poem Divina Comedia in the
title was that of the Venetian

humanist Lodovico Dolce, [9] published in 1555 by Gabriele Giolito de' Ferrari .

Structure and story

The Divine Comedy is composed of 14,233 lines that are divided into three cantiche (singular

cantica) – Inferno ( Hell), Purgatorio ( Purgatory ), and Paradiso ( Paradise ) – each consisting of 33

cantos (Italian plural canti ). An initial canto, serving as an introduction to the poem and generally
considered to be part of the first

cantica, brings the total number of cantos to 100. It is generally accepted, however, that the first two
cantos serve as a unitary prologue to the entire epic, and that the opening two cantos of each cantica
serve as prologues to each of the three cantiche . [10][11][12]
The number "three" is prominent in the work, represented in part by the number of cantiche and their
lengths. Additionally, the verse scheme used, terza rima , is hendecasyllabic (lines of eleven syllables),
with the lines composing

tercets according to the rhyme scheme aba, bcb, cdc, ded, ... .

Written in the first person, the poem tells of Dante's journey through the three realms of the dead,
lasting from the night before Good Friday to the Wednesday after Easter in the spring of 1300. The
Roman poet Virgil guides him through Hell and Purgatory; Beatrice, Dante's ideal woman, guides him
through Heaven. Beatrice was a Florentine woman whom he had met in childhood and admired from
afar in the mode of the then-fashionable courtly love tradition, which is highlighted in Dante's earlier
work La Vita Nuova . [ citation needed ]

The structure of the three realms follows a common numerical pattern of 9 plus 1, for a total of 10: 9
circles of the Inferno, followed by Lucifer contained at its bottom; 9 rings of Mount Purgatory, followed
by the Garden of Eden crowning its summit; and the 9 celestial bodies of Paradiso, followed by the
Empyrean containing the very essence of God. Within each group of 9, 7 elements correspond to a
specific moral scheme, subdivided into three subcategories, while 2 others of greater particularity are
added to total nine. For example, the seven deadly sins of the Catholic Church that are cleansed in
Purgatory are joined by special realms for the Late repentant and the

excommunicated by the church. The core seven sins within Purgatory correspond to a moral scheme of
love perverted, subdivided into three groups corresponding to excessive love ( Lust ,

Gluttony, Greed ), deficient love ( Sloth ), and malicious love ( Wrath , Envy ,

Pride ). [ citation needed ]

In central Italy's political struggle between

Guelphs and Ghibellines, Dante was part of the Guelphs, who in general favored the Papacy over the
Holy Roman Emperor . Florence's Guelphs split into factions around 1300: the White Guelphs and the
Black Guelphs. Dante was among the White Guelphs who were exiled in 1302 by the Lord-Mayor Cante
de' Gabrielli di

Gubbio, after troops under Charles of Valois entered the city, at the request of Pope Boniface VIII , who
supported the Black Guelphs. This exile, which lasted the rest of Dante's life, shows its influence in many
parts of the

Comedy, from prophecies of Dante's exile to Dante's views of politics, to the eternal damnation of some
of his opponents. [ citation needed ]

The last word in each of the three cantiche is

stelle ("stars").
Inferno

Gustave Doré 's engravings illustrated the Divine Comedy (1861–1868); here Charon comes to ferry souls
across the river Acheron to Hell.

Main article: Inferno (Dante)

The poem begins on the night before Good Friday in the year 1300, "halfway along our life's path" ( Nel
mezzo del cammin di nostra vita ). Dante is thirty-five years old, half of the biblical lifespan of 70 ( Psalms
89:10, Vulgate), lost in a dark wood (understood as sin), [13][14][15] assailed by beasts (a lion , a leopard
, and a she-wolf) he cannot evade, and unable to find the "straight way" ( diritta via ) – also translatable
as "right way" – to salvation (symbolized by the sun behind the mountain). Conscious that he is ruining
himself and that he is falling into a "low place" ( basso loco ) where the sun is silent ('l sol tace), Dante is
at last rescued by Virgil, and the two of them begin their journey to the underworld. Each sin's
punishment in Inferno is a

contrapasso, a symbolic instance of poetic justice ; for example, in Canto XX, fortune-tellers and
soothsayers must walk with their heads on backwards, unable to see what is ahead, because that was
what they had tried to do in life:

