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Josep Carner translated Dante's sonnets for an anthology of poems from Vita Nuova translated into Spanish and Catalan that Lluís Carles Viada i Lluch published together with his own complete translation, La Vida Nueva (1912); and also for 'Rims de l'hora', a literary column of the newspaper La Veu de Catalunya (1913–1914). Considering the pieces Carner chose to translate, this article reflects on his interest in Dante's objective representation of passions and thoughts, and looks for similar uses in one of the modalities of lyrical poetry he put into practice in his book La paraula en el vent (1914). [ABSTRACT FROM AUTHOR]

The paper examines the manuscripts and printed editions of Medieval and Humanistic works preserved in the library of Castiglione del Terziere, highlighting Bononi’s preference for writings in the historiographic genre, with specific regard to the history of Florence. Among the volumes examined – all ancient editions, incunabula and cinquecentine, extremely valuable and rare – we dwell above all on the exemplars (by Leonardo Bruni, Biondo Flavio, Iacopo Foresti) that bear Bononi’s autograph annotations, because they testify to his interest in the geographical area of Lunigiana and Dante’s biography.

The contribution traces an overview, necessarily partial and selective, of some valuable examples that testify to the presence of the Divine Comedy in the library of the castle of Castiglione del Terziere. From a Fourteenth-century bifolio containing passages from Purgatory to the first Foligno edition of 1472, from the first annotated and illustrated editions to some Sixteenth-century ones made unique by the presence of annotations and ex-libris, the article focuses on the peculiarities of each example, attempting where possible to reconstruct their 'movements' over time and paying particular attention also to the handwritten notes made by their last owner, Loris Jacopo Bononi.

Copyright of Zeitschrift für Romanische Philologie is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 2010, the American graphic designer Seymour Chwast (New York, °1931) published Dante's Divine Comedy: A Graphic Adaptation, which condenses Dante's masterpiece into 127 pages. Previous scholarship has mainly focused on how Chwast adapts the Comedy and the specific passages he chooses to include. Chwast has been viewed as just one of many interpreters within a long tradition of Dante adaptations. However, we argue that Chwast possibly introduces a new chapter in this tradition. Specifically, he diverges from two types of Dante illustrators. Firstly, he surpasses illustrators who subordinate their work to Dante's literary text and who simply depict images and characters from the book to visually represent and explain the text. Secondly, he deviates from artists who engage with Dante as equals, creating a work of art with double authorship, e.g., Gustave Doré. Chwast moves beyond Dante and engages primarily with American pop culture, particularly its cinematic tradition and comic books, rather than with Dante. The same process can be observed in Chwast's other literary adaptations. Hence, in this paper, we mainly focus on Chwast's adaptation of the Divine Comedy within the artist's broader Americanisation of European literature. The key aspect of this process is Chwast's cultural appropriation, wherein the literary sources disappear to make room for 20th-century American pop culture. As a result, the significance of the relation with the sources diminishes in comparison to Chwast's main goal of representing European literature from his own American viewpoint and appealing to an American readership. [ABSTRACT FROM AUTHOR]

Henry Clark Barlow (1806–1876) was a lifelong student of Dante, publishing copious amounts of scholarship and a major edition of the Divina Commedia. He was also given to composing English poetry. He translated just one canto of Dante's Commedia into English verse, which he never published: Paradiso 7. In this note the translation is introduced and transcribed from the University College London archive containing Barlow's papers. [ABSTRACT FROM AUTHOR]

The goal of this text is to examine the morally devised limits of human knowledge using examples from an exposition of Odysseus’ journey beyond the Pillars of Heracles found in Canto XXVI of Dante’s Divine Comedy. First, the literary context of the protagonist and its comparison with the ancient model will be briefly introduced. This will be followed by a separate analysis of the individual elements of the story in the light of the issue of the limits of knowledge mentioned above, taking into account the historical context.

The contribution questions some relationships between the study in the second half of the 19th century of the history and medieval idea of tragedy and the revival of Dante’s plots and characters on the stage and in the pages of the novel, with particular reference to Francesca da Rimini, Pia de’ Tolomei up to Balzac’s Madame du Merret.

