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Dante : a collection of critical essays
Presents a detailed descriptive analysis of Guido’s work in its historical context, with a sampling of his commentary and a discussion of its critical significance. The author concludes that this commentary marks the gradual transition in focus from literal to allegorical meaning in Dante’s poem. The first printed edition of Guido’s commentary, by Professor Cioffari and Francesco Mazzoni, is imminent.
Critical theories of literature in the Orient, however, have been more varied. There is an immense amount of highly technical, critical literature in India. Some works are recipe books, vast collections of tropes and stylistic devices; others are philosophical and general. In the best period of Indian literature, the cultural climax of Sanskrit ( 320-490), it is assumed by writers that expressive and constructive factors are twin aspects of one reality. The same could be said of the Chinese, whose literary manuals and books on prosody and rhetoric are, as with the West, relegated to the class of technical handbooks, while their literary criticism is concerned rather with subjective, expressive factors and so aligns itself with the pseudo-Longinuss sublime. In Japan, technical, stylistic elements are certainly important (Japanese discrimination in these matters is perhaps the most refined in the world), but both writer and reader above all seek qualities of subtlety and poignancy and look for intimations of profundity often so evanescent as to escape entirely the uninitiated reader.
Dante; a collection of critical essays.
Hatzfeld, Helmut. “The Art of Dante’s Purgatorio.” In Clements, ed., American Critical Essays, 64-88. 
Mazzeo, Joseph Anthony. “Dante’s Conception of Love.” In Clements, ed., American Critical Essays, 140-157. 
and collection of critical essays by the leading Dante ..
Borgese, Giuseppe Antonio. “The Wrath of Dante.” In Clements, ed., American Critical Essays, pp. 158-173. 
In this letter sent to Caretti eight or nine years before, when Montano was publishing his interpretation of the Commedia in Delta, Professor Montano invites his friend and critic to respond more precisely to questions he has raised concerning the correct approach to Dante’s poem. He specifically laments the continuation of an attitude towards Dante he calls “romantic” which has carried over from the nineteenth century to the middle of the twentieth, an attitude that projects upon Dante and his poem the reader’s own biased notions of what he thinks or desires Dante to be. Such an uncritical approach originates, ultimately, from a failure to distinguish clearly between Dante poet, already converted, and Dante-pilgrim, in via, behaving in the poetic journey according to the exigencies of art.
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to Dante: A Collection of Critical Essays, ed
Critics have invented a variety of systems for treating literature as a collection of genres. Often these genres are artificial, invented after the fact with the aim of making literature less sprawling, more tidy. Theories of literature must be based upon direct experience of the living texts and so be flexible enough to contain their individuality and variety. Perhaps the best approach is historical, or genetic. What actually happened, and in what way did literature evolve up to the present day?
Dante Gabriel Rossetti A Collection of Critical Essays.
In a series of brief critical notes and comments directed towards a number of students of Dante, Professor Montano severely questions the validity of a method (ecdotica) which diachronically (and selectively) retraces commentaries back to Dante’s own time as a means of determining the poet’s authentic intention; corrects a mistaken understanding of the term fictio in the Letter to Can Grande, which he stresses involves much more than a simple literary fabrication; and acknowledges some recent instances of recognition of his own critical interpretations.
Dante : a collection of critical essays by ..
Focuses his study on the hitherto neglected questions of Dante’s complex periodic structures and varied metrical phrasing and finds that the poet uses hypotaxis and enjambement with particularly telling artistic effect at pertinent points in the Commedia. Several passages, especially Inf: III, 25-30, XIII, 40-45, XXX, I-27; Par. XXIII, 1-9, XXIV, 1-9, are analyzed and a number of related previous studies from Lisio to Segre are critically discussed. See also Professor Scaglione’s study on “Imagery and Thematic Patterns in Paradiso XXIII,” above.
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