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Dantean Dialogues

Engaging with the Legacy

of Amilcare Iannucci
Amilcare Iannuci, 1946–2007
Dantean Dialogues
Engaging with the Legacy
of Amilcare Iannucci

Edited by Maggie Kilgour

and Elena Lombardi

University of Toronto Press

Toronto Buffalo London
© University of Toronto Press 2013
Toronto Buffalo London
www.utppublishing.com

ISBN 978-1-4426-4561-5

Printed on acid-free, 100% post-consumer paper with vegetable-based inks.

Toronto Italian Studies

Library and Archives Canada Cataloguing in Publication

Dantean dialogues : engaging with the legacy of Amilcare Iannucci

edited by Maggie Kilgour and Elena Lombardi.

(Toronto Italian studies)

Includes bibliographical references.
ISBN 978-1-4426-4561-5 (bound)

1. Dante Alighieri, 1265–1321 – Criticism and interpretation.

I. Iannucci, Amilcare A., honouree II. Kilgour, Maggie, 1957–,
editor of compilation III. Lombardi, Elena, 1969–, editor of
compilation IV. Series: Toronto Italian studies

PQ4383.D36 2013  851'.1  C2013-903275-4

This book has been published with the help of a grant from the Canadian
Federation for the Humanities and Social Sciences, through the Awards to
Scholarly Publications Program, using funds provided by the Social Sciences
and Humanities Research Council of Canada.

University of Toronto Press acknowledges the financial assistance to its

publishing program of the Canada Council for the Arts and the Ontario Arts
Council.

  

University of Toronto Press acknowledges the financial support for its

publishing activities of the Government of Canada through the Book
Publishing Industry Development Program (BPIDP).
Contents

Preface and Acknowledgments vii

Contributors xiii
Bibliography of Works by Amilcare Iannucci xv
Note on Editions xxii

1 “Lascio cotale trattato ad altro chiosatore”: Form, Literature,

and Exegesis in Dante’s Vita nova 1
zygmunt g. barań ski

2 A Cavalcantian Vita nuova: Dante’s Canzoni Lo doloroso

amor che mi conduce and E’ m’incresce di me sì duramente 41
teodolinda barolini

3 Dante’s Cato Again 66

robert hollander

4 “Che libito fe’ licito in sua legge”: Lust and Law,

Reason and Passion in Dante 125
elena lombardi

5 The Vulgata in the Commedia: Self-Interpreting Texts 155

carolynn lund-mead

6 Dante’s Ovidian Doubling 174

maggie kilgour
vi Contents

7 Esoteric Interpretations of the Divine Comedy 215

massimo ciavolella

8 Ersed Irredent: The Irish Dante 231

piero boitani
Preface

This volume is both a commemoration of and conversation with the

works of the late, great Dante scholar Amilcare Iannucci, who for us
was a colleague, teacher, mentor, and, above all, dear friend. Since his
tragically early death in winter 2007 after a heroic battle with leuke-
mia (which he referred to as his personal trip to hell), we have missed
Amilcare’s generous and enthusiastic intervention. Dialogue, discus-
sion, and debate were central parts of his pedagogy and his life, as well
as the themes of some of his finest readings of Dante and other writers.
For him, literature was a conversation; in a series of brilliant studies, he
traced Dante’s dialogues with past sources, his own works, and with
the future. Through writing, the artist finds a way to overcome death,
as Dante realized when his Commedia allowed him to enjoy the brief
companionship of his beloved Virgil, from whom history had separated
him, and of Beatrice, taken from him by an untimely death. This vol-
ume comes from a desire to have Amilcare speak with us once again, to
have his presence beside us, as we read the texts he loved so well.
It is almost impossible to account for the depth, extension, and va-
riety of Amilcare’s scholarship on Dante and Italian studies, which
he elegantly displayed in both the English and the Italian languages.
Amilcare was a prolific writer; by his own admission he aimed at writ-
ing “at least three pages a day,” which he usually did in the early morn-
ing, often after driving his son Matthew to rowing practice at the crack
of dawn. Amilcare’s favourite format was the long essay, which al-
lowed him both to exhaust arguments and to preserve variety. At least
ten long essays of Amilcare’s have been extremely influential in Dante
studies, generating further debate and scholarship. Through these
essays and throughout his career he pursued three linked strands of
viii Preface