Se comentan dos de los tres sonetos de Dante Alighieri que tradujo el poeta romántico peruano Clemente Althaus (1835-1881). Para poderlos evaluar, se los contrasta con los originales. El artículo señala, primero, los rasgos esenciales de los sonetos de Dante y, luego, lo que más llama la atención de las versiones de Althaus. Sin resultar traducciones perfectas, se concluye que Althaus presenta, en términos generales, versiones correctas y respetuosas. El sentido se retiene, aunque pueda ocurrir que, en algún caso, no se traduzca el significado (un verso inexistente en el original, por ejemplo).

Tu duca, tu signore, e tu maestro». Con estas palabras se inicia una relación educativa entre Virgilio y Dante que manifiesta de manera concreta una visión sobre el maestro de permanente validez y actualidad. El viaje de Dante permite descubrir en la Divina Comedia la existencia de unos principios universales que fundamentan la acción del maestro. No obstante, dichos principios no son del todo originales, sino que permiten evidenciar la influencia que Tomás de Aquino ha ejercido en Dante. El Aquinate no solo es mencionado en el Paraíso en los cantos X al XIV, sino que los principios pedagógicos tomistas, especialmente los contenidos en la Suma de Teología, informan la relación concreta entre los dos poetas. En este estudio intentaremos explicitar la visión del maestro propuesta por Dante, a la vez que se buscará mostrar que Tomás de Aquino es la fuente principal de la que Dante se nutre para labrar esa específica relación entre maestro y discípulo.

El objeto del presente artículo es el estudio y comparación del transhumanismo de Julian Huxley y del trasumanar de Dante Alighieri. Aunque sean autores separados en el tiempo, están conectados por el hecho de que el trasumanar de Dante inspiró la formulación de la palabra con la que Huxley definió su filosofía, el transhumanismo. De este modo, se recorre a lo largo del artículo el pensamiento de Dante hasta llegar, después, al de Huxley con el objetivo de compararlos y comprobar el alcance antropológico de ambas propuestas filosóficas

El presente artículo se propone ofrecer al lector una visión panorámica de las principales adquisiciones críticas relativas a la formación juvenil de Dante Alighieri. A lo largo de siete siglos de estudios, las fuentes de las que bebió el futuro autor de la Comedia siguen siendo en buena medida conjeturales, lo cual no quita que los análisis de archivo más recientes y algunos proyectos de investigación en continuo desarrollo han permitido ampliar al respecto nuestros horizontes de conocimientos.

This paper is a qualitative theological research discussing Dante Alighieri’s (d. 1321) account of LGBT-Q (Lesbian, Gay, Bisexual, Transgender, Queer) based on his major work, Inferno, with a particular reference to Medieval Christian tradition. Accordingly, this paper used content analysis to apprehend major literature on Dante and LGBT-Q. This paper concluded that the term Sodom and Gomorrah, the cities demolished due to homosexual violation, is apparent in his work. Furthermore, as several Biblical texts also suited the concrete image of those cities, Dante’s Inferno also presented Medieval Christian position concerning homosexuality, which is condemn homosexuality as lust against the role of nature, so it is equated with committing violence against God.

To completely understand Dante's work, we would need to perfectly comprehend the foundations on which it is built, as well as Dante's own "constructs" and reinterpretations of earlier texts—the transformations of these texts and the whole ideological superstructure of the work built on them. The goal of this essay is to introduce, for the first time in English-language scholarship, a discussion of Pavol Koprda's Slovak translation of Dante's Paradise (2020), the result of extensive Slovak academic research on this topic, based on key sections in which Dante's philosophical background is revealed, and focusing on an interpretation of the third canticle and a reconciliation of the intellectual debates of Dante's time. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literary Studies / Folia Linguistica & Litteraria is the property of Journal of Language & Literary Studies / Folia Linguistica & Litteraria and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Antikvitás & Reneszánsz is the property of MTA-SZTE Antikvitas es Reneszansz, Forrasok es Recepcio Kutatocsoport and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper focuses on the repeated and systematic references to the figure of Ulysses in the work of Quentin Meillassoux, Ray Brassier, Eugene Thacker, and Reza Negarestani. These are not random occurrences; Ulysses represents a key figure in the mutually interconnected visions and reflections related to the idea of a “world without people” that binds the named authors implicitly and explicitly to the originally Dantean imagery. Through a detailed exposition of the Ulyssean positions of the philosophers in question, the essay demonstrates twofold: first, that the “nihilistic branch” of speculative realism can be read as a specific inversion of the Dantean agenda, and second, that in light of the arguments of “transcendental nihilism” and the logical radicalization of the Ulyssean figure, Dante’s Divine Comedy can be read as an anachronistic speculative project.

