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This series gathers together a body of critical sources on major figures in literature. Each volume presents contemporary responses to a writer's work, enabling students and researchers to read for themselves, for example, comments on early performances of Shakespeare's plays, or reactions to the first publication of Jane Austen's novels. The carefully selected sources range from important essays in the history of criticism to journalism and contemporary opinion, and documentary material such as letters and diaries. Pieces of criticism from later periods are also included, in order to demonstrate the fluctuations in an author's reputation.

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CONTENTS
PREFACE = xvi
A NOTE ON TRANSLATIONS = xix
ACKN0WLEDGEMENTS = xx
STANDARD REFERENCES AND ABBREVIATIONS = xxi
INTRODUCTION
 1 Dante's first readers : self-exegesis and opposition ; the special case of the Monarchia = 1
 2 The consensus around Dante : the carly diffusion of his work, especially the Divina Commedia = 3
 3 The early fourteenth-century commentaries and the problem of allegory = 6
 4 Cultural shifts in the mid-fourteenth century : Petrarch and Boccaccio = 9
 5 Biographies, commentaries, and the merchant-readers of the late fourteenth century = 12
 6 Dante's fortunes abroad, particularly in Spain = 15
 7 The humanist critique of Dante = 18
 8 Florentine pattiotism and Neo-Platonism = 20
 9 Pietro Bembo and the 'question of the language' = 23
 10 Sixteenth-century editions and readers ; the Florentine Academy = 25
 11 Dante and Petrarch : comparisons with contemporary painters = 27
 12 Dante's reception abroad in the sixteenth century ; the special case of Protestant readings = 29
 13 Aristotelian poetics and the Dante-quarrel of the late sixteenth century = 31
 14 The Counter-Reformation and the definition of Christian Poetry = 34
 15 Why was Dante not popular in the seventeenth century? = 35
 16 England, Germany, France. Neo-classicism and Arcadia = 40
 17 Gravina and Vico = 42
 18 The eighteenth century : erudition, primitivism, and emotionalism = 43
 19 Silences and interjections : the limitations of the eighteenth-century reading of Dante = 46
 20 Pre-Romantic stirrings : the themes of energy and originality = 47
 21 The German Romantics = 50
 22 England 1818 and after = 53
 23 The liberal historians and Ugo Foscolo = 54
 24 Dante and history in the nineteenth century = 56
 25 History and philology : Dante in France and Germany = 60
 26 Dante in the Risorgimento and the figure of Beatrice = 61
 27 The popularity of Dante (1). Dante as a best-selling author : the schools and the middle classes = 65
 28 The popularity of Dante  (2). Nineteenth-century  translations ;  knowledge of  Dante outside  France, Germany, and England = 68
 29 The popularity of Dante (3). The sixth centenary, 1865 = 70
 30 'Synthesis' gives way to 'analysis' = 73
TEXTS
 1 DANTE ALIGHIERI, letter to Cangrande della Scala, 1314-17 or 1319-20 = 89
 2 GIOVANNI DEL VIRGILIO, epistle to Dante, 1319 or first half 1320 = 104
 3 GIOVANNl DEL VIRGILIO, epitaph intended for Dante's tomb, 1321 = 107
 4 CECCO D'ASCOLI, against Dante's 'poetic' treatment of science, not later than 1337 = 109
 5 FRA GUIDO VERNANI, censure of Dante's Monarchia, between 1327 and 1334 = 110
 6 JACOPO ALIGHIERI, notes to the Inferno, between 1322 and 1333, Prob. before 1324 = 114
 7 GRAZI0LO DE' BAMBAGLIOLI, Proem to hiS commentary on the Inferno,1324 = 116
 8 JACOPO DELLA LANA, commentary on Purgatory XXXII, 109-41, between 1323 and 1328, or 1327 and 1333 = 119
 9 GUIDO DA PISA. Prologue to his commentary on the Inferno, 1327-8, or 1328-33, or 1343-50 = 122
 10 L'OTTIMO (ANDREA LANCIA), Commentary on Inferno XIII, 103-8, 1333-40 = 130
