Another way that allows us to study the restoration of Dante’s poetry in the context of romantic culture are the books of criticism and literary history. The first Spanish critic who made an overall study of the Italian poet, which appeared in eight episodes in a Barcelona newspaper in 1856, was M. Milá, y Fontanals (1818-1884). The great comprehensive discussions will follow immediately, which will investigate the relationships of D. with Castilian literature, of José Amador de los Ríos (1818-1878) and of Marcelino Menédenz y Pelayo (1856-1912). From this moment on, therefore, the Dante theme remains included in the Spanish manuals of literary history. And it is this final period of the nineteenth century the moment of the complete translations of the Comedy (besides the reprint of the Inferno by PF de Villegas, in 1868, and the first edition of the Catalan version by A. Febrer, in 1878) both in prose – M. Aranda y Sanjuán (1868), B. Puigbó (1868), C. Rosell (1871-72), J. Sànchez Morales (1875), JAR (1882), E. de Montalbán (1888) – which in reverse – JM Carulla (1874-79), Conde de Cheste (1879) and the Argentine B. Miter (1894) – They are still reprinted today, and not really for the intrinsic merits, the translations of Aranda, Cheste and Miter. The fact that it is important to point out here is that, including the reprints, more than 20 editions of the translated Comedy were published in Spain between 1868 and 1900. Miter (1894) – The translations of Aranda, Cheste and Miter are still reprinted today, and not because of their intrinsic merits. The fact that it is important to point out here is that, including the reprints, more than 20 editions of the translated Comedy were published in Spain between 1868 and 1900.
But much more important than the reborn attempts of scholarly criticism and versions, is the possibility of influences on the Spanish poets of the end of the century. XIX. The romantics in fact had remembered and exalted D. but were not sensitive, as far as we know, to the genre of Dante’s poetry and it is not easy to identify convincing traces in their works. A solemn and rhetorical poem in triplets entitled A Dante had written by the poet G. García y Tassara (1817-1875), but it remains in the context of what we can call the poetic homage, which again in 1878 and then in the year end of the century will find more complete expression in two books by the poet M. Reina (1806-1905). Apart from this recognition as a favorite poet, there are other more suggestive ways to study,
According to clothesbliss.com, the use of D.’s material is different in Ramón de Campoamor’s overly pretentious work El drama universal (1853), a vast symbolic representation of human life and passions divided into seven days. The poem, which stylistically has nothing of the Comedy, includes, among other legends and other characters, El último sueño de D., in which the protagonist dreams of being locked up by the Guelphs in the Torre della Fame and seeing Beatrice executed. The episode of Francesca, as already in Bécquer, is the theme of two dramatic works between the two centuries, the Francisca de Rimíni (1897) by Vicente Colorado, and La tredia del beso (1910) by Carlos Fernández Shaw. In spite of appearances, O Divino Sainete (1880) by the Galician poet M. Curros Enríquez takes us to a more demanding genre, very personal parodic recreation of Dante’s motifs. Among the great novelists of the end of the century we must remember, in this perspective, Emilia Pardo Bazán (1851-1921), Juan Valera (1824-1905) and Benito Pérez Galdós (1843-1920). The first, in addition to an overall biographical study, more rhetorical than critical (part of Los poetas épicos cristianos of 1893), wrote three short stories with significant titles: La Noche Buena en el Infierno, La Noche Buena en el Purgatorio and La Noche Buena en el Cielo, in which expressions and situations of the condemned appear taken directly from the model. As for Valera and Pérez Galdós, not only did they express positive judgments on D., but they also demonstrate a not mediocre knowledge of the text of the Comedy, testified by some quotations. La Noche Buena en el Infierno, La Noche Buena en el Purgatorio and La Noche Buena en el Cielo, in which expressions and situations of the condemned appear directly derived from the model. As for Valera and Pérez Galdós, not only did they express positive judgments on D., but they also demonstrate a not mediocre knowledge of the text of the Comedy, testified by some quotations. La Noche Buena en el Infierno, La Noche Buena en el Purgatorio and La Noche Buena en el Cielo, in which expressions and situations of the condemned appear directly derived from the model. As for Valera and Pérez Galdós, not only did they express positive judgments on D., but they also demonstrate a not mediocre knowledge of the text of the Comedy, testified by some quotations.
