The Philosophical Thought and Political
In 1316, sending to Cangrande I canto of Paradise, Dante indicated in the "moral negotium sive ethica" the "kind" philosophy which was ascribed the comedy: on equal metro are to relate the other works of cognitive topic and political, i.e. the Convivio, the monarchy, the Epistles policies. The morality as search for his own being on the part of the individual and of the social group develops, in the thought of the Florentine poet, as philosophy of practice and of history: moving from the need of autonomy town and by conflict, Dante arrives in a unitary concept and global history and politics. The speculative basis the position dantesca is eclectic, but identifiable in its fundamental components: the thought of Aristotle (mediated through Albert the Great and Saint Thomas); the classical heritage and postclassica, filtered through the medieval exegesis (first Virgilio, then Cicero, Seneca, Boethius); the biblical tradition and the different currents of thought Christian religious; knowledge partial neoplatonismo; finally, the influence of the contemporary culture centers French. Dante accepts the hierarchical structure and finalistica of human society of aristotelian thought-Thomistic, but it develops and applies independently the theory of two purposes, natural and supernatural, of man, coming to an independent assessment of ethics and metaphysics, conceived as providentially ordered to two purposes in an autonomous manner. This position is clarified in the Convivio (1304-07, the prose; front about a decade the lyrics commented), operates in the vernacular of encyclopedic content-didactic, designed in 15 treaties (but stopped at the IV) and containing in the first, prologue, the exposed praise of the vernacular. Illustrating in II the letter and the allegory of the song you ch the meaning, Dante identifies the "donna gentile" verses with philosophy, "beautiful and onestissima daughter de lo Imperadore de the universe" (i.e. of God) and a source of spiritual love; on the same track moves the III Treaty, commentary on Amor that in mind, that philosophy sings the praises in stilnovistica key. Finally, abandoned the allegorical garment with the third song (The sweet rhymes), the poet can be warped in IV treaty a comment exclusively and didactic openly, which allows him to introduce the political theme: against the definition of nobility as well hereditary date by Federico II, not only is the concept stilnovistico of nobility tied to the "Virtues" individual but it affirms the autonomy of the philosophical authorities (in particular of Aristotle) in front of the imperial, and the domain of the latter on the whole earth, giustificandone the providential universality and the Roman Empire. This is the theme of the Monarchy, Latin opera in 3 books, that epitomizes organically political thought Dante and it exposes analytically the points. Particularly important is the book III, where the author comes alive in the contemporary polemic against the decretalisti, supporters of Papal supremacy in respect of political power (ierocrazia): He refutes the alleged dependence of the emperor by the Pope and declares unlawful the Donation of Constantine, reaffirming the independence of the two powers and their autonomous and direct divine origin. The content of the Monarchy, its theoretical amplitude, its methodological sharpness, the biblical tones and inspired style tie back from one side to the epistles policies, on the other hand to the Comedy. The une reflect the early times of exile (Epistle I, on behalf of the white part, for pacification attempted by Cardinal Nicolò da Prato), subsequent hope tied to the imperial election of Henry VII (Epistles V, VI, VII, 1310-11, to the lords of Italy, to wicked Fiorentini, Enrico, for nurturing and sustaining its descent in Italy), the ultimate hope of repentance of the Church and its ministers (Epistle XI, 1314, to the Italian cardinals) in a continual crescendo from interest the citizens to the ecumenical commitment, political and spiritual; the comedy, placing track emphasis - not only in so-called singing "political" - the city, on the kingdoms, on the empire, draws the whole humanity in chapters, in peoples and in individuals and the recognition of its tasks and to respect Their own limits, while vigorously asserts the mutual independence of the spheres of action the religious and political, social and metaphysics.
