Abstract
This article highlights—to my knowledge, for the first time—a series of imitative practices and intertextual relationships linking Dante's most beloved classical authors, and shows how Dante dipped into this reservoir of allusive material and shaped it into a vision of the everlasting struggle of mankind caught between good and evil. It specifically focuses on passages from Aeneid 6, Metamorphoses 2, 9, 10 and 11, Pharsalia 4, 9 and 10, Inferno 14–17 and 25, and Monarchia 2.7.
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