Allegorically, the Inferno represents the Christian soul seeing sin for what it really is, and the three beasts
represent three types of sin: the self-indulgent, the violent, and the malicious. [17] These three types of
sin also provide the three main divisions of Dante's Hell: Upper Hell, outside the city of Dis, for the four
sins of indulgence ( lust , gluttony , avarice , anger); Circle 7 for the sins of violence; and Circles 8 and 9
for the sins of malice (fraud and treachery). Added to these are two unlike categories that are specifically
spiritual: Limbo, in Circle 1, contains the virtuous pagans who were not sinful but were ignorant of Christ,
and Circle 6 contains the heretics who contradicted the doctrine and confused the spirit of Christ. The
circles number 9, with the addition of Satan completing the structure of 9 + 1 = 10. [18]

Purgatorio

Main article: Purgatorio

Dante gazes at Mount Purgatory in an allegorical portrait by Agnolo Bronzino, painted c. 1530

Having survived the depths of Hell, Dante and Virgil ascend out of the undergloom to the Mountain of
Purgatory on the far side of the world. The Mountain is on an island, the only land in the Southern
Hemisphere , created by the displacement of rock which resulted when Satan's fall created Hell[19]
(which Dante portrays as existing underneath Jerusalem [20] ). The mountain has seven terraces,
corresponding to the seven deadly sins or "seven roots of sinfulness." [21] The classification of sin here is
more psychological than that of the Inferno, being based on motives, rather than actions. It is also drawn
primarily from Christian theology, rather than from classical sources. [22] However, Dante's illustrative
examples of sin and virtue draw on classical sources as well as on the Bible and on contemporary events.
Love, a theme throughout the Divine Comedy , is particularly important for the framing of sin on the
Mountain of Purgatory. While the love that flows from God is pure, it can become sinful as it flows
through humanity. Humans can sin by using love towards improper or malicious ends ( Wrath , Envy ,
Pride ), or using it to proper ends but with love that is either not strong enough ( Sloth ) or love that is
too strong ( Lust , Gluttony,

Greed ). Below the seven purges of the soul is the Ante-Purgatory, containing the Excommunicated from
the church and the Late repentant who died, often violently, before receiving rites. Thus the total comes
to nine, with the addition of the Garden of Eden at the summit, equaling ten. [23]

Allegorically, the Purgatorio represents the Christian life. Christian souls arrive escorted by an angel,
singing In exitu Israel de Aegypto. In his Letter to Cangrande, Dante explains that this reference to Israel
leaving Egypt refers both to the redemption of Christ and to "the conversion of the soul from the sorrow
and misery of sin to the state of grace." [24] Appropriately, therefore, it is Easter Sunday when Dante and
Virgil arrive.

The Purgatorio is notable for demonstrating the medieval knowledge of a spherical Earth. During the
poem, Dante discusses the different stars visible in the southern hemisphere , the altered position of the
sun, and the various timezones of the Earth. At this stage it is, Dante says, sunset at Jerusalem, midnight
on the River

Ganges , and sunrise in Purgatory.

Paradiso

Main article: Paradiso (Dante)

Paradiso , Canto 3: Dante and Beatrice speak to Piccarda and

Constance of Sicily , in a fresco by Philipp Veit .

After an initial ascension, Beatrice guides Dante through the nine celestial spheres of Heaven . These are
concentric and spherical, as in

Aristotelian and Ptolemaic cosmology. While the structures of the Inferno and Purgatorio were based on
different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues and the
three theological virtues .