From comedy to Latin works minors
The interruption of the Convivio probably corresponds to the beginning of the Divine Comedy, whose first two canticles were carried out within the 1316; the paradise will be published by the sons of Dante, Peter and Jacopo, in 1322. The poem is very extensive: 14.233 hendecasyllables in third rima, organized in 100 songs: one of the prologue to the whole work and 33 for each of the three canticles (Hell, Purgatory, Paradise). Dante was titled his poem The Divine Comedy, in accordance with the definitions of medieval lexicons and in relation to the tripartition of the styles that had laid down in the De vulgari eloquentia. The attribute "divine", already used by Boccaccio in his short treatise, appeared for the first time in the frontispiece of an edition of the Giolito in 1555. The Comedy is the summa and the conclusion of the literary experiences, civil, spiritual of Dante. Remain a further testimony to them the Latin Epistles, dictated (as the highest parts and exhibition not in the De vulgari and of the Monarchy) according to the rules of the cursus, or prosastico rhythm, medieval. We have already mentioned the letters policies; here are the other, in order: Epistles II, to the grandchildren of Alessandro Da Romena, for the death of him; III, IV, accompanying lyrics (to Cino da Pistoia and Moroello Malaspina); VIII, IX, X, in the name of the Gherardesca of Battifolle to empress Margherita; XII at the Florentine friend, to reject a dishonorable readmission in Florence; XIII (1316), of literary content, to dedicate to Cangrande della Scala Paradise, accompanying the sending of the hand with the indications of the canons exegetical acts to clarify the structure and meaning of the poem. Belong to a preumanistica correspondence in Latin, the proposal by the Bolognese Giovanni del Virgilio, the two Eclogues responsive to Dante (1320-21): far superior to those of the proposer for the structure of the esametro and tone virgiliano, depict the gentle decline of the life of the poet between friends of Ravenna, the dream of the coronation poetics and the respect of merit in Florence with the completion of the poem. These years (1320) is the Questio de aqua et Terra, scientific report held in Verona on the ratio of the height between the water and the emerged earth. The authenticity of the treaty, known only by the first printing (1508), is confirmed by the knowledge that it shows Pietro di Dante nell'inedita third edition of his remarks to the Comedy.
The luck and the criticism: from the fourteenth century to the Eighteenth Century
The luck of Dante within the italian culture and community from the fourteenth century to the Eighteenth Century is closely linked to the major work; only reflected in those centuries, the interest of readers and publishers turned to the minor works, which the school "historical" in the nineteenth century and the criticism of the twentieth century have rightly revaluated and reproposed in their artistic autonomy and, together, in the meaning of necessary moments and later of the literary experience and spiritual life of Dante. The identification of facts and historical characters and of the relationship between reality and fiction that they are established in the poem is prerequisite to the reading of the comedy and understanding not only of the poetic commitment, moral, political that the soul, but also of the Forms - exemplarity, allegory, language - in which it translates: this preliminary investigation moves between the 1322 and the 1358, the first commentators (Jacopo Alighieri, Graziolo Bambaglioli, Jacopo della Lana, the excellent, Pietro Alighieri, Guido da Pisa and other anonymous), which often however exceed in the allegorizzazione, inadvertently tending to destroy the conceptual unit of the opera and neglecting and progressively misrepresenting the Dantesque thought, linked to the scholastic philosophy and to the deepest lodgings of medieval culture. The subsequent comments of Boccaccio, Benvenuto da Imola, Francesco da Buti testify both the extend of this process is that the emergence of the cult of Dante that had increased, also from the point of view of textual diffusion, precisely by the activity of the Certaldese "publisher of Dante" (we have the autograph sillogi comprising the life of Dante and the Divine Comedy, the Vita nuova, 15 great songs). On the profound doctrine allegorical and theological and moral and on perfection rhetoric of the poem is putting the accent criticism of the fifteenth and sixteenth century (Comments by Cristoforo Landino, Alessandro Vellutello, Bernardo Daniello; studies and comments of Benedetto Varchi, Giovan Battista Gelli and, above all, of Vincenzio Borghini, also open to the general problems of thought and textual issues). In the XVI century, further, attention to the facts of the style and the question of language stimulates the interest for the De vulgari eloquentia, placed at the center of those discussions Florentine vernacular on Italian (ca. 1514) from which will be born the numerous and known "Dialogs" literary (del Machiavelli, hammers, the Tolomei of Trissino, which in 1529 will translate the treaty by Dante). On the other hand, not only cultural reasons preside, between the fifteenth and sixteenth centuries, to the first edition of the minor works: think of the editio princeps of the monarchy (1559) in key riformistica polemic. While the seventeenth century, in general, denies attention to Dante, deeply innovator in judgment on the poet and on work is, in the eighteenth century, Giovan Battista Vico (New Science, 1725, Letter to Gherardo of the Angioli and judgment... above Dante..., 1729) that, by establishing the ratio poetry-irrational-age barbara and heroic and recognizing in the work of art an autonomous creative moment, provides the fundamental ideas to the romantic criticism. Always in the eighteenth century, even erudite studies give their fruit with the plan of a new edition of the Divine Comedy by Giovan Jacopo Dionisi, which presents new critical setting methodological and in relation to the text of the poem and other works of Dante. Is this century the first complete edition of all the works of Dante Alighieri (1757-58).