research, which he continuously expanded, deepened, and rethought:

the metaliterary aspect of the Commedia, the role of Limbo, and Dante’s
afterlife in the media.
The first strand, the metaliterary aspect of Dante’s work (which is
best represented by essays such as the “Dante’s Theory of Genres and
the Divina Commedia” and “Autoesegesi dantesca: la tecnica dell’ ‘epi-
sodio parallelo’ nella Commedia”) reflects on genre theory, self- exegesis,
and the discourse of authority within the Comedy. Since the seventies,
Amilcare’s work has contributed to bringing to light Dante’s critical
and self-critical personality. This has mobilized Dante studies in two
ways. On the one hand, it liberated Dante studies from any “totalitar-
ian” assumption and led to the acknowledgment of Dante’s constitu-
tional syncretism and eclecticism in dealing with genre, sources, and
his own philosophical, poetic, and linguistic beliefs. On the other hand,
this kind of study has revealed that under the apparently dispersive
face of Dante’s syncretism lies a stern exegete and self-exegete, who
continually reflects on, modifies, and updates his own thought.
The study of Limbo constitutes Amilcare’s great “monography,” ar-
ticulated in a dozen essays, especially “Limbo: the Emptiness of Time”
and “The Gospel of Nicodemus in Medieval Italian Literature.” Amilcare
explored with unmatched depth the history, theology, and poetics of
the controversial first circle of hell, bringing to light all the nuances of
this complex first episode of the Commedia, in which Dante violently
challenged the standard theology on the topic in order to accommodate
his beloved classics, yet at the same time underlining the magnitude of
their damnation. Investigating in depth the medieval Christian theme of
the harrowing of hell and showing how Dante displaces it from canto 4
to other episodes in upper hell, Iannucci linked the somewhat eccen-
tric and self-standing first circle with Dante’s own mandate through
the harrowing of Beatrice (canto 2) and that of the celestial messenger
(canto 9).
Midway through his career, Iannucci became interested in the after­
life that Dante has had in media, such as theatre, cinema, and televi-
sion, and produced a large number of essays and edited volumes,
including the volume Dante, Cinema and Television. In this field too his
research was groundbreaking, providing both a solid historical context
for modern reworkings of Dante as well as the most detailed survey of
such adaptations and valuable reflections on the “adaptable” nature of
Dante’s text.
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  Preface ix

Amilcare’s fascination with inter- and intratextuality in Dante (with

respect to his own work, the scriptures, and the classics) and his inter-
est in Dante’s thinking on personal and salvation history are present
throughout all of his scholarship and help to connect and interconnect
the various strands of his research. Moreover, he shed light on single
episodes of the Commedia, especially Inferno 5, Inferno 15, Purgatorio 2,
and Paradiso 31.
Amilcare’s scholarship always coexisted with a wonderfully selfless
dedication to his work as a teacher and to the academic and cultural
community around him. This took place after he was finished writing,
in the “other” hours of the day (Amilcare’s day always seemed to have
more hours than the average person’s). A brilliant and inspiring lec-
turer, he was always a model of generosity, kindness, and true human-
ism to students. He was equally generous to his colleagues, university,
and the academic community as a whole. Amilcare could boast an im-
pressive, almost uninterrupted grant record. He sacrificed part of his
time to the often dull process of writing grants in order to encourage
research in Italian studies and to support graduate and postdoctoral
students. Likewise, he fostered research and academic networking by
serving on the boards of several learned societies, as the director of the
Canadian Academic Centre in Rome, and as the founding head of the
Humanities Centre at the University of Toronto. He also engaged in ed-
itorial activities through various journals in the United States, Canada,
and Italy. It is not an exaggeration to say that Iannucci established the
field of Italian studies in Canada, not only through his massive research
and teaching record but also through the creation of the journal Qua­
derni d’Italianistica, which he cofounded in 1980, of the Italian Studies
Series within University of Toronto Press, which he founded in 1984,
and the Major Italian Authors Series within the same press, which he
cofounded in 1991. These publications have since provided the aca-
demic community with outstanding work in Italian studies.
On top of all these other commitments, Amilcare was an indefati-
gable conference organizer, arranging two major conferences a year in
his last years. Meetings such as the one on Marco Polo or on “Voicing
Toronto,” to name a couple, attracted world-class scholars to Canada
and were an outstanding success not only for the scholarly world but
also for the general public, enlivening and enlightening the cultural life
of his beloved Toronto. The success and breadth of these conferences
are even more impressive, as he organized them while recovering from
x Preface

