Harold Bloom - Beowulf

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title	:	Dante's Inferno Bloom's Notes
author	:	Bloom, Harold.
publisher	:	Chelsea House Publishers
isbn10 | asin	:	0791040577
print isbn13	:	9780791040577
ebook isbn13	:	9780585247328
language	:	English
subject	Dante Alighieri,--1265-1321.--Inferno.
publication date	:	1996
lcc	:	PQ4443.D36 1996eb
ddc	:	851/.1
subject	:	Dante Alighieri,--1265-1321.--Inferno.

Page 1 Dante's Inferno Bloom's NOTES A Contemporary Literary Views Book Edited and with an Introduction by Harold Bloom

Page 2 2000 by Chelsea House Publishers, a subsidiary of Haights Cross Communications. Introduction 1996 by Harold Bloom All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means without the written permission of the publisher. Printed and bound in the United States of America. 3 5 7 9 8 6 4 2 Cover Illustration: New York Public Library Library of Congress Cataloging-in-Publication Data Dante's Divine Comedy: The Inferno / edited and with an introduction by Harold Bloom. p. cm. - (Bloom's notes) Includes bibliographical references and index. ISBN 0-7910-4057-7 1. Dante Alighieri, 12651321. Inferno. I. Bloom, Harold. II. Series. III. Series: Bloom, Harold. Bloom's notes. PQ4443.D36 1995 851'.1dc20 95-45101 CIP AC Chelsea House Publishers 1974 Sproul Road, Suite 400 P.O. Box 914 Broomall, PA 19008-0914

Page 3 Contents User's Guide 4 Introduction 5 Biography of Dante 8 Thematic and Structural Analysis 11 List of Characters 25 Critical Views 27 Books by Dante 85 Works about Dante and the Inferno 87 Index of Themes and Ideas 91

Page 4 User's Guide This volume is designed to present biographical, critical, and bibliographical information on Dante and the Inferno. Following Harold Bloom's introduction, there appears a detailed biography of the author, discussing the major events in his life and his important literary works. Then follows a thematic and structural analysis of the work, in which significant themes, patterns, and motifs are traced. An annotated list of characters supplies brief information on the chief characters in the work. A selection of critical extracts, derived from previously published material by leading critics, then follows. The extracts consist of statements by the author on his work, early reviews of the work, and later evaluations down to the present day. The items are arranged chronologically by date of first publication. A bibliography of Dante's writings (including publications from the invention of printing to the present day), a list of additional books and articles on him and on the Inferno, and an index of themes and ideas conclude the volume. <><><><><><><><><><><><> Harold Bloom is Sterling Professor of the Humanities at Yale University and Henry W. and Albert A. Berg Professor of English at the New York University Graduate School. He is the author of twenty books and the editor of more than thirty anthologies of literature and literary criticism. Professor Bloom's works include Shelley 's Mythmaking (1959), The Visionary Company (1961), Blake's Apocalypse (1963), Yeats (1970), A Map of Misreading (1975), Kabbalah and Criticism (1975), and Agon: Towards a Theory of Revisionism (1982). The Anxiety of Influence (1973) sets forth Professor Bloom's provocative theory of the literary relationships between the great writers and their predecessors. His most recent books are The American Religion (1992) and The Western Canon (1994). Professor Bloom earned his Ph.D. from Yale University in 1955 and has served on the Yale faculty since then. He is a 1985 MacArthur Foundation Award recipient and served as the Charles Eliot Norton Professor of Poetry at Harvard University in 198788. He is currently the editor of the Chelsea House series Major Literary Characters and Modern Critical Views, and other Chelsea House series in literary criticism.

Page 5 Introduction Harold Bloom For most among us now, The Divine Comedy is an authentically difficult poem, which increases in its demands as we read on from the Inferno through the Purgatorio to the Paradiso. Yet even in translation, the astonishing power of the poem transcends what seem, to most of us, its awesome complexities. We do best to read it as story, even though it necessarily insists that it is not a fiction. For Dante, his poem was a new, apocalyptic Scripture, not replacing the two Testaments, but augmenting them. Essentially The Divine Comedy was intended as a prophecy, whose fulfillment Dante expected to see in his own lifetime. In his Convivio he had established the "perfect" human age as eighty-one, yet even had he not died at fifty-six, another quarter-century would only have further thwarted his expectations. The death of the Holy Roman Emperor Henry VII in 1313, before he could march upon Florence, had ended Dante's political hopes, which were intimately intertwined with his prophecy, though they formed only a part of the revelation that the poet considered he had been called upon to proclaim. We tend to be too much influenced by the Dante scholars who insist that Dante centered upon following the "allegory of the theologians," and who therefore make

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