Dante's Poets

Dante's Poets: Textuality and Truth in the COMEDY

Teodolinda Barolini
Copyright Date: 1984
Pages: 328
https://www.jstor.org/stable/j.ctt7zvcx8
  • Cite this Item
  • Book Info
    Dante's Poets
    Book Description:

    By systematically analyzing Dante's attitudes toward the poets who appear throughout his texts, Teodolinda Barolini examines his beliefs about the limits and purposes of textuality and, most crucially, the relationship of textuality to truth.

    Originally published in 1984.

    ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

    eISBN: 978-1-4008-5321-2
    Subjects: Language & Literature

Table of Contents

  1. Front Matter
    (pp. i-vi)
  2. Table of Contents
    (pp. vii-viii)
  3. ACKNOWLEDGMENTS
    (pp. ix-x)
  4. EDITIONS AND TRANSLATIONS
    (pp. xi-xii)
  5. PREFACE
    (pp. xiii-2)
  6. I Autocitation and Autobiography
    (pp. 3-84)

    In a text that functions largely through a dialectical process of revision and appropriation, the moments in which the poet looks to his own poetic past, through autocitation, acquire a peculiar significance; indeed, in a study of theComedyʹs poets, one must begin by examining Danteʹs retrospective treatment of his poetic self. Nowhere can this palinodic self-analysis that permeates theComedybe more tellingly isolated than in the episodes in which Dante quotes from his earlier literary achievements. In this chapter I propose to approach these episodes as a unified and continuous autobiographical meditation purposely inscribed by the poet into...

  7. II Lyric Quests
    (pp. 85-187)

    The historiographical knot of theComedycenters, appropriately enough, around the knot ofPurgatorioXXIV: ʺil nodo / che ʹl Notaro e Guittone e me ritenne / di qua dal dolce stil novo chʹiʹ odo!ʺ (55-57). Whereas the first part of the pilgrimʹs conversation with Bonagiunta deals solely with Danteʹs internal poetic biography, implicitly situating ʺDonne chʹaveteʺ with respect to his total oeuvre, Bonagiuntaʹs reply raises external questions of poetic genealogy and historical precedence. Whereas the pilgrim articulates poetic principles in a vacuum, the older poet draws the historical implications of those principles, discovering in the pilgrimʹs poetic credo a...

  8. III Epic Resolution
    (pp. 188-286)

    Danteʹs basic canon of classical poets is formed as early as theVita Nuova,where he has already assembled the group that forms the nucleus of his training in Latin letters, a group that continues to appear together throughout his oeuvre until it comes, virtually unaltered, into theComedy. InVita NuovaXXV the five poets of this original group are presented in characteristic poses:

    Che li poete abbiano così parlato come detto è, appare per VIRGILIO; lo quale dice che Iuno, cioè una dea nemica de li Troiani, parloe ad Eolo, segnore de li venti, quivi nel primo de...

  9. APPENDIX. Danteʹs Poets
    (pp. 287-298)
  10. INDEX
    (pp. 299-312)
  11. Back Matter
    (pp. 313-313)