harsh treatments for the disease that would ultimately defeat even his
energy. His energy and willpower in all endeavours were inspirational
to many.
The contributors to this volume all worked closely with Amilcare in
one way or another, and their essays take up questions or episodes that
he had influentially examined and reflect the variety of his interests.
Appropriately, the essays have arranged themselves into pairs. The
first two essays, by Zygmunt Barański and Teodolinda Barolini, look
at Dante’s early works, the Vita nuova and the Rime. Showing how later
editorial and interpretive decisions have overdetermined the place
of these works in Dante’s development, they capture the exciting ex-
perimental nature of these works. For Barański, the young Dante was
“intent on challenging and reconfiguring conventional distinctions
between prose and verse, artistic text and commentary, narrative and
lyric, in order to develop not just a new sort of macrotext but also a
new idea of textuality” (10). Barolini’s attention to Lo doloroso amor and
E’ m’incresce di me, poems, as she notes, often treated as marginal to
Dante’s development and less canonical in his work as a whole, allows
us to see the young Dante on an ideological / poetic path that was first
experimented with and then discarded, one that is surprisingly Caval-
cantian even as it is recognizably Dantean. For both Barański and Baro-
lini, moreover, the young Dante is already acutely self-conscious about
how he will be read and aware of the importance of interpretation,
which will be the theme of several of the other essays in this volume.
The next pair of essays, by Robert Hollander and Elena Lombardi,
examine episodes in which Amilcare was particularly interested. As
Hollander magisterially shows, the exhaustive commentary on the
presence of Cato in Purgatorio only moves us further to admire the
complexity of Dante’s thinking, rather than leading us to an easy ex-
planation. The wild and intricate intertextuality that surrounds the fig-
ure of Cato is a signal of Dante’s awareness that he is tampering with
established Christian dogma and of his desire to involve the reader
in his ambitious and ambiguous violation. Hollander’s conclusion to
the essay on Cato, that there is no firm conclusion to Cato, shows the
heavily pedagogic slant of Dante’s relation to his readers and reminds
us that the pleasure (and the lesson) of the text rests in interpretation
and not in solution. Elena Lombardi’s discussion of Inferno 5 is deeply
indebted to Amilcare’s important contribution to the meaning of this
equally complex episode. In “Forbidden Love: Metaphor and History,”
Amilcare had identified within the canto a marked historical metaphor
originating in the myth of Ares and Aphrodite and argued that Dante’s
 Preface xi

