Dante Alighieri

Japanese: ダンテ - だんて（英語表記）Dante Alighieri

The greatest Italian poet. With his immortal classic, the Divine Comedy, he summarized the traditions of medieval European literature, philosophy, theology, rhetoric, and the sciences, inherited the orthodoxy of long epic poetry established by Homer of ancient Greece and Virgil of Rome, and opened up the horizons of Renaissance literature alongside Petrarch and Boccaccio, who appeared somewhat later.

Dante was born in May or June 1265 to a family of minor nobility in Florence. His father was Alighiero di Bellincione and his mother was Bella. His great-grandfather Cacciaguida died in battle during the Second Crusade. His grandfather Bellincione and his father Alighiero worked in finance in Florence and Prato, but in Dante's generation the family was not in a wealthy position. However, as was the custom for the nobility, he studied classical grammar and rhetoric from an early age, and in his youth he frequented the upper classes of the city of Florence, honing his academic studies and studying under the great scholar Brunetto Latini.

[Hideaki Kawashima]

From vernacular poetry to the modern school

As is clear from the fact that in the Divine Comedy, the great Roman poet Virgil guides the protagonist Dante through "Hell" and "Purgatory," Dante took the writings of classical Greek and Roman authors as his model, but he was also sensitive to new literary trends of his time. At the time, Latin was still the overwhelmingly dominant written language, but Dante's attention was drawn to the poetic style of vernacular literature, which had finally begun to emerge throughout the Italian peninsula in the late 1200s. The court of Federico II in Sicily was the first to bring vernacular literature to flower in the Italian-speaking region. The Hohenstaufen court, which was in political conflict with the Papacy in Rome, the center of Latin culture, brought many troubadours to the capital, Palermo, and Federico II himself was a writer of elegant Provencal love poetry. The poems written about "love" by poets generally known as the "Sicilian School" were further popularized by the sonnet (a 14-line verse form said to have been invented by one of the group, Giacomo da Lentini, and after the fall of the Hohenstaufen dynasty, the center of vernacular poetry shifted to northern Italy. Bologna in particular had the oldest university in Europe, and here court love poetry took on a philosophical aspect revolving around "love."

In 1287, Dante spent several months in this university town, studying under the aforementioned Brunetto Latini and coming into contact with a new style of poetry on the theme of love. Those who wrote poetry on love in this way are generally called the "Nouveau school," and Dante recognized himself as a leading figure in this field, singing the following in the Divine Comedy: "Cimabue thought he was the king of painting, but Giotto's fame has now faded. So too, Guido has snatched from another Guido the glory of language, but perhaps someone has already been born who will drive them both out of the nest." (Purgatory, No. 11, lines 94-99)
[Hideaki Kawashima]

The establishment of the Beatrice statue

While forming friendships with such "New School" poets as Guido Guinizelli, Guido Cavalcanti, Lapo Gianni, and later Cino da Pistoia, Dante elevated his philosophical "love" poetry to the level of allegory only after he established the female figure of Beatrice (the one who gives love) in his poetic style. Recent research has suggested that Dante's early poetic works include "Fiore" and "Words of Love," but the work that can be determined with certainty at present is "Novum" (1292-93 or 94). In this work, written in a kind of syncretic style, Dante first met Beatrice when he was at the end of his ninth year (i.e. 1274), while she was at the beginning of her ninth year at the time, and then they met again by chance nine years later, when he was 18, on the streets of Florence, and she bowed to him. However, without any significant negotiations, Beatrice died in 1290. There have been various interpretations as to whether she was a real person or a symbol of the eternal woman who guides the poet in the "Paradise" of the Divine Comedy. One model for the real-life version is said to be Bice, the daughter of Folco Portinari, who lived in Florence at the same time as the poet and married the banker Simone de' Bardi. On the other hand, Dante married Gemma, the daughter of Manetto Donati, who had been his fiancée since 1277 (when he was 12 years old), in 1295, and they had at least four children: Jacopo, Pietro, Antonia, and another one probably named Giovanni.

