De vulgari eloquentia, written by Dante in the early years of the fourteenth century, is the only known work of medieval literary theory to have been produced by a practicing poet, and the first to assert the intrinsic superiority of living, vernacular languages over Latin. Steven Botterill here offers the only Latin-English parallel-text edition of an important early work by the author of the Divine Comedy, and the only English translation with thorough and up-to-date notes and introductory material.

This Norton Critical Edition of Dante's masterpiece is based on Michael Palma's verse translation, which is acclaimed for its elegant rendering of Dante's triple-rhyme scheme into contemporary English. Richard Wilbur praises Palma's translation as "accurate as to sense, fully rhymed, and easy, as a rule, in its movement through the tercets. Readers will find it admirably clear and readable." The text is accompanied by detailed explanatory annotations.
Also included in this edition are an illuminating introduction by Giuseppe Mazzotta, a Translator's Note, The Plan of Dante's Hell, and six maps and illustrations.
"Criticism" provides twelve interpretations by, among others, John Freccero, Robert M. Durling, Alison Cornish, Teodolinda Barolini, Giuseppe Mazzotta, and Robert Hollander.
A Chronology and Selected Bibliography are also included.
About the Series: No other series of classic texts equals the caliber of the Norton Critical Editions. Each volume combines the most authoritative text available with the comprehensive pedagogical apparatus necessary to appreciate the work fully. Careful editing, first-rate translation, and thorough explanatory annotations allow each text to meet the highest literary standards while remaining accessible to students. Each edition is printed on acid-free paper and every text in the series remains in print. Norton Critical Editions are the choice for excellence in scholarship for students at more than 2,000 universities worldwide.

In this study, Steven Botterill explores the intellectual relationship between the greatest poet of the fourteenth century, Dante, and the greatest spiritual writer of the twelfth century, Bernard of Clairvaux. Botterill analyses the narrative episode involving Bernard as a character in the closing cantos of the Paradiso, against the background of his medieval reputation as a contemplative mystic, devotee of Mary, and, above all, a preacher of outstanding eloquence. Botterill draws on a wide range of materials to establish and illustrate the connections between Bernard's reputation and his portrayal in Dante's poem. Botterill's fresh approach to the analysis of the whole episode will provoke the reader to re-evaluate the significance and implications of Bernard's presence in the Commedia.

De vulgari eloquentia, written by Dante in the early years of the fourteenth century, is the only known work of medieval literary theory to have been produced by a practising poet, and the first to assert the intrinsic superiority of living, vernacular languages over Latin. Its opening consideration of language as a sign-system includes foreshadowings of twentieth-century semiotics, and later sections contain the first serious effort at literary criticism based on close analytical reading since the classical era. Steven Botterill here offers an accurate Latin text and a readable English translation of the treatise, together with notes and introductory material, thus making available a work which is relevant not only to Dante's poetry and the history of Italian literature, but to our whole understanding of late medieval poetics, linguistics, and literary practice.

In this study, Steven Botterill explores the intellectual relationship between the greatest poet of the fourteenth century, Dante, and the greatest spiritual writer of the twelfth century, Bernard of Clairvaux. Botterill analyses the narrative episode involving Bernard as a character in the closing cantos of the Paradiso, against the background of his medieval reputation as a contemplative mystic, devotee of Mary, and, above all, a preacher of outstanding eloquence. Botterill draws on a wide range of materials to establish and illustrate the connections between Bernard's reputation and his portrayal in Dante's poem. Botterill's fresh approach to the analysis of the whole episode will provoke the reader to re-evaluate the significance and implications of Bernard's presence in the Commedia.

Starting with the chant of the Jewish temple and synagogue, the text outlines the birth and evolution of Christian chant and the liturgical framework within which the music developed in the early centuries of the Church. It also explores the birth of secular music in Latin monody and other vernacular languages.