The first seven spheres of Heaven deal solely with the cardinal virtues of Prudence , Fortitude ,

Justice and Temperance . The first three describe a deficiency of one of the cardinal virtues – the Moon,
containing the inconstant, whose vows to God waned as the moon and thus lack fortitude; Mercury ,
containing the ambitious, who were virtuous for glory and thus lacked justice; and Venus, containing the
lovers, whose love was directed towards another than God and thus lacked Temperance. The final four
incidentally are positive examples of the cardinal virtues, all led on by the Sun , containing the prudent,
whose wisdom lighted the way for the other virtues, to which the others are bound (constituting a
category on its own). Mars contains the men of fortitude who died in the cause of Christianity; Jupiter
contains the kings of Justice; and Saturn contains the temperate, the monks who abided by the
contemplative lifestyle. The seven subdivided into three are raised further by two more categories: the
eighth sphere of the fixed stars that contain those who achieved the theological virtues of faith , hope
and love, and represent the Church Triumphant – the total perfection of humanity, cleansed of all the
sins and carrying all the virtues of heaven; and the ninth circle, or

Primum Mobile (corresponding to the Geocentricism of Medieval astronomy), which contains the angels,
creatures never poisoned by original sin. Topping them all is the Empyrean, which contains the essence
of God, completing the 9-fold division to 10.

Dante meets and converses with several great saints of the Church, including Thomas Aquinas ,

Bonaventure , Saint Peter , and St. John. The

Paradiso is consequently more theological in nature than the Inferno and the Purgatorio. However, Dante
admits that the vision of heaven he receives is merely the one his human eyes permit him to see, and
thus the vision of heaven found in the Cantos is Dante's personal vision.

The Divine Comedy finishes with Dante seeing the Triune God . In a flash of understanding that he
cannot express, Dante finally understands the mystery of Christ 's divinity and humanity, and his soul
becomes aligned with God's love: [25]

History

Manuscripts

According to the Italian Dante Society, no

original manuscript written by Dante has survived, although there are many manuscript copies from the
14th and 15th centuries – some 800 are listed on their site. [27]

Early printed editions

Title page of the first printed edition ( Foligno , 11 April 1472)

First edition to name the poem

Divina Comedia , 1555

Illustration of Lucifer in the first fully illustrated print edition. Woodcut for Inferno, canto 33. Pietro di
Piasi, Venice, 1491.

The first printed edition was published in

Foligno , Italy, by Johann Numeister and Evangelista Angelini da Trevi on 11 April 1472. [28] Of the 300
copies printed, fourteen still survive. The original printing press is on display in the Oratorio della
Nunziatella in Foligno.

Early printed editions

Date Title Place Publisher Notes

1472 La Comedia di Dante Alleghieri Foligno Johann Numeister and Evangelista Angelini da Trevi First
printed edition (or

editio princeps )

1477 La Commedia Venice Wendelin of Speyer

1481 Comento di Christophoro Landino fiorentino sopra la Comedia di Dante Alighieri Florence Nicolaus
Laurentii With

Cristoforo Landino 's commentary in Italian, and some engraved illustrations by Baccio Baldini after
designs by

Sandro Botticelli

1491 Comento di Christophoro Landino fiorentino sopra la Comedia di Dante Alighieri Venice Pietro di
Piasi First fully illustrated edition

1506 Commedia di Dante insieme con uno diagolo circa el sito forma et misure dello inferno Florence
Philippo di Giunta

1555 La Divina Comedia di Dante Venice Gabriel Giolito First use of "Divine" in title

Thematic concerns

The Divine Comedy can be described simply as an allegory: each canto, and the episodes therein, can
contain many alternative meanings. Dante's allegory, however, is more complex, and, in explaining how
to read the poem – see the

Letter to Cangrande [29] – he outlines other levels of meaning besides the allegory: the historical, the
moral, the literal, and the

anagogical.