[Hideaki Kawashima]

Purification of the soul through love

There are two ways to approach Dante's literature. The first is to read from an interest in "love," in which the poet makes Beatrice into a guide to the doctrine of the Trinity in "Novum" and "Divine Comedy." As mentioned earlier, one concrete example of this is the poet's repeated use of the number "9" when he first meets Beatrice and when they meet again. As is well known, the Divine Comedy is composed of three parts, "Hell," "Purgatory," and "Heaven." "Hell," which falls into the earth like a funnel, is composed of nine circles, "Purgatory," which climbs up to the earthly paradise, is composed of three layers of love, and "Heaven," which is based on Ptolemy's geocentric theory, is composed of ten celestial rings. The 100 songs in the Divine Comedy are written in an orderly manner in the form of a series of three lines, "terza rima," and each of the three parts, "Hell," "Purgatory," and "Heaven," consists of 33 songs. All of these are based on numbers such as 1, 3, 9, 10 (1 + 3 squared), and 100 (10 squared). The reader will be purified of his soul as he reads the poems, captivated by these numerical sentences.

[Hideaki Kawashima]

A political stance based on a sense of justice

The second approach to Dante's literature is to read from the perspective of the chaotic political situation in Italy around 1300 and to sympathize with the difficulties the poet had to endure in that environment. If the first approach is to turn to religion (Christianity) through "love," the second approach is to turn to politics, which has always drawn readers into a whirlpool of conflict, and in the latter case, the key is "justice." For example, in line 93 of Canto 10 of "Purgatory," the ancient emperor Trajan is about to depart for the battlefield when a poor woman clings to one of the emperor's legs while he is already on horseback, pleading for a fair trial, and the emperor's words when he hears her plea, "Justice desires, pity holds him back," are a direct expression of the sense of justice that permeates the 100 cantos of the Divine Comedy.

When the young poet Dante became involved in the city government of the Florentine Republic, the autonomous cities of northern Italy were caught between the powers of the Papacy and the Holy Roman Emperor, divided into Guelphs (supporters of the Pope) and Ghibellines (supporters of the Emperor), and were constantly at odds with each other. One thing that is clear from Dante's personal history, based on historical facts, is that in 1289, when Florence, which supported the Pope, fought a decisive battle with Arezzo, which supported the Emperor, he participated in the Battle of Campaldino as a member of the cavalry. The poet soon became deeply involved in the city government of Florence.

In November 1295, Dante, who was of noble birth, joined the Guild of Physicians in order to engage in political activities, and was a member of the committee for the election of the Popolo. In December he became one of the savi (elder senators), and in the following year, 1296, he was selected as one of the Hundred members of the Council of Centuries, which was directly under the Signoria (government). At that time, the administration of the city of Florence was divided into the White Party, which advocated an independent republic policy, and the Black Party, which was strongly connected to the Pope for commercial interests, among the papal faction. This was further intertwined with the feud between the city's noble families, the Cerchi and the Donati, and complicated conflicts were occurring repeatedly. In 1300, Dante went to San Gimignano as an envoy to unite the papal faction, and in the summer of the same year, he became Priore (concurril). However, as the conflict between the Black and White parties intensified, Pope Boniface VIII sent a mediating envoy to try to interfere in the internal affairs of Florence, and the White Party, which held power, sent three envoys, including Dante, to Rome in October 1801 to thwart this. However, in the meantime, the papal envoy Valois entered Florence, causing a coup that gave the Black Party power, and in January 1802, without being able to return to his homeland, Dante was charged with embezzlement of public funds, sentenced to banishment from the city and a fine, and in March, for failing to pay his fine and appear in court, he was sentenced to permanent banishment, and it was decided that if he was caught, he would be burned at the stake.