The Nineteenth and Twentieth Century
With the Nineteenth Century Dante becomes banner for the patriotic ideals, beyond that subject dear to the romantic studies. Ugo Foscolo (Discourse on text... of the Comedy of Dante, 1825; The Divine Comedy by Dante Alighieri Illustrated by Ugo Foscolo, 1827), taking the moves from the interpretation vichiana, opens the century with an original voice, recalling the historical analysis and textual (philological criterion), in the exercise of rigorous argument and synthetic capacity (criterion historical-philosophical), and finally by placing the poet above the creator of allegories. Giuseppe Mazzini (Preface to the Divine Comedy by Dante Alighieri Illustrated by Ugo Foscolo, 1842; literary writings of an italian living, 1847) follows the trace foscoliana, highlighting the human figure of the poet and his mission within the nation and history. While giving preference to the survey psicologistica and to report the poet-environment, does not deviate much from this diagram Niccolò Tommaseo in his commentary on the poem, while the romantic vision of life and of history reconnects the reborn interest for the biography of Dante, witnessed by the Veltro allegorical Dante C. Troya and from the life of C. Balbo. In the first half of the century, with the revival of the language question, revives the survey on the theories of the De vulgari eloquentia (G. Perticari, of patriotism of Dante) and proceeds to the study of language and lexical interpretative and comedy (V. The mountains in the proposal; comments of G. Biagioli, P. Costa, B. Bianchi; later editions and illustrations of all works by P. Fraticelli and G. B. Giuliani). Maximum exponent of critical romantic dantesca is Francesco De Sanctis, whose pages still lives and challenging lessons and essays on Dante (1842-73) and of the History of Italian literature (1870-71) are also essential for the modern interpretation: the core of the poem is found in the universal reason and interior (Dante as the voice of human society) and in the ethical-political; the criterion of reading is the emotion, the consonance pathetic between reader and text, without cultural overlays; poeticità dell'opera is in the human element, this more in hell that in other canticles (here the tendency to isolate episodes and figures rather than to detect the unit of the invention dantesca). The last thirty years of the nineteenth century, with the positivist survey on the manuscripts of the Commedia and of the minor works, with historical studies on documents, linguistic and on the works of Dante and contemporary, opens the way for research critical modernly understanding. G. Carducci, A. D'Ancona, I. The long, P. Rajna, F. D'Ovidio, F. Torraca, M. Barbi, E. G. Parodi belong to this school "historical" that together with the experience crociana will mark himself the dantismo of the following century. Giosuè Carducci, in particular, goes first to the neglected Rhymes (Rhymes of Dante, in Dante and his century, 1865), then to the overall work (of varying success of Dante, Dante and the age that was his, 1866-67, the work of Dante, 1888), giving for the first time a framework of the author in this criticism and in the costumes of the Fourteenth Century, indicating the relationships with the next age, proving valid historical and together sensitive interpreter. On the other hand other scholars, also availing itself of the contributions of critical foreign Dante (remember the names of C. Witte, E. Moore, P. Toynbee), initiate those systematic philological research documentary and which will lead to the critical edition of the De vulgari eloquentia (1896, edited by P. Rajna) and of new life (1907, 1932², edited by M. Barbi), as well as to an edition of all the works curated by Società Dantesca Italiana (1921). In contrast to the current historical-positivist, Giovanni Pascoli processes an interpretation of totally subjective of comedy and Dante: moved from its vocation to the mystical vision and symbolic of the facts, to the representation of the "unknowable" that animates the world, he with dark Minerva (1898), under the veil (1900), the wonderful vision (1902) offers a unitary exegesis in itself but founded on heterogeneous bases, and destined to remain largely isolated. The work of Benedetto Croce marks, instead, a point of arrival and departure for modern criticism of Dante. Took the moves not so much from the assumption of desanctisiano emotional relationship between reader and text, because from a theoretical category precise (art as lyrical insight and expression), he assumes as a criterion for assessing the work of art aesthetic impression and the methodical