Rerum vulgarium fragmenta: From Manuscript to Print

After describing the close relation between Petrarch’s and Dante’s conceptions of canzone form, this article explores the formats followed by Petrarch and his scribe Giovanni Malpaghini in their transcriptions in Vat. Lat. 3195. Giovanni’s traditional horizontal format allows for certain striking effects of collocation (as of 125-126) and for minimal page turns in canzoni; however, the vertical format of the sestinas and the vertical alignment of even-numbered verses in Petrarch’s own transcriptions of sonnets and canzoni suggest a gradually increasing sense of the possibilities of vertical format

Rerum vulgarium fragmenta: From Manuscript to Print

After describing the close relation between Petrarch’s and Dante’s conceptions of canzone form, this article explores the formats followed by Petrarch and his scribe Giovanni Malpaghini in their transcriptions in Vat. Lat. 3195. Giovanni’s traditional horizontal format allows for certain striking effects of collocation (as of 125-126) and for minimal page turns in canzoni; however, the vertical format of the sestinas and the vertical alignment of even-numbered verses in Petrarch’s own transcriptions of sonnets and canzoni suggest a gradually increasing sense of the possibilities of vertical format

The Divine Comedy of Dante Alighieri Volume 3: Paradiso

One of the greatest living Italian-to-English translators, Durling has at last completed his rendition of the third and final volume of Dante's masterful literary epic, The Divine Comedy. As with the two preceding volumes, Durling's precise and powerful translation of Paradiso appears alongside the original Italian text recounting Dante's journey through heaven with the beautiful Beatrice. The end of each canto contains thorough yet succinct notes by Durling and Ronald Martinez that acquaint the reader with Dante's medieval world and his reference points. Thus the volume will appeal to the general reader as well as lovers and students of Italian literature, language, and history. While English-language translations of the Commedia abound, the accuracy and lyrical verve of Durling's translations have earned him a place as one of the all time greats. With the completion of the set, the grandeur of his accomplishment will soon be widely known.Intro -- Contents -- Abbreviations -- Introduction -- PARADISO -- CANTO 1 -- Notes to Canto 1 [RLM] -- CANTO 2 -- Notes to Canto 2 [RMD] -- CANTO 3 -- Notes to Canto 3 [RLM] -- CANTO 4 -- Notes to Canto 4 [RMD] -- CANTO 5 -- Notes to Canto 5 [RLM] -- CANTO 6 -- Notes to Canto 6 [RMD] -- CANTO 7 -- Notes to Canto 7 [RLM] -- CANTO 8 -- Notes to Canto 8 [RMD] -- CANTO 9 -- Notes to Canto 9 [RLM] -- CANTO 10 -- Notes to Canto 10 [RMD] -- CANTO 11 -- Notes to Canto 11 [RLM] -- CANTO 12 -- Notes to Canto 12 [RLM] -- CANTO 13 -- Notes to Canto 13 [RMD] -- CANTO 14 -- Notes to Canto 14 [RMD] -- CANTO 15 -- Notes to Canto 15 [RLM] -- CANTO 16 -- Notes to Canto 16 [RLM] -- CANTO 17 -- Notes to Canto 17 [RMD] -- CANTO 18 -- Notes to Canto 18 [RMD] -- CANTO 19 -- Notes to Canto 19 [RLM] -- CANTO 20 -- Notes to Canto 20 [RLM] -- CANTO 21 -- Notes to Canto 21 [RMD] -- CANTO 22 -- Notes to Canto 22 [RMD] -- CANTO 23 -- Notes to Canto 23 [RLM] -- CANTO 24 -- Notes to Canto 24 [RMD] -- CANTO 25 -- Notes to Canto 25 [RMD] -- CANTO 26 -- Notes to Canto 26 [RLM] -- CANTO 27 -- Notes to Canto 27 [RLM] -- CANTO 28 -- Notes to Canto 28 [RMD] -- CANTO 29 -- Notes to Canto 29 [RMD] -- CANTO 30 -- Notes to Canto 30 [RLM] -- CANTO 31 -- Notes to Canto 31 [RLM] -- CANTO 32 -- Notes to Canto 32 [RLM] -- CANTO 33 -- Notes to Canto 33 [RMD] -- THE NICENE CREED -- "O QUI PERPETUA MUNDUM RATIONE GUBERNAS," -- Notes to "O qui perpetua" [RMD] -- ADDITIONAL NOTES -- 1. The Figure of Beatrice (After Canto 2) -- 2. The Paradiso and the Monarchia (After Canto 6) -- 3. The Primacy of the Intellect, the Sun, and the Circling Theologians (After Canto 14) -- 4. Dante and the Liturgy (After Canto 15) -- 5. The Religious Orders in the Paradiso (After Canto 23) -- 6. The Threshold Cantos in the Comedy (After Canto 30) -- 7. The Fate of Phaethon in the Comedy (After Canto 30)8. Circle-Cross-Eagle-Scales: Images in the Paradiso -- 9. The Final Image -- 10. The Neoplatonic Background -- 11. Dante and Neoplatonism -- 12. Dante's Astrology -- 13. The Heavens and the Sciences: Convivio 2 -- 14. The Paradiso as Alpha and Omega of the Comedy -- Textual Variants -- Bibliography -- Index of Italian, Latin, and Other Foreign Words Discussed in the Notes -- Index of Passages Cited in the Notes -- Index of Proper Names Discussed in the Notes -- Index of Proper Names in the Text and TranslationOne of the greatest living Italian-to-English translators, Durling has at last completed his rendition of the third and final volume of Dante's masterful literary epic, The Divine Comedy. As with the two preceding volumes, Durling's precise and powerful translation of Paradiso appears alongside the original Italian text recounting Dante's journey through heaven with the beautiful Beatrice. The end of each canto contains thorough yet succinct notes by Durling and Ronald Martinez that acquaint the reader with Dante's medieval world and his reference points. Thus the volume will appeal to the general reader as well as lovers and students of Italian literature, language, and history. While English-language translations of the Commedia abound, the accuracy and lyrical verve of Durling's translations have earned him a place as one of the all time greats. With the completion of the set, the grandeur of his accomplishment will soon be widely known.Description based on publisher supplied metadata and other sources.Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, YYYY. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries

Time and the crystal: studies in Dante's Rime petrose

The Rime petrose , Dante's powerful lyrics about a woman as beautiful and as hard as a precious stone, are generally acknowledged to be an important moment in his stylistic development. In this first full-length investigation of the poetics of the petrose and of their relation to the Divine Comedy , Durling and Martinez uncover much new material, especially from medieval science (astrology and mineralogy), philosophy, and theology. The authors argue that the Rime petrose represent a major turning point in Dante's conception of a "microcosmic poetics" that became the fundamental mode of the Commedia . They demonstrate how Dante here attempts his first full account of his relation to the universe as a whole.This work offers many new insights into the intrinsic significance of these remarkable poems and their place in Dante's development - especially far-reaching are the implications for the interpretation of the Divine Comedy . The book will be of interest not only to students of Dante but also to intellectual historians, historians of science, students of poetics and poetic theory, and to all those interested in medieval literature