[Hideaki Kawashima]

Continuing to write while wandering

From then on, Dante never returned to his homeland, but continued to wander from city to city in northern Italy. At first, he conspired with other White Party comrades to return to Florence, but both attempts ended in failure, and he finally declared himself a one-man party (Paradise, Canto 17). However, during this life abroad, full of hardships, he continued to write the three Divine Comedies as a poet, and, with a stronger will, wrote the philosophical treatise Symposium (unfinished) and the Latin poetic treatise De Vulgare (unfinished) between 1304 and 1307. Then, in 1310, when the Holy Roman Emperor Henry VII descended upon Italy, Dante wrote Treatise Imperiale in Latin, hoping to bring about a change in the political situation, but the sudden death of the emperor in 1313 ended all hopes of returning to his native Florence. He was received as a guest at the courts of the Scala family in Verona and the Polenta family in Ravenna, and in 1820 he wrote "Ampulse" based on a lecture he gave in Verona. In September 1821, on his way back from a visit to the Republic of Venice as an envoy for Guido Novello da Polenta of Ravenna, he suddenly fell ill (presumably with malaria) and died in Ravenna between the 13th and 14th of the same month. His remains are buried in a corner of the Church of St. Francis in the same city.

[Hideaki Kawashima]

Influence on future generations

Dante's literature has had a tremendous impact on later generations, not only in Italy, but also when we recall the names of English-speaking poets and writers such as Blake, Longfellow, Joyce, T.S. Eliot, and Pound, we can get a glimpse of this. In Japan, since the Meiji period, many literary figures, including Ueda Bin and Mori Ogai, have paid attention to Dante's literature, and a considerable number of his works have been translated and introduced. These trends can be broadly categorized into the following: first, those based on pure literary motives, led by Ueda Bin; second, those based on religious interest, such as Uchimura Kanzo and Masamune Hakucho; third, those based on philosophical and ethical tendencies, such as Abe Jiro; and fourth, those based on the tense relationship between politics and literature, especially during the Second World War, such as the interest shown by Yanaihara Tadao, Hanada Kiyoteru, and Sugiura Minpei. Many of the translations were done by ardent Christians (or religious people), such as the religious leader Nakayama Masaki (1886-1944), who published the Complete Works of Dante, but when it comes to the translation of his masterpiece, the Divine Comedy, the translation by Yamakawa Heizaburo must be cited as faithful and accurate to the original. Others include the laborious works of Taketomo Sofu, Ikuta Choko, Nogami Soichi (1910-2001), Hirakawa Sukehiro (1931-), and Jugaku Bunsho.

[Hideaki Kawashima]

"The Poet Dante" by Ueda Bin (1901, Kinkodo)" ▽ "The Perfection" by Ueda Bin (1901, Bunyukan)" ▽ "The Complete Works of Dante, translated by Nakayama Masaki, 10 volumes (1925, Shinseido)" ▽ "The Conquest of Hell" by Abe Jiro (1933, Iwanami Shoten)" ▽ "Dante: The Divine Comedy" by Kuroda Masatoshi (1935, Iwanami Shoten)" ▽ "The Divine Comedy, translated by Taketomo Mofu (1952, Kawade Shobo)" ▽ "The Divine Comedy, translated by Nogami Soichi (included in World Literature Series 6: Dante, 1962, Chikuma Shobo)" ▽ "Around Hell" by Hanada Kiyoteru (included in Hanada Kiyoteru Collected Works II, 1963, Miraisha)" ▽ "On Dante" by Masamune Hakucho (Included in the Complete Works of Modern Japanese Literature 14, "Complete Works of World Literature, Volume 3, The Divine Comedy, translated by Hirakawa Sukehiro (1966, Kawade Shobo Shinsha)" ▽ "Research on Renaissance Literature, Supplemented Edition, by Sugiura Akihei (1966, Miraisha)" ▽ "Saturday School Lectures on Dante's Divine Comedy, 3 volumes, by Yanaihara Tadao (1969, Misuzu Shobo)" ▽ "History of Italian Literature (Middle Ages), by De Sanctis, translated by Ikeda Ren et al. (1970, Gendai Shichosha)" ▽ "European Literature and the Latin Middle Ages, by Curtius, translated by Minamioji Shinichi et al. (1971, Misuzu Shobo) " ▽ "Complete Works of World Literature, Volume 2, The Divine Comedy, translated by Kotobuki Takefumi (1976, Shueisha)" ▽ "Dante's Vernacular Poetry," translated by Iwakura Tomotada (1984, Tokai University Press)" ▽ "The Spirit of Epic Poetry, by Kawashima Hideaki (1990, Iwanami Shoten)" ▽ "Dante the Secular Poet," by Auerbach, translated by Odake Sumie (1993, Misuzu Shobo)" ▽ "Dante and Medieval Europe," by Borchardt, translated by Odake Sumie (1995, Misuzu Shobo)" ▽ "The Divine Comedy, all three volumes, translated by Yamakawa Heizaburo (Iwanami Bunko)" ▽ "The Culture of the Italian Renaissance, by Burckhardt, translated by Shibata Jisaburo (Chuko Bunko)"