distinction between "poetry" and "non poetry". Therefore in the comedy "structure" is opposite the "poetry", the "theological novel" to "lyric element": the fruit of reason and therefore not poetic, the first; of lyrical insight, and therefore all the poetic second. The assay the poetry of Dante (1921) and the whole crociana reflection on art have represented an obligatory stop for the critic of the Twentieth Century, affecting (since the previous accepted or rejected polemically) on different currents of the literary field - and therefore also of the dantismo - of our century. Between scholars of crociana ancestry is Attilio Momigliano (comment to the Divine Comedy, 1945-47), whose essay on the landscape in the Divine Comedy (1932) proposes as a criterion of unity the reason for the landscape, significantly analyzed; with him we also remember F. Maggini, Luigi Russo and Carlo Grabher. Within the tendency storicizzante postcrociana, that aims to bridge the gap between "poetry" and "non poetry" and to consider the work of art as a becoming rather than a fact, we encounter the work of Natalino Sapegno (comment to the Divine Comedy, 1957; Dante Alighieri, in "History of Italian literature", Volume II, 1965), which aims to give a unitary interpretation of the author and his works, fusing the linguistic components, poetics, historical-cultural; and again John Jet, that with the concept of "Poetry of intelligence" has a revaluation of the Dantean heaven (Aspects of Dante's poetry, 1966²). The culture contemporary literary, that borrows from the scientific rigor of the process and specialization of objects, is still in Dante a search field fruitful, especially for what is the identification of sources for the study of the texts for the correct interpretation of the Dantesque world and its shapes, both in respect of philosophical thought and religious (B. Nardi and G. Busnelli) and political (F. Ercole, A. Solmi, still Nardi), both in relation to the language and style (A. Schiaffini, B. Terracini, C. Segre, M. Fubini) and research philological (G. Contini, F. Mazzoni, G. Petrocchi, A. Pagliaro). Within this trend and in the context of a tradition centuries old, even foreign cultures provide lodgings exegetical particularly interesting, such as the interpretation "figural" Erich Auerbach, that symbolic-theological Ch. S. The Singleton, the linguistic of L. Spitzer.
The Philosophical Thought and Political
In 1316, sending to Cangrande I canto of Paradise, Dante indicated in the "moral negotium sive ethica" the "kind" philosophy which was ascribed the comedy: on equal metro are to relate the other works of cognitive topic and political, i.e. the Convivio, the monarchy, the Epistles policies. The morality as search for his own being on the part of the individual and of the social group develops, in the thought of the Florentine poet, as philosophy of practice and of history: moving from the need of autonomy town and by conflict, Dante arrives in a unitary concept and global history and politics. The speculative basis the position dantesca is eclectic, but identifiable in its fundamental components: the thought of Aristotle (mediated through Albert the Great and Saint Thomas); the classical heritage and postclassica, filtered through the medieval exegesis (first Virgilio, then Cicero, Seneca, Boethius); the biblical tradition and the different currents of thought Christian religious; knowledge partial neoplatonismo; finally, the influence of the contemporary culture centers French. Dante accepts the hierarchical structure and finalistica of human society of aristotelian thought-Thomistic, but it develops and applies independently the theory of two purposes, natural and supernatural, of man, coming to an independent assessment of ethics and metaphysics, conceived as providentially ordered to two purposes in an autonomous manner. This position is clarified in the Convivio (1304-07, the prose; front about a decade the lyrics commented), operates in the vernacular of encyclopedic content-didactic, designed in 15 treaties (but stopped at the IV) and containing in the first, prologue, the exposed praise of the vernacular. Illustrating in II the letter and the allegory of the song you ch the meaning, Dante identifies the "donna gentile" verses with philosophy, "beautiful and onestissima daughter de lo Imperadore de the universe" (i.e. of God) and a source of spiritual love; on the same track moves the III Treaty, commentary on Amor that in mind, that philosophy sings the praises in stilnovistica key. Finally, abandoned the allegorical garment with the third song (The sweet rhymes), the poet can be warped in IV treaty a