 11 PIETRO ALIGHIERI, Dante's seven kinds of meaning, 1337-40 = 133
 12 The six early commentaries on the opening lines of Inferno III, the inscription above the gate of hell, 1322-40 = 138
 13 GIOVANNI VILLANI, Chronicle of Florence : the first biography of Dante, before 1348 = 147
 14 FRANCESCO PETRARCA, letter to Boccaccio, 1359 = 151
 15 GIOVANNI BOCCACCIO, life of Dante, after June 1351 = 158
 16 GIOVANNI BOCCACCIO, commentary on Inferno x, 52-72,  1373-4 = 167
 17 GEOFFREY CHAUCER, Ugolino and gentillesse in The Canterbury Tales, ?1374-?1396 = 171
 18 BENVENUTO DA IMOLA, Guido da MontefeltrO (Inferno xxvii,25-30), 1375-80 = 176
 19 FRANCESCO DA BUTl, the allegoriCal interpretation of Beatrice, completed 1395 = 179
 20 FILIPPO VILLANI, on the life and customs of the distinguished comic poet Dante, 1395-7 = 182
 21 COLUCC10 SALUTATI, appea1 for a decent text of the comedy,1399 = 185
 22 LEONARDO BRUNI, censure and exaltation of Dante, 1401-after 1402 = 188
 23 FRANCISCO IMPERIAL, the seven virtues. C. 1400 = 196
 24 CHRISTINE DE PIZAN, the path of long study, 1403 = 198
 25 ALAIN CHARTIER, the Donation Of Constantine, after 1428 = 200
 26 LEONARDO BRUNl, Life of Dante, and comparison with Petrarch. 1436 = 202
 27 ST ANTONINUS. the Florentine poet Dante and his errors. before 1459 = 212
 28 MARSILIO FICINO, Preface to his translation ofthe Monarchia, 1467-8 = 216
 29 CRISTOFORO LANDINO, commentary to the Divine Comedy, 1481 = 218
 30 HARTMANN SCHEDEL, Chronicle of the World, 1493 = 226
 31 PIETRO BEMBO, the models for literary Italian are Petrarch and Boccaccio, not Dante, 1525 = 228
 32 NICCOLO MACHIAVELLI (attr.), Dante's hatred of Florence set against the 'Florentinity' of his language, between 1514 and 1525 = 240
 33 ANON., Dante and the jester, c.1540 = 249
 34 CARLO LENZONI, Dante defended against Bembo and his followers, 1548-56 = 250
 35 GI0VAN BATTISTA GELLI, lectures on Dante, 1553-63 = 259
 36 GIOVANNI DELLA CASA, Dante's bad example, 1555〔1576〕= 267
 37 ANTON FRANCESCO GRAZZINI ('IL LASCA'), sonnet against the pedants,1559? = 271
 38 PlER PAOLO VERGERIO, description of the Monarchia, 1559 = 273
 39 ETIENNE PASQUIER, Dante's slur on the royal house of France, after 1560 = 276
 40 JOHN FOXE,'Dantes an Italian writer against the Pope', 1570 = 278
 41 RIDOLFO CASTRAVILLA, Dante'S imperfections, 1572 = 279
 42 JACOPO MAZZONI, the genre to which the Divine Comedy should be ascribed, 1572 = 289
 43 BELLISARIO BULGARINI, the unsuitability in poetry of Dante's treatment of matters of art and science, 1576〔1583〕 = 292
 44 VINCENZO BORGHINI, reading Dante's allegory ; comparison with Petrarch, before 1580 = 294
 45 GALILEO GALILEI, the shape of Dante's hell, 1587-8 = 301
 46 TOMMASO CAMPANELLA, Dante teaches in a popular fashion, and is not confined by rules, 1596 = 303
 47 ALESSANDRO GUARINI, an analysis of Dante's stylistic qualities, illustrated by the Francesca episode, 1610 = 306
 48 TRAIANE BOCCALINI, Dantc manhandled by the pedants, 1612〔1656〕= 311
 49 PAOLO BENI, against the Crusca's exaltation of Dante's language, 1614 = 313
 50 SIR JOHN HARINGTON, an answer of Dante's, 1615 = 316
 51 NICOLA VILLANI／FEDERIGO UBALDINI, vehicle and tenor in a Dantean simile, 1631／before 1657 = 317
 52 GABRIELLO CHIABRERA, the need to go beyond the metrical models left by Dante and Petrarch in love poetry, before 1638 = 320
 53 JOHN MILTON, the love poetry of Dante and Petrarch, 1642 = 323
 54 EMANUELE TESAURO, Dante's plebeian language. 1654 = 326
 55 REN$$E'$$ RAPIN, Dantc too tepid, too obscure, too immodest, too profound, 1674 = 328
 56 JOHN DRYDEN, Dante's restoration of a 'silver age', 1684 = 330
 57 LORENZO MAGALOTTI, Dante as universal genius ; a short 'reading-list',1690 = 331
 58 GIOVAN MARIO CRESCIMBENI, analysis of a sonnet by Dante, 1700 = 332