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

Japanese:

イタリア最大の詩人。不滅の古典『神曲』を著して、ヨーロッパ中世の文学、哲学、神学、修辞学、および諸科学の伝統を総括し、古代ギリシアのホメロスとローマのウェルギリウスが築いた長編叙事詩の正統を継承し、やや遅れて現れたペトラルカ、ボッカチオと並んで、ルネサンス文学の地平を切り開いた。

　1265年の5月もしくは6月に、フィレンツェの小貴族の家柄に生まれた。父親はアリギエーロ・ディ・ベッリンチョーネ、母親はベッラ。祖父の祖父カッチャグィーダは第2回十字軍に加わって戦死。祖父ベッリンチョーネと父アリギエーロはフィレンツェとプラートで金融業に従事していたが、ダンテの代に一家は裕福とはいえない経済状態にあった。けれども、貴族のたしなみとして、幼少から古典文法と修辞学を修め、青年時代にはフィレンツェ市国の上流階級に出入りし、学問の研鑽(けんさん)を積み、碩学(せきがく)のブルネット・ラティーニにも師事した。

［河島英昭］

俗語詩から清新体派へ

『神曲』のなかで主人公ダンテを導きながら、ローマの大詩人ウェルギリウスが「地獄」「煉獄(れんごく)」を案内することからも明らかなように、ダンテはギリシア、ローマの古典作家たちの文章を規範としたが、他方では同時代の新しい文学思潮にも敏感であった。当時は文章語としてラテン語がまだ圧倒的優位を占めていたが、1200年代後半に入ってようやくイタリア半島各地に勃興(ぼっこう)しつつあった俗語文学の詩法に、ダンテは着目した。イタリア語地域でもっとも早く俗語文学を開花させたのは、シチリア島におけるフェデリーコ2世の宮廷であった。ラテン文化の中心地であるローマの教皇庁と政治的に対立していたホーエンシュタウフェン家の宮廷は、首都パレルモに多数の吟遊詩人たちを流入させ、フェデリーコ2世自身が流麗なプロバンス恋愛詩の実作者であった。一般に「シチリア派」とよばれる詩人たちの「愛」をめぐって書かれた詩は、この派の一人ジャコモ・ダ・レンティーニが考案したといわれるソネット（十四行詩型）によって、いっそう一般化し、ホーエンシュタウフェン家の没落後、俗語詩の中心は北イタリアに移った。なかでもボローニャはヨーロッパ最古の大学を擁し、ここにおいて宮廷恋愛詩は「愛」をめぐり哲学的相貌(そうぼう)を帯びるに至った。