moral conclusion in Inferno 5 is that passion leads to disorder, not only

in the individual, but also in society. Taking the lead from this argu-
ment, Lombardi explores the relation between lust and law, reason and
passion, within Dante’s work, showing that the societal-historical as-
pect of canto 5 has profound ties to Dante’s political discourse in the
Convivio, the Commedia, and the Monarchia.
Much of Amilcare’s work was focused on Dante’s relation to the Bible
and to the bella scola of classical poetry. The next two essays follow these
interests to demonstrate what Barolini calls Dante’s “intense writerli-
ness” (47). Carolynn Lund-Mead’s essay continues Amilcare’s work on
the interconnection between Dantesque episodes. As she notes, Dante’s
elaborate layering of encounters has a precedent in the Bible, which
was shaped into a whole by the drawing of ultimately typological rela-
tions between what had originally been disparate works. Dante uses
a similar method of creating patterns between his different episodes.
Moreover, in these episodes, biblical models of exegesis become a way
of representing character. Lund-Mead thus reads the relations among
Inferno 15, Purgatorio 11–12, and Paradiso 15–17 (the encounters with
Brunetto Latini, Oderisi da Gubbio, and Cacciaguida) as an illustration
of Dante’s spiritual development in terms of his growing understand-
ing of how to read and adapt biblical sources. Maggie Kilgour’s essay
returns to the question of Dante’s relation to the classics, especially
Ovid, whose presence in the Commedia has been increasingly of great
critical interest. While most critics have represented Dante’s relation to
his pagan source as one of correction, in which pagan metamorphosis is
turned into Christian conversion, Kilgour argues that Dante’s engage-
ment with Ovid is more complex. While Lund-Mead shows Dante’s
sensitivity to the complexity of the network of biblical intratextuality,
Kilgour argues that Dante paid equal attention to the themes that run
through and unite Ovid’s works, especially those related to questions
of the nature of artistic creation.
The final two essays take up the question that principally occupied
Amilcare at the end of his life: Dante’s new life. As we noted earlier,
Amilcare had already published a volume on Dante and cinema (Dante
and Cinema), and his last, uncompleted project was an encyclopedic
study of adaptations of Dante from the nineteenth century on. The es-
says by Massimo Ciavolella and Piero Boitani fill in some of the ter-
ritory that Amilcare might have covered, focusing on perhaps less
well-known areas in which Dante had an impact. Ciavolella explores a
new and fascinating episode in Dante’s “cultural afterlife”: the esoteric
interpretation of the Comedy in the nineteenth and twentieth centuries.
xii Preface

In addition to exploring an unwritten page of the last two centuries’

cultural history, this essay reflects on the protean and adaptable nature
of Dante’s text and brings to light the possibility of a very radical and
unidirectional reading of the Commedia. Ciavolella’s insight into the es-
oteric reading of the Commedia leaves the reader to wonder at the extent
of Dante’s unspoken or uncontrolled textuality. Boitani takes on the
wild and largely uncharted territory of Dante in Ireland. Noting first of
all the imaginative power Dante has exerted on Irish writers, he traces
the very different roles the poet played in the imaginations of Yeats,
Joyce, Beckett, and finally Seamus Heaney. As he notes, Yeats’s reading
of Dante begins as similar to that of Rossetti, whose work influenced
the reception of Dante at the end of the nineteenth century, but devel-
oped into something very different. The adaptations of Joyce, Beckett,
and now Seamus Heaney make clear that Dante has had a particular
meaning for writers in Ireland; for Heaney especially, as Boitani notes,
Dante becomes a means not only of voicing northern Irish sectarianism
but also for creating a genealogy of Irish poetry.
As these last essays show, Dante’s works are highly adaptable and
adaptive; they take new lives in new contexts and speak to different
generations to whom they reveal different meanings. Scholarship,
in contrast, too often seems to end with the individual scholar. This
volume, however, is an attempt to recognize and be thankful for the
contributions of a great Dantist who shaped so many other thinkers
in Canada, the United States, Italy, and beyond. Amilcare’s academic
achievements were always tempered by his genuine humility and his
belief that the forging of communities, both academic and otherwise,
was an even more important accomplishment than research alone. It
seems appropriate, therefore, that the scholarly community who loved
him should dedicate a volume, which pays tribute to his critical legacy,
to his even greater legacy in which he took such great pride: his chil-
dren, Anna, Matthew, and Emily.