The structure of the poem, likewise, is quite complex, with mathematical and numerological patterns
arching throughout the work, particularly threes and nines, which are related to the Trinity . The poem is
often lauded for its particularly human qualities: Dante's skillful delineation of the characters he
encounters in Hell, Purgatory, and Paradise; his bitter denunciations of Florentine and Italian politics; and
his powerful poetic imagination. Dante's use of real characters, according to Dorothy Sayers in her
introduction to her translation of the

Inferno, allows Dante the freedom of not having to involve the reader in description, and allows him to
"[make] room in his poem for the discussion of a great many subjects of the utmost importance, thus
widening its range and increasing its variety." [30]

Dante called the poem "Comedy" (the adjective "Divine" was added later in the 16th century) because
poems in the ancient world were classified as High ("Tragedy") or Low ("Comedy"). [31] Low poems had
happy endings and were written in everyday language, whereas High poems treated more serious
matters and were written in an elevated style. Dante was one of the first in the Middle Ages to write of a
serious subject, the Redemption of humanity, in the low and "vulgar" Italian language and not the Latin
one might expect for such a serious topic.

Boccaccio 's account that an early version of the poem was begun by Dante in Latin is still controversial.
[32][33]

Scientific themes

Although the Divine Comedy is primarily a religious poem, discussing sin, virtue, and theology, Dante
also discusses several elements of the science of his day (this mixture of science with poetry has received
both praise and blame over the centuries [34] ). The Purgatorio repeatedly refers to the implications of a

spherical Earth, such as the different stars visible in the southern hemisphere , the altered position of the
sun , and the various timezones of the Earth. For example, at sunset in Purgatory it is midnight at the
Ebro , dawn in Jerusalem, and noon on the River Ganges: [35]

Dante travels through the centre of the Earth in the Inferno, and comments on the resulting change in
the direction of gravity in Canto XXXIV (lines 76–120). A little earlier (XXXIII, 102–105), he queries the
existence of wind in the frozen inner circle of hell, since it has no temperature differentials. [37]

Inevitably, given its setting, the Paradiso discusses astronomy extensively, but in the

Ptolemaic sense. The Paradiso also discusses the importance of the experimental method in science,
with a detailed example in lines 94–105 of Canto II:

A briefer example occurs in Canto XV of the

Purgatorio (lines 16–21), where Dante points out that both theory and experiment confirm that the

angle of incidence is equal to the angle of reflection . Other references to science in the

Paradiso include descriptions of clockwork in Canto XXIV (lines 13–18), and Thales' theorem about
triangles in Canto XIII (lines 101–102).

Galileo Galilei is known to have lectured on the

Inferno, and it has been suggested that the poem may have influenced some of Galileo's own ideas
regarding mechanics. [39]

Theories of influence from Islamic philosophy

In 1919, Miguel Asín Palacios , a Spanish scholar and a Catholic priest, published La Escatología
musulmana en la Divina Comedia ( Islamic

Eschatology in the Divine Comedy ), an account of parallels between early Islamic philosophy and the
Divine Comedy . Palacios argued that Dante derived many features of and episodes about the hereafter
from the spiritual writings of Ibn Arabi and from the Isra and Mi'raj or night journey of

Muhammad to heaven. The latter is described in the Hadith and the Kitab al Miraj (translated into Latin
in 1264 or shortly before [40] as Liber Scalae Machometi , "The Book of Muhammad's Ladder"), and has
significant similarities to the

Paradiso , such as a sevenfold division of Paradise , [41] although this is not unique to the

Kitab al Miraj . [ citation needed ]

Some "superficial similarities" [42] of the Divine Comedy to the Resalat Al-Ghufran or Epistle of
Forgiveness of Al-Ma'arri have also been mentioned in this debate. The Resalat Al-Ghufran describes the
journey of the poet in the realms of the afterlife and includes dialogue with people in Heaven and Hell,
although, unlike the Kitab al Miraj, there is little description of these locations, [43] and it is unlikely that
Dante borrowed from this work. [44][45]

Dante did, however, live in a Europe of substantial literary and philosophical contact with the Muslim
world, encouraged by such factors as Averroism ("Averrois, che'l gran comento feo" Commedia, Inferno,
IV, 144, meaning "Averrois, who wrote the great comment") and the patronage of Alfonso X of Castile. Of
the twelve wise men Dante meets in Canto X of the Paradiso , Thomas Aquinas and, even more so, Siger
of Brabant were strongly influenced by Arabic commentators on

