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Xx, 52-102; Purg. xxn, 40-42; see Hollander 1980,169-218). Virgil's First Speech (43-57) We understandably tend to see Virgil, since Dante's accolades are indeed enthusiastic, as possessing greater authority than the text in fact grants him. Just as Aeneas's mission is found to have been sanctioned in a Christian heaven, so is Virgil's mission to Dante. In this remarkable invention, Beatrice has descended to Limbo (for her resemblance to Christ harrowing hell see lannucci, 23-45) in order to send Virgil to Dante on earth whence he will lead our protagonist back into the netherworld and eventually to Eden.

A. Molinaro. Toronto, 1966. Giglio, Raffaele. " Critica letteraria i (1973): 131-159. Gmelin, Hermann. Diego'ttlicheKomodie, Kommentar. Vol. i. Stuttgart, 1966. Guido da Pisa. Expositiones etglose super Comediam Dantis. Ed. Vincenzo Cioffari. , 1974. Hollander, Robert. " Princeton, 1969. Studies in Dante. Ravenna, 1980. lannucci, Amilcare A. " Dante Studies 97 (i 979): 23-45Lansing, Richard H. " Ravenna, 1977Mazzotta, Giuseppe. " Princeton, 1979. Padoan, Giorgio. " Letture classensi 5 (1976): 41-56.

Here, then, and in the following invocation, the poet's voice is heard for the first time as it speaks of his task as poet" (1970, 22-23). If the first canto of Inferno is the "canto of fear," as is often asserted (see Mazzoni, 49, with recognition of F. D'Ovidio and C. " The substantive parola occurs five times, more than in any other canto of the poem (43, 67,111,135,137), as though to mirror the insistent presence of paura in the preceding canto, where it too occurs five times (also more than in any other).

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Il Gesù storico by Vittorio Russo

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