RESUMO Este artigo analisa os primeiros estudos de Erich Auerbach sobre Dante Alighieri, produzidos na década de 1920, de modo a salientar as rivalidades teóricas e políticas que atravessavam o ambiente acadêmico em que ele estava inserido. Dentre as tendências interpretativas que se estabeleceram após a Primeira Guerra Mundial sublinha-se a busca pela relevância atual da Divina comédia para a sociedade alemã. Por um lado, essa inclinação fundamentou leituras ufanistas e racialistas de Dante, e por outro, embasou a defesa da unidade da cultura europeia que, em alguma medida, seu poema permitiria vislumbrar. Os textos de Auerbach situam-se no segundo grupo, posto que, nos versos dantescos, para além da orientação teórica de sua reflexão sobre a literatura, ele teria encontrado o sentido do seu envolvimento no mundo enquanto filólogo europeu.

Warning Does justice have a face? And what personal story exists behind those who commit a crime? And, again, how does justice intervene on the biography of a defendant? How, in the event of loss of personal freedom, does justice change the physiognomy of the condemned? In the section Physiognomy and biography, the reports of the jurists who participated in the Ventotene conference in 2022 were accepted: not refereed essays, but important contributions for the dissemination of legal culture that introduce necessary reflections on the application of precautionary measures (Antinori), on functions of punishment (Santinelli), on defensive instances (Sgroi), on procedural guarantees (Truppa). With this section, enriched by a reflection on Dante and the ethical responsibility of literature in the face of evil (Anselmi), we hope to contribute to the public communication of justice and, to quote Camporesi, of the government of the body, because every individual choice, from crime to judgment to punishment, it affects flesh and blood individuals, whether they are guilty or innocent.

Examined through a transrealista lens, the “sketches” left by the poet traveler in Carlos Humberto Santos's Bocetos de un cuerpo sin forma (Esquisses d’un corps sans forme/Sketches of a shapeless body, 2018) testify to the expanse, depth, and contours of power and marginalization across time and space. Descending to the Mayan underworld of Xibalbá in a journey that recalls that of Dante Alighieri’s pilgrim through Hell in La divina commedia, the poet traveler moves through overlapping layers of time—pre-colonial, colonial, and neocolonial/contemporary—and in-between spaces of human diasporas and other geographies of oppression. Upon the layers of “sketches” created by other artists to represent places of death, fear, and torment on the “cuerpo” of the oppressed, Santos's Bocetos leaves testament to the dynamics of marginalization and power in twenty-first-century Honduras.

Recently scholars have called for an Indigenous turn in medieval studies that challenges the historical assumptions of the field by actively engaging in a decolonial and anticolonial praxis. This essay argues that this turn must confront the problem of reciprocity that arises from distinct Indigenous and medieval articulations of sovereignty, which reveal the potential of this tenuous intersection despite the possibility of irreconcilable antagonisms. Tracing sovereignty--specifically through a "politics of recognition" as proposed by the Yellowknives Dene scholar Glen Coulthard--in Dante's Monarchia (and Paradiso) and Leslie Marmon Silko's Ceremony provides an analytic example of this comparative framework, since both authors challenge readers to question the imposition of authority and the logics that legitimate and justify dominant forms of governance. Yet Dante and Silko also draw on distinct articulations of sovereignty that suggest the limitations of decolonial and anticolonial praxis within a field bound to a Western episteme that underwrites colonial and imperial authority. [ABSTRACT FROM AUTHOR]

Se ha buscado registrar la bibliografía relativa a la recepción de la obra de Dante Alighieri en el Perú. El estudio se ha centrado en la bibliografía de obras literarias, tanto de creación como de crítica, aunque también se menciona alguna obra artística, desde el siglo XVi hasta el siglo XXi. Se consigna el contenido y se comentan brevemente algunas de las entradas.