Aristotle. [46] Medieval Christian mysticism also shared the Neoplatonic influence of Sufis such as Ibn
Arabi. Philosopher Frederick Copleston argued in 1950 that Dante's respectful treatment of Averroes ,
Avicenna , and Siger of Brabant indicates his acknowledgement of a "considerable debt" to Islamic
philosophy. [46]

Although this philosophical influence is generally acknowledged, many scholars have not been satisfied
that Dante was influenced by the Kitab al Miraj . The 20th century Orientalist Francesco Gabrieli
expressed skepticism regarding the claimed similarities, and the lack of evidence of a vehicle through
which it could have been transmitted to Dante. Even so, while dismissing the probability of some
influences posited in Palacios' work, [47] Gabrieli conceded that it was "at least possible, if not probable,
that Dante may have known the Liber scalae and have taken from it certain images and concepts of
Muslim eschatology". Shortly before her death, the Italian philologist Maria Corti pointed out that,
during his stay at the court of Alfonso X, Dante's mentor Brunetto Latini met Bonaventura de Siena, a
Tuscan who had translated the Kitab al Miraj from Arabic into Latin. Corti speculates that Brunetto may
have provided a copy of that work to Dante. [48] René Guénon , a Sufi convert and scholar of Ibn Arabi,
rejected in The Esoterism of Dante the theory of his influence (direct or indirect) on Dante. [49]

Literary influence in the English-speaking world and beyond

A detail from one of Sandro Botticelli 's illustrations for

Inferno, Canto XVIII, 1480s. Silverpoint on parchment, completed in pen and ink.

The Divine Comedy was not always as well-regarded as it is today. Although recognized as a

masterpiece in the centuries immediately following its publication, [50] the work was largely ignored
during the Enlightenment , with some notable exceptions such as Vittorio Alfieri ;

Antoine de Rivarol , who translated the Inferno into French; and Giambattista Vico , who in the

Scienza nuova and in the Giudizio su Dante inaugurated what would later become the romantic
reappraisal of Dante, juxtaposing him to Homer. [51] The Comedy was "rediscovered" in the English-
speaking world by William Blake – who illustrated several passages of the epic – and the romantic writers
of the 19th century. Later authors such as T. S. Eliot , Ezra Pound,

Samuel Beckett , C. S. Lewis and James Joyce have drawn on it for inspiration. The poet Henry
Wadsworth Longfellow was its first American translator, [52] and modern poets, including

Seamus Heaney , [53] Robert Pinsky, John Ciardi ,

W. S. Merwin , and Stanley Lombardo , have also produced translations of all or parts of the book. In
Russia, beyond Pushkin 's translation of a few tercets, [54] Osip Mandelstam 's late poetry has been said
to bear the mark of a "tormented meditation" on the Comedy . [55] In 1934, Mandelstam gave a modern
reading of the poem in his labyrinthine "Conversation on Dante". [56] In T. S. Eliot's estimation, "Dante
and Shakespeare divide the world between them. There is no third." [57] For Jorge Luis Borges the

Divine Comedy was "the best book literature has achieved". [58]

English translations

Main article: English translations of Dante's Divine comedy

New English translations of the Divine Comedy continue to be published regularly. Notable English
translations of the complete poem include the following. [59]

Year Translator Notes

1805–1814 Henry Francis Cary An older translation, widely available

online .
1867 Henry Wadsworth Longfellow The first U.S. translation, raising American interest in the poem. It is
still widely available, including online .

1891–1892 Charles Eliot Norton Translation used by

Great Books of the Western World . Available online at Project Gutenberg.

1933–1943 Laurence Binyon An English version rendered in terza rima , with some advisory assistance
from Ezra Pound

1949–1962 Dorothy L. Sayers Translated for Penguin Classics , intended for a wider audience, and
completed by Barbara Reynolds .

