Abstract
Canto XXVI of Purgatorio is one of the most evident examples of cross referencing and allusions to other ‘places’ or points in the Commedia which Dante uses to transform his poem into what Roberto Antonelli calls a “sceneggiatura di ferro”, i.e. a pre-defined and highly structured script. In fact, the canto is to be interpreted as one component in a complex system of intratextual connections which at the very least includes Inf. i, v, x and xv, Purg. v, xi and xxiv, as well as all those other cantos which make some mention of troubadours. Presuming that Cantos xxvi and xxvii of Purgatorio constitute the end of the first part of the entire poem, i.e. the journey culminating in the encounter with Beatrice, this article offers a critical interpretation of some of the key loci in Purg. xxvi. It then examines the role they play in Dante the poet’s ‘final showdown’ with his past, not only with those authors mentioned explicitly in the work but also with Guido Cavalcanti and his unwieldy yet silent presence.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