comment exclusively and didactic openly, which allows him to introduce the political theme: against the definition of nobility as well hereditary date by Federico II, not only is the concept stilnovistico of nobility tied to the "Virtues" individual but it affirms the autonomy of the philosophical authorities (in particular of Aristotle) in front of the imperial, and the domain of the latter on the whole earth, giustificandone the providential universality and the Roman Empire. This is the theme of the Monarchy, Latin opera in 3 books, that epitomizes organically political thought Dante and it exposes analytically the points. Particularly important is the book III, where the author comes alive in the contemporary polemic against the decretalisti, supporters of Papal supremacy in respect of political power (ierocrazia): He refutes the alleged dependence of the emperor by the Pope and declares unlawful the Donation of Constantine, reaffirming the independence of the two powers and their autonomous and direct divine origin. The content of the Monarchy, its theoretical amplitude, its methodological sharpness, the biblical tones and inspired style tie back from one side to the epistles policies, on the other hand to the Comedy. The une reflect the early times of exile (Epistle I, on behalf of the white part, for pacification attempted by Cardinal Nicolò da Prato), subsequent hope tied to the imperial election of Henry VII (Epistles V, VI, VII, 1310-11, to the lords of Italy, to wicked Fiorentini, Enrico, for nurturing and sustaining its descent in Italy), the ultimate hope of repentance of the Church and its ministers (Epistle XI, 1314, to the Italian cardinals) in a continual crescendo from interest the citizens to the ecumenical commitment, political and spiritual; the comedy, placing track emphasis - not only in so-called singing "political" - the city, on the kingdoms, on the empire, draws the whole humanity in chapters, in peoples and in individuals and the recognition of its tasks and to respect Their own limits, while vigorously asserts the mutual independence of the spheres of action the religious and political, social and metaphysics.
From comedy to Latin works minors
The interruption of the Convivio probably corresponds to the beginning of the Divine Comedy, whose first two canticles were carried out within the 1316; the paradise will be published by the sons of Dante, Peter and Jacopo, in 1322. The poem is very extensive: 14.233 hendecasyllables in third rima, organized in 100 songs: one of the prologue to the whole work and 33 for each of the three canticles (Hell, Purgatory, Paradise). Dante was titled his poem The Divine Comedy, in accordance with the definitions of medieval lexicons and in relation to the tripartition of the styles that had laid down in the De vulgari eloquentia. The attribute "divine", already used by Boccaccio in his short treatise, appeared for the first time in the frontispiece of an edition of the Giolito in 1555. The Comedy is the summa and the conclusion of the literary experiences, civil, spiritual of Dante. Remain a further testimony to them the Latin Epistles, dictated (as the highest parts and exhibition not in the De vulgari and of the Monarchy) according to the rules of the cursus, or prosastico rhythm, medieval. We have already mentioned the letters policies; here are the other, in order: Epistles II, to the grandchildren of Alessandro Da Romena, for the death of him; III, IV, accompanying lyrics (to Cino da Pistoia and Moroello Malaspina); VIII, IX, X, in the name of the Gherardesca of Battifolle to empress Margherita; XII at the Florentine friend, to reject a dishonorable readmission in Florence; XIII (1316), of literary content, to dedicate to Cangrande della Scala Paradise, accompanying the sending of the hand with the indications of the canons exegetical acts to clarify the structure and meaning of the poem. Belong to a preumanistica correspondence in Latin, the proposal by the Bolognese Giovanni del Virgilio, the two Eclogues responsive to Dante (1320-21): far superior to those of the proposer for the structure of the esametro and tone virgiliano, depict the gentle decline of the life of the poet between friends of Ravenna, the dream of the coronation poetics and the respect of merit in Florence with the completion of the poem. These years (1320) is the Questio de aqua et Terra, scientific report held in Verona on the ratio of the height between the water and the emerged earth. The authenticity of the treaty, known only by the first printing (1508), is confirmed by the knowledge that it shows Pietro di Dante nell'inedita third edition of his remarks to the Comedy.