1969 Thomas G. Bergin Cast in blank verse with illustrations by

Leonard Baskin . [60]

1954–1970 John Ciardi His Inferno was recorded and released by Folkways Records in 1954.

1970–1991 Charles S. Singleton Literal prose version with extensive commentary; 6 vols.

1981 C. H. Sisson Available in Oxford World's Classics .

1980–1984 Allen Mandelbaum Available online .

1967–2002 Mark Musa An alternative Penguin Classics version.

2000–2007 Robert and Jean Hollander Online as part of the Princeton Dante Project.

2002–2004 Anthony M. Esolen Modern Library Classics edition.

2006–2007 Robin Kirkpatrick A third Penguin Classics version, replacing Musa's.

2010 Burton Raffel A Northwestern World Classics version.

2013 Clive James A poetic version in quatrains.

A number of other translators, such as Robert Pinsky, have translated the Inferno only.

In the arts

Dante and Virgil in Hell, painting by William-Adolphe Bouguereau (1850)

Rodin's The Kiss represents Paolo and

Francesca from the

Inferno. [61]

Main article: Dante and his Divine Comedy in popular culture

The Divine Comedy has been a source of inspiration for countless artists for almost seven centuries.
There are many references to Dante's work in literature . In music , Franz Liszt was one of many
composers to write works based on the

Divine Comedy . In sculpture, the work of

Auguste Rodin includes themes from Dante, and many visual artists have illustrated Dante's work, as
shown by the examples above. There have also been many references to the Divine Comedy in cinema
and computer games .

Gallery

Series of woodcuts illustrating Dante's Hell by

Antonio Manetti (1423–1497):

From Dialogo di Antonio Manetti, cittadino fiorentino, circa al sito, forma, et misure dello inferno di
Dante Alighieri poeta excellentissimo (Florence: F. Giunta, 1510?)

La materia della Divina commedia di Dante Alighieri, dichiarata in VI tavole , by Michelangelo Caetani
(1804–1882)

See also

Book: Divine Comedy

Allegory in the Middle Ages

Book of Arda Viraf

List of cultural references in Divine Comedy

Paradise Lost

Notes and references

1. ^ For example, Encyclopedia Americana , 2006, Vol. 30. p. 605: "the greatest single work of Italian
literature;" John Julius Norwich, The Italians: History, Art, and the Genius of a People , Abrams, 1983, p.
27: "his tremendous poem, still after six and a half centuries the supreme work of Italian literature,
remains – after the legacy of ancient Rome – the grandest single element in the Italian heritage;" and
Robert Reinhold Ergang,

The Renaissance , Van Nostrand, 1967, p. 103: "Many literary historians regard the Divine Comedy as the
greatest work of Italian literature. In world literature it is ranked as an epic poem of the highest order."

2. ^ Bloom, Harold (1994). The Western Canon . See also Western canon for other "canons" that include
the Divine Comedy .
3. ^ See Lepschy, Laura; Lepschy, Giulio (1977).

The Italian Language Today . or any other history of Italian language .

4. ^ Peter E. Bondanella, The Inferno, Introduction, p. xliii, Barnes & Noble Classics, 2003, ISBN 1-59308-
051-4 : "the key fiction of the Divine Comedy is that the poem is true."

5. ^ Dorothy L. Sayers, Hell , notes on page 19.

6. ^ Charles Allen Dinsmore, The Teachings of Dante , Ayer Publishing, 1970, p. 38,

ISBN 0-8369-5521-8 .

7. ^ The Fordham Monthly Fordham University, Vol. XL, Dec. 1921, p. 76

8. ^ Approaches to teaching Dante's Divine comedy . Slade, Carole., Cecchetti, Giovanni, 1922–1998.
New York, N.Y.: Modern Language Association of America. 1982.

ISBN 0873524780 . OCLC 7671339 .

9. ^ Ronnie H. Terpening , Lodovico Dolce, Renaissance Man of Letters (Toronto, Buffalo, London:
University of Toronto Press, 1997), p. 166.