Il settimo centenario della morte di Dante (1321-2021) è stata una propizia occasione per rinnovare il rapporto con il Poeta, con la sua opera sempre complessa e sempre ricca di suggestioni, con gli ‘oggetti’ che la tramandano – dai manoscritti agli album d’artista, per rimanere in un ambito circoscritto. Ogni epoca ha avuto il proprio Dante, talora anche più di uno, e la contemporaneità non poteva sottrarsi a tale confronto/incontro. Per l’occasione, la Biblioteca Apostolica Vaticana ha perciò curato una mostra online, Viaggiare con Dante (https://www.vaticanlibrary.va/it/viaggiare-con-dante.html), promossa dal Comitato scientifico-organizzativo dantesco del Pontificio Consiglio della Cultura e dal “Cortile dei Gentili”; in essa si espongono soprattutto manoscritti (commentati dalle annotazioni in IIIF), ma anche stampati, incisioni e medaglie, patrimonio dell’istituzione. Indagare una materia di così sfaccettata stratificazione attraverso tecnologie all’avanguardia ha comportato un mutamento del punto di osservazione, rivelando inedite possibilità di ricerca.

El autor de este artículo parte de la premisa según la cual Dante es un visionario plástico y se pregunta cómo es posible ilustrar plásticamente su poema y cómo pasar de la plasticidad poética a la forma plástica propiamente dicha. De ahí se centra en el análisis de la manera de ilustrar de Vaquero Turcios que arranca siempre de las posibilidades de actualización que ofrece la obra del poeta. Una actualidad, la de Dante, que para Vaquero Turcios abarca, dentro del realismo visionario español, las dimensiones religiosa, política y estética para intentar hallar en las nuevas realidades las dimensiones infernales, purgatoriales y paradisíacas del mundo presente.

Con questo saggio cerco di mostrare come nell’ambiente culturale padovano di inizio ’300 la riflessione attorno alla funzione delle immagini e delle personificazioni in poesia – che Dante avrebbe considerato prima all’altezza della Vita Nova e quindi nei canti purgatoriali del ‘visibile parlare’ – ebbe a radicarsi sulla diffusione in quell’ambiente dei testi di Alain de Lille (Anticlaudianus, De planctu Naturae). Grazie a quel primo impulso, i registri retorici potenziati dall’apporto delle immagini figurate si liberarono dei vecchi schemi allegorici per approdare a un nuovo sistemi di segni che fece delle antiche figurae gli specchi di valori metafisici.

Sebbene moltissimi siano oramai gli studi di vari autori dedicati all’analisi della presenza della matematica nell’opera di Dante e in particolare nella Divina Commedia, con grande stupore ci si accorge che esiste sempre qualche angolo inesplorato o qualche verso che può ancora fornire argomento di riflessione e di studio; lo stupore cessa ogni volta, quando si riflette sulla grandezza dell’opera. Volendo anche solo fare brevi cenni alle diverse discipline che costituiscono la matematica, sarebbe impossibile contenerli in poche pagine; rinvio dunque ad altre mie analisi su geometria, logica e probabilità (D’AMORE, 1991, 1993, 1995, 2020), e mi limito a due-tre spunti sull’aritmetica e sulla geometria.