　1287年に、ダンテはこの大学都市で数か月を過ごし、前述のブルネット・ラティーニに師事したり、「愛」を主題とする新しい詩法に接したりした。この種の「愛」をめぐる詩をつくった者たちを概括して「清新体派」とよぶが、ダンテはその第一人者になったことを自認して、『神曲』のなかで次のように歌っている。「チマブーエは画壇の王座にある／と思っていたのが、名声はジョットにあり、／いまや彼の栄誉はかげってしまった。／同じようにグィードが別のグィードから／言語の栄光を奪ったが、たぶんそのいずれをも／巣から追い出す者はもう生まれている。」（「煉獄編」第11曲、94～99行）
［河島英昭］

ベアトリーチェ像の定着

グィード・グイニツェッリ、グィード・カバルカンティ、ラーポ・ジャンニ、またのちにはチーノ・ダ・ピストイアなど「清新体派」の詩人たちと親交を結びながら、ダンテが哲学的な「愛」の詩を寓意(ぐうい)にまで高めたのは、ベアトリーチェ（愛を与える者）という女性像を詩法のうちに定着させたときからである。昨今の研究によってダンテの初期の詩作品に『フィオーレ』や『愛のことば』などが想定されるようになったが、いまのところ確実に最初の作品と断定できるのは『新生』（1292～93もしくは94）である。一種の詩文混交体で書かれたこの作品のなかで、ダンテは9歳の終わりごろ（すなわち1274）ベアトリーチェに初めて会い、そのとき彼女のほうは9歳の初めであったが、それから9年を経て18歳のときにフィレンツェの路上でたまたま再会し、彼女が会釈をしたという。が、さしたる交渉もないまま、1290年にベアトリーチェは亡くなってしまう。彼女を実在の人物とするか、あるいは『神曲』「天国編」のなかで詩人を導く久遠の女性の象徴とするか、この点をめぐってさまざまな解釈がなされてきたが、実在説のモデルとしては、詩人と同じころフィレンツェに住み、銀行家シモーネ・デ・バルディに嫁したフォルコ・ポルティナーリの娘ビーチェであったという。他方、ダンテは1277年（すなわち12歳のとき）から父親の意志によって婚約者と定められていたマネット・ドナーティの娘ジェンマと95年に結婚し、ヤーコポ、ピエートロ、アントーニア、そしてもう1人はたぶんジョバンニという名の、少なくとも4人の子供たちが生まれた。

［河島英昭］

愛を通して魂の浄化に

ダンテ文学への接近の方法は二つに大別できるであろう。第一は、「愛」をめぐる関心から読み進む道であり、詩人は『新生』や『神曲』のなかで、ベアトリーチェを結局、三位(さんみ)一体説への導き手に仕立てている。先に触れたところでも、詩人がベアトリーチェに初めて会ったときや再会したときに、しきりに「9」という数字を用いるのは、その具体的な表れの一つである。周知のように、『神曲』は「地獄」「煉獄」「天国」の3編からなり、漏斗(ろうと)状に地底へ落ち込む「地獄」が9の円周から、地上楽園へ登り詰めていく「煉獄」の山が3種の愛の層から、またプトレマイオスの天動説に基づく「天国」が10天の輪から、それぞれ構成されていたり、『神曲』100歌が3行一連のテルツァ・リーマterza rimaの形式で整然と書き抜かれ、「地獄」「煉獄」「天国」の3編がそれぞれ33歌からなっていたりすることなどは、いずれも1、3、9、10（1+3の二乗）、100（10の二乗）といった数値に根拠を置いている。そして読者は、これらの数の文(あや)にとらえられながら、詩編を読み進むうちに魂の浄化を遂げていくことになる。