10. ^ Dante The Inferno A Verse Translation by Professor Robert and Jean Hollander p. 43

11. ^ Epist. XIII 43 to 48

12. ^ Wilkins E.H The Prologue to the Divine Comedy Annual Report of the Dante Society, pp. 1–7.

13. ^ "Inferno, la Divina Commedia annotata e commentata da Tommaso Di Salvo, Zanichelli, Bologna,
1985" . Abebooks.it. Retrieved 16 January 2010.

14. ^ Lectura Dantis , Società dantesca italiana

15. ^ Online sources include [1] , [2] , [3]

[4] , "Archived copy" . Archived from the original on 2 December 2009. Retrieved 1 December 2009., [5] ,
and [6] Archived 4 March 2016 at the Wayback Machine .

16. ^ Inferno, Canto XX, lines 13–15 and 38–39, Mandelbaum translation.

17. ^ Dorothy L. Sayers, Purgatory , notes on p. 75.

18. ^ Carlyle-Okey-Wicksteed, Divine Comedy , "Notes to Dante's Inferno"

19. ^ Inferno, Canto 34, lines 121–126.

20. ^ Richard Lansing and Teodolinda Barolini,

The Dante Encyclopedia , p. 475, Garland Publishing, 2000, ISBN 0-8153-1659-3 .

21. ^ Dorothy L. Sayers, Purgatory , Introduction, pp. 65–67 (Penguin, 1955).

22. ^ Robin Kirkpatrick, Purgatorio , Introduction, p. xiv (Penguin, 2007).

23. ^ Carlyle-Oakey-Wickstead, Divine Comedy , "Notes on Dante's Purgatory.

24. ^ "The Letter to Can Grande," in Literary Criticism of Dante Alighieri , translated and edited by Robert
S. Haller (Lincoln: University of Nebraska Press, 1973), 99

25. ^ Dorothy L. Sayers, Paradise , notes on Canto XXXIII.

26. ^ Paradiso , Canto XXXIII, lines 142–145, C. H. Sisson translation.

27. ^ "Elenco Codici" . Dante Online . Retrieved

5 August 2009.

28. ^ Christopher Kleinhenz, Medieval Italy: An Encyclopedia , Volume 1, Routledge, 2004,

ISBN 0-415-93930-5 , p. 360.

29. ^ "Epistle to Can Grande" .

faculty.georgetown.edu . Retrieved 20 October 2014.

30. ^ Dorothy L. Sayers, Hell , Introduction, p. 16 (Penguin, 1955).

31. ^ "Ancient History Encyclopedia" .

32. ^ Boccaccio also quotes the initial triplet:"Ultima regna canam fluvido contermina mundo, / spiritibus
quae lata patent, quae premia solvunt /pro meritis cuicumque suis". For translation and more, see
Guyda Armstrong,

Review of Giovanni Boccaccio. Life of Dante. J. G. Nichols, trans. London: Hesperus Press, 2002.

33. ^ Peri, Hiram (1955). "The Original Plan of the Divine Comedy". Journal of the Warburg and
Courtauld Institutes. 18 (3/4): 189–210.

doi :10.2307/750179 . JSTOR 750179 .

34. ^ Michael Caesar, Dante: The Critical Heritage, Routledge, 1995, pp. 288, 383, 412, 631.

35. ^ Dorothy L. Sayers, Purgatory , notes on p. 286

36. ^ Purgatorio, Canto XXVII, lines 1–6, Mandelbaum translation.

37. ^ Dorothy L. Sayers, Inferno , notes on p. 284.

38. ^ Paradiso , Canto II, lines 94–105, Mandelbaum translation.

39. ^ Peterson, Mark A. "Galileo's discovery of scaling laws" . American Journal of Physics 70, 575 (2002).
doi : 10.1119/1.1475329 .

40. ^ I. Heullant-Donat and M.-A. Polo de Beaulieu, "Histoire d'une traduction," in Le Livre de l'échelle de
Mahomet, Latin edition and French translation by Gisèle Besson and Michèle Brossard-Dandré,
Collection Lettres Gothiques , Le Livre de Poche, 1991, p. 22 with note 37.

