Vorlage:1950 Rezensionen Dante

• [1950-252] Kurt Leonhard: Der gegenwärtige Dante: Sinn und Bild in der Göttlichen Komödie, 1950 [neu aufgenommen] – [Monographie] - https://books.google.de/books?id=wrYIAQAAMAAJ; zu Romano Guardini:
  • S. 75: „Jedenfalls ist das Visionäre, wie Guardini darlegt, der eigentliche Charakter der Comedia.“
  • S. 81: „Da das Empyreum überall von den Strahlen Gottes erfüllt ist, ergibt sich die Folgerung, daß die Himmelsrose an jedem Punkte der Sphäre entfaltet ist, also ebenso ortlos wie zeitlos. [1 Es ließ sich nicht vermeiden, hier manche Dinge noch einmal zu sagen, die sich z.T. schon bei Guardini treffend ausgesprochen finden.]
• [1950-253] Edward Quinn: German Reviews, in: The Dublin Review, 224, 1950, First Quarter, S. 140 [neu aufgenommen] – [Artikel] - https://books.google.de/books?id=SfkhAAAAMAAJ oder https://books.google.de/books?id=h0chGk4tTE4C; zu Romano Guardini:
  • S. 140: „Hochland for October contains an illuminating article by Romano Guardini on Dante's treatment of thieves in the Inferno. That theft is often a mortal sin is well-known to us, but the painful and horrible transformations of these sinners as depicted by Dante seem to be quite out of proportion with the rest even of so lurid a picture . The point is, says Guardini, that the Middle Ages had a keen sense of property as an extension of the personality: a man's goods were not simply those he had been fortunate enough to acquire, they were there because they pertained to his state and dignity. The thief, having struck at the person, must suffer the transformation of his own being: losing first the externals, then the human form itself, degraded painfully to the form of a serpent and left finally uncertain of possessing or of being anything. There is far more in Dante than the lines themselves might immediately suggest, there is a wealth of knowledge latent there even beyond the riches which he consciously and deliberately expressed.“