Reseña. Tras toda una vida dedicado al minucioso estudio de la Divina Commedia, Carlos López Cortezo logró evidenciar su carácter analítico y alegórico, lo que le permitió diseñar el novedoso método de investigación que expone en este libro póstumo y que, en vida, supo compartir con sus discípulos, dando lugar a una escuela de estudiosos que hoy en día disfruta de un gran prestigio en el ámbito del dantismo internacional. La necesidad, a su juicio, de realizar una auténtica «restauración textual» que despojase al texto de las lecturas críticas mitificadoras que secularmente se le habían ido adhiriendo, llevó a López Cortezo a la exégesis de toda una serie de elementos de esta obra universal –símiles, gestos, perífrasis, personajes mitológicos, interpretatio nominum, etc.–, al tiempo que profundizaba, paso a paso, en episodios tan relevantes como los de Gerión, Francesca, Brunetto o Ulises. De este modo consigue deslindar y revelar la estructura moral del Inferno (teológica y filosófico moral), cuya última versión es la que se nos ofrece en este volumen.

The article focuses on Epistle to Cangrande: it analysis its transmission, and argues that - given what emerges from the text that quote it up to the 16th c. - Dante may have written the Epistle towards the end of his stay in Verona, but that he never sent it to the addressee. As the text seems to originate from an archetype highly corrupted and not intended for publication, the letter may not have been a forgery made in north-eastern Italy. In contrast, the study of the manuscripts demonstrates that dissemination began at Florence after Dante's death, where the poet's sons brought their father's other writings, the Epistle among them. [ABSTRACT FROM AUTHOR]

Dedicated to the famous Laurentian fragment of the Detto d'Amore, attributed to Dante in 1984 by Gianfranco Contini, the contribution addresses its main codicological and palaeographical features, reaching new and unprecedented conclusions, which could reopen the question of Dante's paternity of the poem. [ABSTRACT FROM AUTHOR]

Starting from the applications of quantitative linguistics to Dante’s Commedia made in the mid-1960s, the article reviews the lexicographic activities of Tullio De Mauro. Considering the breadth and articulation of the scholar’s activities, the focus is concentrated on early Italian language and on his theories and researches that have crossed the resources of the Opera del Vocabolario Italiano, and in particular the Tesoro della Lingua Italiana delle Origini. [ABSTRACT FROM AUTHOR]

Este artigo tem o objetivo de demonstrar a importância do recurso à história no pensamento político de Dante Alighieri (1265-1321). As fontes utilizadas na análise foram aquelas em que o autor mais se manifestou politicamente, a saber: o opúsculo filosófico Convívio/Banquete (1304-1308), as Epístolas V, VI e VII (1311-1312), o tratado escolástico Monarquia (1316-1321) e os três poemas da Divina Comédia: Inferno (1304-1308), Purgatório (1308-1312) e o Paraíso (1316-1321). Depois de abordar alguns elementos que caracterizam a historiografia medieval e apresentar como Dante mobiliza a história em sua apologia imperial, é concluído que a mesma estrutura a teoria política do florentino.

The essay illustrates the reading given by Saint Paul VI of the figure and work of Alighieri, both on the literary and on the spiritual side. It focuses with particular regard on the Apostolic Letter 'motu proprio' Altissimi cantus, but also takes into consideration other texts of the Pope. For some specific themes, it also refers to reflections and ideas contained in the works of other Popes, highlighting similarities and themes in common. [ABSTRACT FROM AUTHOR]

Dante Alighieri was not a jurist, however his works contain numerous legal references of great interest. Justice is one of the central themes of Alighieri's works, and in particular of the Divine Comedy, where he closely relates it to charity. Dante's conception of justice explains the reasons for the Poet's opposition to a certain way of understanding law and being a jurist, as well as his indignation for the indolent. 2021 is the year of the seventh centenary of the death of Alighieri and coincides with the beatification of Rosario Angelo Livatino, the first Blessed magistrate in the history of the Church and the one who certainly knew how to embody that model of a jurist indicated by Alighieri, in the way in which he knew how to unify justice and charity. [ABSTRACT FROM AUTHOR]

This article analyses Erich Auerbach's early studies on Dante Alighieri in the 1920s, and highlights the theoretical and political rivalries that characterized the academic environment in which he worked. It also underlines the search for the relevance of The Divine Comedy for German society among the interpretative trends that were established after the First World War. On the one hand, this disposition was used as the basis for chauvinistic and racialist readings of Dante's work; on the other, it supported the defense of a unified European culture that his poem would allow to glimpse. Auerbach's texts exemplify the second category because, beyond his theoretical reflections on literature, he found in Dante's verses the meaning of his involvement in the world as a European philologist. [ABSTRACT FROM AUTHOR]