The luck and the criticism: from the fourteenth century to the Eighteenth Century
The luck of Dante within the italian culture and community from the fourteenth century to the Eighteenth Century is closely linked to the major work; only reflected in those centuries, the interest of readers and publishers turned to the minor works, which the school "historical" in the nineteenth century and the criticism of the twentieth century have rightly revaluated and reproposed in their artistic autonomy and, together, in the meaning of necessary moments and later of the literary experience and spiritual life of Dante. The identification of facts and historical characters and of the relationship between reality and fiction that they are established in the poem is prerequisite to the reading of the comedy and understanding not only of the poetic commitment, moral, political that the soul, but also of the Forms - exemplarity, allegory, language - in which it translates: this preliminary investigation moves between the 1322 and the 1358, the first commentators (Jacopo Alighieri, Graziolo Bambaglioli, Jacopo della Lana, the excellent, Pietro Alighieri, Guido da Pisa and other anonymous), which often however exceed in the allegorizzazione, inadvertently tending to destroy the conceptual unit of the opera and neglecting and progressively misrepresenting the Dantesque thought, linked to the scholastic philosophy and to the deepest lodgings of medieval culture. The subsequent comments of Boccaccio, Benvenuto da Imola, Francesco da Buti testify both the extend of this process is that the emergence of the cult of Dante that had increased, also from the point of view of textual diffusion, precisely by the activity of the Certaldese "publisher of Dante" (we have the autograph sillogi comprising the life of Dante and the Divine Comedy, the Vita nuova, 15 great songs). On the profound doctrine allegorical and theological and moral and on perfection rhetoric of the poem is putting the accent criticism of the fifteenth and sixteenth century (Comments by Cristoforo Landino, Alessandro Vellutello, Bernardo Daniello; studies and comments of Benedetto Varchi, Giovan Battista Gelli and, above all, of Vincenzio Borghini, also open to the general problems of thought and textual issues). In the XVI century, further, attention to the facts of the style and the question of language stimulates the interest for the De vulgari eloquentia, placed at the center of those discussions Florentine vernacular on Italian (ca. 1514) from which will be born the numerous and known "Dialogs" literary (del Machiavelli, hammers, the Tolomei of Trissino, which in 1529 will translate the treaty by Dante). On the other hand, not only cultural reasons preside, between the fifteenth and sixteenth centuries, to the first edition of the minor works: think of the editio princeps of the monarchy (1559) in key riformistica polemic. While the seventeenth century, in general, denies attention to Dante, deeply innovator in judgment on the poet and on work is, in the eighteenth century, Giovan Battista Vico (New Science, 1725, Letter to Gherardo of the Angioli and judgment... above Dante..., 1729) that, by establishing the ratio poetry-irrational-age barbara and heroic and recognizing in the work of art an autonomous creative moment, provides the fundamental ideas to the romantic criticism. Always in the eighteenth century, even erudite studies give their fruit with the plan of a new edition of the Divine Comedy by Giovan Jacopo Dionisi, which presents new critical setting methodological and in relation to the text of the poem and other works of Dante. Is this century the first complete edition of all the works of Dante Alighieri (1757-58).
The Nineteenth and Twentieth Century
With the Nineteenth Century Dante becomes banner for the patriotic ideals, beyond that subject dear to the romantic studies. Ugo Foscolo (Discourse on text... of the Comedy of Dante, 1825; The Divine Comedy by Dante Alighieri Illustrated by Ugo Foscolo, 1827), taking the moves from the interpretation vichiana, opens the century with an original voice, recalling the historical analysis and textual (philological criterion), in the exercise of rigorous argument and synthetic capacity (criterion historical-philosophical), and finally by placing the poet above the creator of allegories. Giuseppe Mazzini (Preface to the Divine Comedy by Dante Alighieri Illustrated by Ugo Foscolo, 1842; literary writings of an italian living, 1847) follows the trace foscoliana, highlighting the human figure of the poet and his mission within the nation and history. While giving preference to the survey psicologistica and to report the poet-environment, does not deviate much from this diagram Niccolò Tommaseo in his commentary on the poem, while the romantic vision of life and of history reconnects the reborn interest for the biography of Dante, witnessed by the Veltro allegorical Dante C. Troya and from the life of C. Balbo. In the first half of the century, with the revival of the language question, revives the survey on the theories of the De vulgari eloquentia (G. Perticari, of patriotism of Dante) and proceeds to the study of language and lexical interpretative and comedy (V. The mountains in the proposal; comments of G. Biagioli, P. Costa, B. Bianchi; later editions and illustrations of all works by P. Fraticelli and G. B. Giuliani). Maximum exponent of