Acknowledgments

Parts of Piero Boitani’s essay have appeared as “Irish Dante: Yeats, Joyce,
Beckett,” in Metamorphosing Dante: Appropriations, Manipulations, and Re­
writings in the Twentieth and Twenty-First Centuries, ed. M. Gragnolati,
F. Camilletti, and F. Lampart (Vienna-Berlin: Turia+Kant, 2011), 37–60.
Parts of Teodolinda Barolini’s essay have appeared in Italian in her
introduction to Rime giovanili e della “Vita Nuova” (Milan: Rizzoli, 2009).
Contributors

Zygmunt Barański, Serena Professor of Italian Emeritus in the Univer-

sity of Cambridge and Notre Dame Professor of Dante & Italian Studies
in the University of Notre Dame, has published extensively on Dante,
medieval poetics, fourteenth-century Italian literature, and modern
Italian literature and culture. He is the former editor of the interdisci-
plinary journal The Italianist and current editor of Le tre corone.

Teodolinda Barolini, Lorenzo Da Ponte Professor, Columbia Univer-

sity, and past president of the Dante Society of America (1997–2003),
is author of the award-winning Dante’s Poets: Textuality and Truth in
the “Comedy” (1984); The Undivine Comedy: Detheologizing Dante (1992);
Dante and the Origins of Italian Literary Culture (2006); and a commentary
on Dante’s lyrics, Rime giovanili e della “Vita Nuova” (2009).

Piero Boitani, FBA, is Professor of Comparative Literature at Sapienza,

Rome. His numerous books include The Shadow of Ulysses: Figures of a
Myth (1994); The Bible and its Rewritings (1999); Winged Words: Flights in
Poetry and History (2007); La prima lezione sulla letteratura (2007); Letteratura
europea e Medioevo volgare (2007); and Il Vangelo secondo Shakespeare (2009).

Massimo Ciavolella is Franklin D. Murphy Professor of Italian Renais-

sance Studies in the Departments of Comparative Literature and of Ital-
ian at UCLA. He is author and co-editer of many books, including La
malattia d’amore dall’antichità al Medioevo (1976); Saturn from Antiquity to
the Renaissance (1992); Eros and Anteros: Medicine and the Literary Tradi­
tions of Love in the Renaissance (1993); Ariosto Today: Contemporary Per­
spectives (2003); Culture and Authority in the Baroque (2005).
xiv Contributors xiv

Robert Hollander, Professor Emeritus in European Literature, Princeton

University, is the author of a dozen seminal books on Dante and Boc-
caccio, and some 100 articles on Dante and/or Boccaccio. He is the
founding Director of the Dartmouth Dante Project and of the Princeton
Dante Project. His many honours include the Charles T. Davis Award
of the Dante Society of America (2005).

Maggie Kilgour: Maggie Kilgour’s first university class was one on

Dante, taught by Amilcare Iannucci. Molson Professor of English Lan-
guage and Literature, McGill University, she is the author of From Com­
munion to Cannibalism: An Anatomy of Metaphors of Incorporation (1990);
The Rise of the Gothic Novel (1995); Milton and the Metamorphosis of Ovid
(2012); and essays on topics ranging from classical literature to contem-
porary film.

Elena Lombardi is the Paget Toynbee Lecturer in Italian Studies, Uni-

versity of Oxford, and fellow of Balliol College. She is the author of The
Syntax of Desire: Language and Love in Augustine, the Modistae and Dante
(2007); The Wings of the Doves: Love and Desire in Dante and Medieval Cul­
ture (2012); and essays on early Italian poetry (the Sicilian school and
Guido Cavalcanti, Petrarch).

Carolynn Lund-Mead, independent scholar, is an author of essays on

Dante and co-author (with Amilcare Iannucci) of Dante and the Vulgate
Bible (2012), a catalogue of the biblical references in the Commedia and a
record of the history of their recognition.
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