By Daniela Caselli
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Extra resources for Beckett’s Dantes: Intertexuality in the Fiction and Criticism
30–31 and 29, respectively. 55 Boldrini, Joyce, Dante and the Poetics, pp. 31–35. Boldrini discusses how the variously attributed Epistle to Can Grande uses the fourfold method in relation to the Comedy. 56 De Sanctis, Storia della letteratura, p. ’, in Disjecta, pp. 89–90, p. 90. 57 Mario Luzi, ‘Dante, scienza e innocenza’, Vicissitudini e forma (Milan: Rizzoli, 1974), p. 79; quoted in Dolﬁ, ‘Dante e i poeti del Novecento’, p. 330. 2 Belacqua does not observe ‘the rule of the road’ O frate, andare in sù che porta?
43 Under the ‘velame de li versi strani’ (the veil of the strange verses) (Inf. IX, 63), De Sanctis wanted to ﬁnd a concrete, ulti mate truth. In my analysis, instead, I would like to argue that each Beckett text produces a different ‘Dante’, which has various functions in the text, thus creat ing different ‘Becketts’. I will also explore how Dante is fashioned as an author ity, in its turn shaping Beckett’s authority. In other words, I would like to take into account the instability not only of Beckett’s works but also of Dante’s, trying to avoid attributing a predetermined meaning to them.
41 Pilling, Beckett Before Godot, p. 47. 42 McQueeny, ‘Beckett as critic’, pp. 76–81; Daniela Caselli, ‘Beckett’s intertextual modal ities of appropriation: the case of Leopardi’, Journal of Beckett Studies, 6:1 (Autumn 1996), 1–24. 43 Francesco De Sanctis, Storia della letteratura italiana (Turin: Einaudi-Gallimard, 1996), p. 162. 44 Pietro De Logu, ‘The unifying power of tradition: the presence of Dante in W. B. ), Literature(s) in English: New Perspectives (Frankfurt: Peter Lang, 1990), pp.