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Picone, Michelangelo. "Bernard, St." (trans. Robin Treasure). In: Lansing (ed.), The Dante Encyclopedia, 99-100. At some point during his exile, he conceived of the Comedy, but the date is uncertain. The work is much more assured and on a larger scale than anything he had written in Florence; it is likely he would have undertaken such a work only after he realized his political ambitions, which had been central to him up to his banishment, had been halted for some time, possibly forever. It is also noticeable that Beatrice has returned to his imagination with renewed force and with a wider meaning than in the Vita Nuova; in Convivio (written c. 1304–07) he had declared that the memory of this youthful romance belonged to the past. [41] Without access to the works of Homer, Dante used Virgil, Lucan, Ovid, and Statius as the models for the style, history, and mythology of the Comedy. [52] This is most obvious in the case of Virgil, who appears as a mentor character throughout the first two canticles and who has his epic The Aeneid praised with language Dante reserves elsewhere for Scripture. [53] Ovid is given less explicit praise in the poem, but besides Virgil, Dante uses Ovid as a source more than any other poet, mostly through metaphors and fantastical episodes based on those in The Metamorphoses. [54] Less influential than either of the two are Statius and Lucan, the latter of whom has only been given proper recognition as a source in the Divine Comedy in the twentieth century. [55]

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Carroll, John S. (1903). Exiles of Eternity: An Exposition of Dante's Inferno. London: Hodder and Stoughton. pp. xlviii–l. Allaire, Gloria (7 August 1997). "New evidence towards identifying Dante's enigmatic lonza". Electronic Bulletin of the Dante Society of America. {{ cite journal}}: Cite journal requires |journal= ( help) – defines lonza as the result of an unnatural pairing between a leopard and a lioness in Andrea da Barberino Guerrino meschino. The Divine Comedy is an allegory of human life presented as a visionary trip through the Christian afterlife, written as a warning to a corrupt society to steer itself to the path of righteousness: "to remove those living in this life from the state of misery, and lead them to the state of felicity." The poem is written in the first person (from the poet’s perspective) and follows Dante's journey through the three Christian realms of the dead: hell, purgatory and finally heaven. The Roman poet Virgil guides Dante through hell ( Inferno) and purgatory ( Purgatorio), while Beatrice guides him through heaven ( Paradiso). The journey lasts from the night before Good Friday to the Wednesday after Easter in the spring of 1300 (placing it before Dante’s factual exile from Florence, which looms throughout the Inferno and serves as an undercurrent to the poet’s journey). The Letter to Can Grande," in Literary Criticism of Dante Alighieri, translated and edited by Robert S. Haller (Lincoln: University of Nebraska Press, 1973), p. 99 Dante was born in Florence, Republic of Florence, in what is now Italy. The exact date of his birth is unknown, although it is generally believed to be around 1265. [18] This can be deduced from autobiographic allusions in the Divine Comedy. Its first section, the Inferno, begins, "Nel mezzo del cammin di nostra vita" ("Midway upon the journey of our life"), implying that Dante was around 35 years old, since the average lifespan according to the Bible (Psalm 89:10, Vulgate) is 70 years; and since his imaginary travel to the netherworld took place in 1300, he was most probably born around 1265. Some verses of the Paradiso section of the Divine Comedy also provide a possible clue that he was born under the sign of Gemini: "As I revolved with the eternal twins, I saw revealed, from hills to river outlets, the threshing-floor that makes us so ferocious" (XXII 151–154). In 1265, the sun was in Gemini between approximately 11 May and 11 June ( Julian calendar). [19]Dante, Alighieri; Durling, Robert M.; Martinez, Ronald L. (1997). The Divine Comedy of Dante Alighieri. New York: Oxford University Press. ISBN 978-0195087444. Garin, Eugenio (2008). History of Italian Philosophy: VIBS. Rodopi. p.85. ISBN 978-90-420-2321-5 . Retrieved 27 March 2017. Brand, Peter; Pertile, Lino (1999). The Cambridge History of Italian Literature (2nded.). Cambridge University Press. pp.63–64. ISBN 978-0-521-66622-0.