［河島英昭］

正義感を貫いた政治的姿勢

ダンテ文学への接近の第二は、1300年前後のイタリアの混乱した政治的状況の認識とそのなかで詩人が苦しみながら生きざるをえなかった困難への共感とから読み進む道である。第一の読み方が「愛」を通して宗教（キリスト教）へ向かうとすれば、第二のそれは、いつの時代にあっても読者を軋轢(あつれき)の渦へ巻き込む政治へ向かう読み方であり、後者の場合にあって鍵(かぎ)となるのは「正義」である。たとえば、「煉獄編」第10歌93行において、いにしえの皇帝トラヤヌスが戦場へ向かわんとしているのを、すでに馬上にあった皇帝の片足にすがって貧しい女が公正な裁きを願い出て彼を引き留める。その嘆願を聞き入れたときの皇帝のことば「正義が欲して憐憫(れんびん)が引き留める」という1行は、『神曲』100歌を貫く正義感の端的な表れであるといっていい。

　青年詩人ダンテがフィレンツェ共和国の市政に関与していったころ、北イタリアの各自治都市はローマ教皇庁と神聖ローマ皇帝の両勢力のはざまにあって、グェルフ（教皇派）とギベリン（皇帝派）に分かれ、相克を繰り返していた。ダンテ個人の経歴で史実に照らして明らかなものとしては、1289年に教皇派のフィレンツェが皇帝派のアレッツォと決戦を交えたとき、騎兵隊の一員としてカンパルディーノの戦闘に参加した。やがて詩人はフィレンツェの市政に深くかかわっていくことになる。

　1295年の11月に、貴族出身のダンテは政治活動を行う必要上、「医薬業種組合」に加入し、ポーポロ選出の委員に加わり、12月にはサービsavi（元老）の1人となり、翌96年にはシニョリーアsignoria（政府）直属の百人委員会の1人に選ばれた。そのころ、フィレンツェ市の行政は、教皇派のなかでも、共和国の自立政策を掲げる白(はく)党と、商業上の利益から教皇に強く結び付く黒(こく)党とに分裂し、これがさらに市の名門チェルキ家とドナーティ家の確執と絡み合い、複雑な争いを繰り返していた。ダンテは1300年に、教皇派の同盟のため使者としてサン・ジミニャーノに赴き、その年の夏にはプリオーレpriore（統領）になった。しかし黒白両党の争いが激化して、教皇ボニファティウス8世が調停使節を派遣し、フィレンツェの内政に干渉しようとしたため、政権を握っていた白党はこれを阻む目的で01年10月、ダンテを含む3人を使者としてローマへ送った。だが、その間に教皇の使節バロアはフィレンツェに入り、政変が起こって黒党の天下となったため、02年1月、ダンテは故国に帰れないままに公金横領の罪に問われ、市国外追放と罰金刑を宣告され、さらに3月には罰金を支払いに出頭しなかった理由で永久追放の宣告を受け、捕らえられれば火刑に処せられることが決まった。

［河島英昭］

放浪のなかにも執筆を継続

以来、ダンテは二度と故国に戻ることなく、北イタリアの都市から都市へ流浪を続けるが、初めのうちは他の白党の同志たちと謀って、フィレンツェ復帰を画策したがいずれも失敗に終わり、最後には一人一党を宣言した（「天国編」第17歌）。しかしながら、この苦難に満ちた他郷での生活のうちに、詩人として『神曲』3編を書き続けるかたわら、より強固な意志を保ちながら、1304年から07年ごろまでに、哲学的論文『饗宴(きょうえん)』（未完）やラテン語による詩論『俗語論』（未完）も執筆した。そして10年には、神聖ローマ皇帝ハインリヒ7世がイタリアに攻め下ってきたのを機に、政情の変革を期待して『帝政論』をラテン語で書いたが、13年に皇帝が急死し、これによって故国フィレンツェに帰る望みはいっさい絶たれた。そしてベローナのスカーラ家やラベンナのポレンタ家の宮廷に賓客として迎えられ、20年にはベローナで行った講演をもとに『水陸論』が書かれた。21年9月、ラベンナのグィード・ノベッロ・ダ・ポレンタの使節としてベネチア共和国へ赴いた帰途、急の病（マラリアと推測されている）を得て、同月13日から14日にかけてラベンナで没した。遺骸(いがい)は同市聖フランチェスコ教会堂の一角に埋葬されている。

