Robin Kirkpatrick

In this 1978 book, it is Dr Kirkpatrick's contention that critics have yet to present a satisfactory account of Dante's originality in the Paradiso. We shall best appreciate the Paradiso, he argues, if we recognise that poetry can not only dramatise thought, but also offer a thorough analysis of religious and philosophical belief. Considering Dante's own discussions of poetry and language in the Convivio and De Vulgari Eloquentia, Dr Kirkpatrick claims that, for Dante, direct and careful statement is itself a special responsibility of the poet. This attitude is shown in detail to conflict with a view that critics continue to derive from T. S. Eliot and from theoreticians such as Croce and Terracini, whereby poetic language is allowed only an expressive and imaginative function. Dr Kirkpatrick demonstrates how in practice Dante's adoption of analytical language influences the organisation of his poem and his handling of word and image.

This book represents a major re-assessment of Dante's Inferno, and of the place which the Inferno occupies in the plan of the whole Commedia. On evidence drawn also from the Paradiso and Purgatorio, Dr Kirkpatrick argues that Dante's thinking and poetry are subject to far greater internal tension than is commonly supposed. He then proceeds to analyse each of the thirty-four cantos of the Inferno, and to relate each canto in turn to its thematic and narrative context. Throughout, Dr Kirkpatrick is particularly concerned with features of language and structure which scholars have tended to overlook in emphasising the philosophical character of Dante's poetry. And while he chooses, for the sake of clarity, to write in the accessible language of interpretative criticism, he continually stresses the extent to which advances in modern critical practice may usefully be brought to bear upon Dante's writing.

In this accessible critical introduction to Dante's Divine Comedy Robin Kirkpatrick principally focuses on Dante as a poet and storyteller. He addresses important questions such as Dante's attitude towards Virgil, and demonstrates how an early work such as the Vita nuova is a principal source of the literary achievement of the Comedy. His detailed reading reveals how the great narrative poem explores the relationship that Dante believed to exist between God as creator of the universe and the human being as a creature of God. In addition, Kirkpatrick takes due account of the historical and philosophical dimensions of the poem.

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