These four lyrics give voice to different intersections of solitude and community, this world and whatever lies beyond or within it. They are propelled and animated, they are done and undone, by desire. Solitude, here, is above all an erotic question. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Art History / Sanat Tarihi Dergisi is the property of Ege University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To completely understand Dante’s work, we would need to perfectly comprehend the foundations on which it is built, as well as Dante’s own “constructs” and reinterpretations of earlier texts—the transformations of these texts and the whole ideological superstructure of the work built on them. The goal of this essay is to introduce, for the first time in English-language scholarship, a discussion of Pavol Koprda’s Slovak translation of Dante’s Paradise (2020), the result of extensive Slovak academic research on this topic, based on key sections in which Dante’s philosophical background is revealed, and focusing on an interpretation of the third canticle and a reconciliation of the intellectual debates of Dante’s time.

In Inferno’s canto XIII, in the forest of suicides, Pier della Vigna says that, at the moment of his death, he, who was just, became unfair against himself. This statement raises the question of whether suicide victim can be unfair to himself and how Dante can assert this. In this paper, this question is addressed from three points of view: 1) the characterization of justice in the Convivio, Dante’s philosophical treatise; 2) a passage of Purgatory where Dante develops his theory of action; and 3) a passage of Aristotle’s Nicomachean Ethics where he asks whether a suicide victim is unfair to himself. [ABSTRACT FROM AUTHOR]

Copyright of Antikvitás & Reneszánsz is the property of MTA-SZTE Antikvitas es Reneszansz, Forrasok es Recepcio Kutatocsoport and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In this essay I would like to explore the creation and development of the powerful imaginaire that associates the presence of Dante and the Comedy to the furthest bounds of the world's South. Dante himself imagined the Antipodes as an immense ocean in which only one piece of land emerges, the island occupied by the very high Mount Purgatory, with Earthly Paradise at the top. The only character in the poem who sights this island before Dante's arrival is Ulysses, who is shipwrecked there. The first historical person who sails towards the Antipodes is Amerigo Vespucci. The man who explores and maps out the Straight of Magellan is Pedro Sarmiento de Gamboa who, quoting Dante, has Ulysses found "New Spain", i.e. Latin America. It is in Patagonia that Bruce Chatwin will again find Dante's Ulysses in the twentieth century. Poets, from Coleridge to Kazantzakis, and above all to the Australian John Kinsella and New Zealand's Jan Kemp, go much further. [ABSTRACT FROM AUTHOR]

The article examines Dante Gabriel Rossetti’s watercolor "Giotto Painting the Portrait of Dante". The painting is the result of several artistic and literary quotations, being originally conceived as an interplay of anecdotes, literary texts, and works of art. While evidently based on "Purgatorio" XI, the painting also to passages in the "Vita Nuova" as well as to frescoes in the Palazzo del Bargello and in Santa Maria Novella that Rossetti was probably familiar with.

Dante Alighieri's Divine Comedy has reached our days as one of the most important works of universal literature. The so-called Commedia opened the doors to the modernity of the city of Florence, whose importance lasted in time until today. In this sense, art has been a direct witness of how and why a 14th century work, such as that of the Florentine poet, has managed to survive with the same importance it originally had in the collective memory. From the first artistic representations in illuminated manuscripts, the moment in which the Dantesque imaginary as we know it was configured, to its echo in the new artistic media. Dante and his work are, even today, a cultural landmark fully established in our society.

The article is dedicated to L’Inferno della Tirannide by Bernardo Bellini, a poem on the First Italian War of Independence which is also a bouts-rimés version of Dante’s Inferno. The first theme considered is the sixth centenary of Dante’s birth (1865), for which the poem was published. The next section is a summary of Bellini’s bio-bibliography, intending to give an appropriate contextualization. The rest of the essay consists in the analysis of the text, in order to recognize some links with some historical sources, and to consider the relationship between Bellini’s poem and Dante’s Commedia.