 59 L0D0VICO ANTONIO MURATORI, Dante's lyric Poetry worthy of attention, 1706 = 336
 60 CIAN VINCENZO GRAVINA, Dante as Poet-theologian, 1708 = 338
 61 GIAMBATTISTA VICO, Dante's 'barbarousness'; three reasons for reading him, 1725, 1728-9 = 346
 62 PIETRO CALEPIO, Volpi's edition of the Comedy, 1730 = 356
 63 CHARLES DE BROSSES, cannot understand the Italian preference for Dante over Ariosto, 1740 = 357
 64 MARK AKENSIDE (attr.), Dante's place in 'The Ballance of Poets', 1746 = 359
 65 ANTONIO CONTI, exaltation of Dante's poem for the ealth and seriousness of its meaning, before 1749 = 361
 66 GIUSEPPE BARETTI, an 'Idea of Dante's Beauties', 1753 = 364
 67 FRANCOIS-MARIE AROUET DE VOLTAIRE, Dante's hotchpotch, 1756 = 374
 68 SAVERIO BETTINELLI, Virgil judges Dante to be overrated, 1757 = 377
 69 FRANCESCO ALGAROTTI, Virgil and Dante compared in their use of science, 1759 = 384
 70 JOHANN JAKOB BODMER (attr.), against anachronism in the criticism of Dante ; the poet's strengths, 1763 = 385
 71 GIUSEPPE BARETTI, resoluteness and patience needed to read the Divine Comedy nowadays, 1764 = 394
 72 MARTIN SHERLOCK, Sherlock instructs the Italians; Sherlock pronounces on Dante, 1780 = 397
 73 THOMAS WARTON, Dante's compounding of the classical  and the Gothic ; comparisons with Milton,  Shakespeare, and virgil, 1781 = 400
 74 GIAN JACOPO DI0NISI, the allegory of the Divine Comedy ; the Divine Comedy seen in relation to Dante's other works, 1786 = 406
 75 FRIEDRICH SCHELLING, Dante in relation to Philosophy, 1803〔1867〕= 409
 76 AUGUST WILHELM SCHLEGEL, for the reinstatement of Dante, 1802-3 = 420
 77 FRANCESCO TORTI, Dante's modernity, his unique genius, 1806 = 427
 78 MME DE STAEL, Corinne's celebration of'Dante, 1807 = 433
 79 WILLIAM HAZLITT, Dante as 'self-will personified',〔1815〕1818 = 435
 80 SAMUEL TAYLOR COLERIDGE, lecture on Dante, 1818 = 439
 81 UGO FOSCOLO, two articles on Dante, 1818 = 447
 82 THOMAS LOVE PEACOCK, Dante becoming fashionable, 1818 = 464
 83 PERCY BYSSHE SHELLEY, Defence of Poetry, 1821 = 466
 84 KARL WITTE, Dante's trilogy : Vita Nuova, Convivio, Divina Commedia, 1823-31 = 471
 85 THOMAS BABINGTON MACAULAV, Dante and Milton, 1825 = 478
 86 UGO FOSCOLO, Dante's religious mission; Dante the sole protagonist of his poem, 1825 = 483
 87 CARLO TROYA, Dante's allegorical greyhound, 1826 = 489
 88 G.W.F. HEGEL, the Divine Comedy as the artistic epic proper of the Christian Catholic Middle Ages, late 1820s = 495
 89 GIOVITA SCALVINI, Dante and real life, 1818?-1830s = 497
 90 GABRIELE ROSSETTI, Dante's secret language, 1832 = 501
 91 ANTOINE FREDERIC OZANAM, Dante and Catholic Phi1osophy, 1839 = 515
 92 CESARE BALBO, Dante's life and works, 1839 = 524
 93 THOMAS CARLYLE, Dante as poet-hero, 1840 = 530
 94 VINCENZO GIOBERTl, Dante the Catholic poet, 1841, 1843 = 542
 95 LEICH HUNT, Dante's 'nightmare' imagination, 1844 = 547
 96 GIUSEPPE MAZZINI, Dante in history ; Beatrice, the 'national aim', 1844 = 552
 97 MARGARET FULLER, translating Dante and teaching him, 1845 = 561
 98 ETIENNE-JEAN DELECLUZE, Dante's poems, Platonic love, and the experimental method, 1848 = 565
 99 JULIAN KLACZKO, against anachronistic readings of Dante, 1854 = 568
 100 C.A. SAINTE-BEUVE, the central role of Beatrice, 1854 = 572
 101 FRANCESCO DE SANCT1S, Pier delle Vigne, 1855 = 577
 102 JOHN RUSKIN, Dante and medieval landscape, 1856 = 595
 103 MATTHEW ARNOLD, Dante and Beatrice, 1863 = 606
 104 La Festa di Dante ; Il Giornale del Centenario; H.C. BARLOW, the sixth-centenary celebrations of Dante's birth, 1864-5 = 615
 105 FRANCESCO DE SANCTIS, the achievement of the Divine Comedy, 1870 = 625
BIBLOGRAPHY = 638
SUBJECTINDEX = 647
NAME INDEX
Passages from the DIVINE COMEDY OF WHICH SPECIAL MENTION IS MADE = 656