farfel_n03_075_167

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Services rendered by the early printers of Italy to the national
literature. Here they were given an oppertunity beyond the
reach of their colleagues in other parts by the unquestioned
primacy of this literature over those of the other Western
Vernaculars. The work of its 3 great masters - Dante,
Petrarch + Boccaccio was alive + calling for dissemination;
in France + Germany the great epics + lyrics of an older
time were all but forgotten + scarcely anything of value had
since been produced to take their place, while England had
as yet only Chaucer
(31st May 1487)
See #261 - Brescia Dante (Goff D-31) 2nd illust ed., 1st ed. to contain
woodcuts. The design of the cuts illustrating the early cantos
of Inferno shows the influence of the Florentine engravings,
+ the Brescia ed. in its turn became the model for the
later Venetian editions.
- Although no manuscript in the author's hand is still extant,
approx. 600 manuscript versions remain of which about 100 are
from the 14th C. Stanford's bil folio fragment is from the earliest
or primary tradition (ca. 1435) - identified though the
characteristic omission of the word "cionca" from the end
of the verse 118 Inferno IX.
- Of the 15 ed. before 1500, the 1st 8 were done independently
of each other, each relying on a different manuscript.
-1477 ed. - Dante in here referred to for the 1st time as
inclito et divo (glorious + divine)
-only the Bible has more surviving manuscripts than the
Divine Comedy.
- Ludovico Dolce is rembered more for his plays than than for
his Dante commentary, but the Giolito ed. of 1555 is still
famous for its use of the epithet Divine in the title
of the poem.

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