［河島英昭］

後世への影響

ダンテの文学が後世へ与えた影響は絶大なものがあり、イタリア国内はもちろんであるが、たとえばブレイク、ロングフェロー、ジョイス、T・S・エリオット、パウンドなど、英語圏の詩人や作家たちの名前を思い起こすだけでも、その一端がうかがえるであろう。日本でも明治以来、上田敏(びん)、森鴎外(おうがい)をはじめ、多くの文学者たちがダンテの文学に注目し、かなりの数の翻訳と紹介が行われてきた。その傾向を大別すれば、第一は上田敏を頂点とする純文学的動機によるもの、第二は内村鑑三、正宗白鳥(まさむねはくちょう)らによる宗教的関心に基づくもの、第三は阿部次郎をはじめとする哲学的・倫理的傾向のもの、第四は政治と文学との緊迫した関係から、とりわけ第二次世界大戦下の状況のなかで矢内原忠雄(やないはらただお)、花田清輝(きよてる)、杉浦明平(みんぺい)らが寄せた関心など、になるであろう。なお翻訳には、たとえば『ダンテ全集』を刊行した宗教家中山昌樹(まさき)（1886―1944）など、熱烈なキリスト者（もしくは宗教者）の手によるものが多いが、代表作『神曲』の翻訳に関しては、原文に忠実で正確なものとして山川丙三郎(へいざぶろう)の訳業をあげねばならない。ほかに竹友藻風(たけともそうふう)、生田長江(いくたちょうこう)、野上素一(そいち)（1910―2001）、平川祐弘(すけひろ)（1931―　）、寿岳文章(じゅがくぶんしょう)などの労作がある。

［河島英昭］

『上田敏著『詩聖ダンテ』（1901・金港堂）』▽『上田敏著『みをつくし』（1901・文友館）』▽『中山昌樹訳『ダンテ全集』全10巻（1925・新生堂）』▽『阿部次郎著『地獄の征服』（1933・岩波書店）』▽『黒田正利著『ダンテ　神曲』（1935・岩波書店）』▽『竹友藻風訳『神曲』（1952・河出書房）』▽『野上素一訳『神曲』（『世界文学大系6　ダンテ』所収・1962・筑摩書房）』▽『花田清輝著『地獄の周辺』（『花田清輝著作集Ⅱ』所収・1963・未来社）』▽『正宗白鳥著『ダンテについて』（『現代日本文学全集14　正宗白鳥集』所収・1965・筑摩書房）』▽『平川祐弘訳『世界文学全集　第三集3　神曲』（1966・河出書房新社）』▽『杉浦明平著『増補ルネッサンス文学の研究』（1966・未来社）』▽『矢内原忠雄著『土曜学校講義　ダンテ「神曲」』全3巻（1969・みすず書房）』▽『デ・サンクティス著、池田廉他訳『イタリア文学史（中世）』（1970・現代思潮社）』▽『クルツィウス著、南大路振一他訳『ヨーロッパ文学とラテン中世』（1971・みすず書房）』▽『寿岳文章訳『世界文学全集2　神曲』（1976・集英社）』▽『岩倉具忠訳『ダンテ俗語詩論』（1984・東海大学出版会）』▽『河島英昭著『叙事詩の精神』（1990・岩波書店）』▽『アウエルバッハ著、小竹澄栄訳『世俗詩人ダンテ』（1993・みすず書房）』▽『ボルヒャルト著、小竹澄栄訳『ダンテと中世ヨーロッパ』（1995・みすず書房）』▽『山川丙三郎訳『神曲』全3巻（岩波文庫）』▽『ブルクハルト著、柴田治三郎訳『イタリア・ルネサンスの文化』（中公文庫）』