41. ^ See the

https://web.archive.org/web/20080319003125/http://www20.brinkster.com/gurupak/Miraaj%20-
%20The%20Ascension%20to%20Heaven.htm . Archived from the original on 19 March 2008. Retrieved 1
June 2016. Missing or empty |title= ( help) of the Kitab al Miraj.
https://web.archive.org/web/20080319003125/http://www20.brinkster.com/gurupak/Miraaj%20-
%20The%20Ascension%20to%20Heaven.htm . Archived from the original on 19 March 2008. Retrieved
June 1, 2016. Missing or empty |title= ( help)

42. ^ William Montgomery Watt and Pierre Cachia, A History of Islamic Spain, 2nd edition, Edinburgh
University Press, 1996, pp. 125–126,

ISBN 0-7486-0847-8 .

43. ^ Dionisius A. Agius and Richard Hitchcock,

The Arab Influence in Medieval Europe , Ithaca Press, 1996, p. 70, ISBN 0-86372-213-X .

44. ^ Kāmil Kīlānī and G. Brackenbury, Introduction to Risalat ul Ghufran: A Divine Comedy , 3rd ed, Al-
Maaref Printing and Publishing House, 1943, p. 8.

45. ^ The theory "receives little credence", according to Watt and Cachia, p. 183.

46. ^ a b Frederick Copleston (1950). A History of Philosophy, Volume 2 . London: Continuum. p. 200.

47. ^ Francesco Gabrieli, "New light on Dante and Islam", Diogenes , 2:61–73, 1954

48. ^ "Errore" .

49. ^ Guenon, René (1925). The Esoterism of Dante .

50. ^ Chaucer wrote in the Monk's Tale , "Redeth the grete poete of Ytaille / That highte Dant, for he kan
al devyse / Fro point to point; nat o word wol he faille".

51. ^ Erich Auerbach, Dante: Poet of the Secular World . ISBN 0-226-03205-1 .

52. ^ Irmscher, Christoph. Longfellow Redux . University of Illinois, 2008: 11.

ISBN 978-0-252-03063-5 .
53. ^ Seamus Heaney, "Envies and Identifications: Dante and the Modern Poet." The Poet's Dante:
Twentieth-Century Responses. Ed. Peter S. Hawkins and Rachel Jacoff. New York: Farrar, 2001. 239–258.

54. ^ 'Dante in Russia' in The Dante encyclopedia by Richard H. Lansing and Teodolinda Barolini,

[7]

55. ^ Marina Glazova, Mandelstam and Dante: The Divine Comedy in Mandelstam's poetry of the 1930s
Studies in East European Thought, Volume 28, Number 4, November 1984.

56. ^ James Fenton , Hell set to music , The Guardian , 16 July 2005

57. ^ T. S. Eliot (1950) "Dante." Selected Essays , pp. 199–237. New York: Harcourt, Brace and Company.

58. ^ Jorge Luis Borges, "Selected Non-Fictions". Ed. Eliot Weinberger. Trans. Esther Allen et. al. New
York: Viking, 1999. 303.

59. ^ A comprehensive listing and criticism, covering the period 1782–1966, of English translations of at
least one of the three books (cantiche; singular: cantica) is given by Gilbert F. Cunningham, "The Divine
comedy in English: a critical biography 1782–1966". 2 vols., Barnes & Noble, NY; esp. v. 2 pp. 5–9.

60. ^ Dante Alighieri. Bergin, Thomas G. trans.

Divine Comedy . Grossman Publishers; 1st edition (1969) .

61. ^ Le Normand-Romain, Antoinette (1999).

Rodin:The Gates of Hell. Paris: Musée Rodin.

ISBN 2-901428-69-X .

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they had their faces twisted toward their haunches

and found it necessary to walk backward,

because they could not see ahead of them.

... and since he wanted so to see ahead,

he looks behind and walks a backward path. [