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I. Heullant-Donat and M.-A. Polo de Beaulieu, "Histoire d'une traduction," in Le Livre de l'échelle de Mahomet, Latin edition and French translation by Gisèle Besson and Michèle Brossard-Dandré, Collection Lettres Gothiques, Le Livre de Poche, 1991, p.22 with note 37. Lansing, Richard (2000). The Dante Encyclopedia. New York: Garland. pp.299, 334, 379, 734. ISBN 0815316593.Kaske, Robert Earl, et al. Medieval Christian Literary Imagery: A Guide to Interpretation. Toronto: Toronto UP, 1988. p. 164 The Map of Hell painting by Sandro Botticelli, among the extant ninety-two drawings originally included in his illustrated manuscript of the poem The Divine Comedy has been translated into English more times than any other language, and new English translations of the Divine Comedy continue to be published regularly. Notable English translations of the complete poem include the following. [85] Year Messaggio del Santo Padre al Presidente del Pontificio Consiglio della Cultura in occasione della celebrazione del 750° anniversario della nascita di Dante Alighieri". Press.vatican.va. Archived from the original on 4 May 2015 . Retrieved 21 October 2015. Main article: Paradiso (Dante) Paradiso, Canto III: Dante and Beatrice speak to Piccarda and Constance of Sicily, in a fresco by Philipp Veit.

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Geryon, the winged monster who allows Dante and Virgil to descend a vast cliff to reach the Eighth Circle, was traditionally represented as a giant with three heads and three conjoined bodies. [77] Dante's Geryon, meanwhile, is an image of fraud, [78] combining human, bestial, and reptilian elements: Geryon is a "monster with the general shape of a wyvern but with the tail of a scorpion, hairy arms, a gaudily-marked reptilian body, and the face of a just and honest man". [79] The pleasant human face on this grotesque body evokes the insincere fraudster whose intentions "behind the face" are all monstrous, cold-blooded, and stinging with poison.

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Christopher Kleinhenz, Medieval Italy: An Encyclopedia, Volume 1, Routledge, 2004, ISBN 0-415-93930-5, p.360. Ewert, A. (1940). "Dante's Theory of Language". The Modern Language Review. 35 (3): 355–366. doi: 10.2307/3716632. JSTOR 3716632. Alighieri, Dante (2013). Delphi Complete Works of Dante Alighieri. Vol.6 (Illustrateded.). Delphi Classics. ISBN 978-1-909496-19-4. Dante reading the Divine Comedy at the court of Guido Novello, painting by Andrea Pierini, 1850. Palazzo Pitti, Florence Classical [ edit ] After an initial ascension, Beatrice guides Dante through the nine celestial spheres of Heaven. These are concentric and spherical, as in Aristotelian and Ptolemaic cosmology. While the structures of the Inferno and Purgatorio were based on different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues and the three theological virtues.

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Giovanni Boccaccio, The Decameron, Ninth Day, Novel VIII". Stg.brown.edu. Archived from the original on October 18, 2013 . Retrieved 2013-03-22. Vauchez, André; Dobson, Richard Barrie; Lapidge, Michael (2000). Encyclopedia of the Middle Ages. Chicago: Fitzroy Dearborn Publishers. p.1517. ; Caesar, Michael (1989). Dante, the Critical Heritage, 1314(?)–1870. London: Routledge. p.xi. In the Purgatorio, Virgil leads Dante in a long climb up the Mount of Purgatory, through seven levels of suffering and spiritual growth (an allegory for the seven deadly sins), before reaching the earthly paradise at the top. The poet’s journey here represents the Christian life, in which Dante must learn to reject the earthly paradise he sees for the heavenly one that awaits.Richard P. McBrien (1997). Lives of the Popes: The Pontiffs from St. Peter to John Paul II. HarperCollins. pp.82–83. ISBN 978-0-06-065304-0 . Retrieved 8 March 2013. di Serego Alighieri, Sperello; Capaccioli, Massimo (2022). The Sun and the other Stars of Dante Alighieri. Singapore: World Scientific Publishing Co. Pte. Ltd. p.48. ISBN 9789811246227. Raffa, Guy P. (2020). Dante's Bones: How a Poet Invented Italy. Cambridge, Massachusetts: Belknap Press. ISBN 978-0-674-98083-9. Barański, Zygmunt G.; Gilson, Simon, eds. (2018). The Cambridge Companion to Dante's 'Commedia' . Cambridge University Press. p.108. ISBN 9781108421294. Glassé, Cyril (2008). The New Encyclopedia of Islam, 3rd Volume (3rded.). Lanham: Rowman & Littlefield Publishers. p.278. ISBN 9780742562967.