critical romantic dantesca is Francesco De Sanctis, whose pages still lives and challenging lessons and essays on Dante (1842-73) and of the History of Italian literature (1870-71) are also essential for the modern interpretation: the core of the poem is found in the universal reason and interior (Dante as the voice of human society) and in the ethical-political; the criterion of reading is the emotion, the consonance pathetic between reader and text, without cultural overlays; poeticità dell'opera is in the human element, this more in hell that in other canticles (here the tendency to isolate episodes and figures rather than to detect the unit of the invention dantesca). The last thirty years of the nineteenth century, with the positivist survey on the manuscripts of the Commedia and of the minor works, with historical studies on documents, linguistic and on the works of Dante and contemporary, opens the way for research critical modernly understanding. G. Carducci, A. D'Ancona, I. The long, P. Rajna, F. D'Ovidio, F. Torraca, M. Barbi, E. G. Parodi belong to this school "historical" that together with the experience crociana will mark himself the dantismo of the following century. Giosuè Carducci, in particular, goes first to the neglected Rhymes (Rhymes of Dante, in Dante and his century, 1865), then to the overall work (of varying success of Dante, Dante and the age that was his, 1866-67, the work of Dante, 1888), giving for the first time a framework of the author in this criticism and in the costumes of the Fourteenth Century, indicating the relationships with the next age, proving valid historical and together sensitive interpreter. On the other hand other scholars, also availing itself of the contributions of critical foreign Dante (remember the names of C. Witte, E. Moore, P. Toynbee), initiate those systematic philological research documentary and which will lead to the critical edition of the De vulgari eloquentia (1896, edited by P. Rajna) and of new life (1907, 1932², edited by M. Barbi), as well as to an edition of all the works curated by Società Dantesca Italiana (1921). In contrast to the current historical-positivist, Giovanni Pascoli processes an interpretation of totally subjective of comedy and Dante: moved from its vocation to the mystical vision and symbolic of the facts, to the representation of the "unknowable" that animates the world, he with dark Minerva (1898), under the veil (1900), the wonderful vision (1902) offers a unitary exegesis in itself but founded on heterogeneous bases, and destined to remain largely isolated. The work of Benedetto Croce marks, instead, a point of arrival and departure for modern criticism of Dante. Took the moves not so much from the assumption of desanctisiano emotional relationship between reader and text, because from a theoretical category precise (art as lyrical insight and expression), he assumes as a criterion for assessing the work of art aesthetic impression and the methodical distinction between "poetry" and "non poetry". Therefore in the comedy "structure" is opposite the "poetry", the "theological novel" to "lyric element": the fruit of reason and therefore not poetic, the first; of lyrical insight, and therefore all the poetic second. The assay the poetry of Dante (1921) and the whole crociana reflection on art have represented an obligatory stop for the critic of the Twentieth Century, affecting (since the previous accepted or rejected polemically) on different currents of the literary field - and therefore also of the dantismo - of our century. Between scholars of crociana ancestry is Attilio Momigliano (comment to the Divine Comedy, 1945-47), whose essay on the landscape in the Divine Comedy (1932) proposes as a criterion of unity the reason for the landscape, significantly analyzed; with him we also remember F. Maggini, Luigi Russo and Carlo Grabher. Within the tendency storicizzante postcrociana, that aims to bridge the gap between "poetry" and "non poetry" and to consider the work of art as a becoming rather than a fact, we encounter the work of Natalino Sapegno (comment to the Divine Comedy, 1957; Dante Alighieri, in "History of Italian literature", Volume II, 1965), which aims to give a unitary interpretation of the author and his works, fusing the linguistic components, poetics, historical-cultural; and again John Jet, that with the concept of "Poetry of intelligence" has a revaluation of the Dantean heaven (Aspects of Dante's poetry, 1966²). The culture contemporary literary, that borrows from the scientific rigor of the process and specialization of objects, is still in Dante a search field fruitful, especially for what is the identification of sources for the study of the texts for the correct interpretation of the Dantesque world and its shapes, both in respect of philosophical thought and religious (B. Nardi and G. Busnelli) and political (F. Ercole, A. Solmi, still Nardi), both in relation to the language and style (A. Schiaffini, B. Terracini, C. Segre, M. Fubini) and research philological (G. Contini, F. Mazzoni, G. Petrocchi, A. Pagliaro). Within this trend and in the context of a tradition centuries old, even foreign cultures provide lodgings exegetical particularly interesting, such as the interpretation "figural" Erich Auerbach, that symbolic-theological Ch. S. The Singleton, the linguistic of L. Spitzer.
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