Brownlee, Kevin. “Dante and Narcissus (Purg. XXX, 76-99).” Dante Studies XCVI (1978): 201-06.

Interprets Canto XXX as a reversal of the story of Narcissus, with the Pilgrim turning away from his own reflection with shame.

Cambon, Glauco. “The Purgatorial Smile: A Footnote on Dante's Humor.” Yearbook of Italian Studies 4 (1980): 105–15.

Asserts that Dante uses humor in the Purgatorio not just for comic relief, but also to show humor as a part of the “process of self-liberation.”

Doré, Gustave. The Doré Illustrations for Dante's “Divine Comedy.” New York: Dover Publications, 1976, 135p.

One hundred and thirty six plates of engravings by the famous nineteenth-century century illustrator.

Foster, Kenelm. “The Human Spirit in Action: Purgatorio XVII.” Dante Studies LXXXVIII (1970): 17-29.

Examines Canto XVII and finds it a transitional canto, lacking normal drama, but beautiful in its variety and what it shows of human imagination, perception, and reasoning.

Grandgent, C. H. Companion to “The Divine Comedy.” Edited by Charles S. Singleton. Cambridge: Harvard University Press, 1975, 316p.

Commentary, introductions to each canto, charts, and diagrams, to aid readers of The Divine Comedy.

Heilbronn, Denise. “Dante's Valley of the Princes.” Dante Studies XC (1972): 43-58.

Analysis of Canto VIII of Purgatoriothat focuses on the “allegorical enactment of the intermediate Advent.”

——————. “The Prophetic Role of Statius in Dante's Purgatorio.” Dante Studies XCV (1977): 53-67.

Analysis of Canto XXI; focuses on Statius's meeting with the wayfarers, and his transitional function.

Hollander, Robert. “The Women of Purgatorio: Dreams, Voyages, Prophecies.” In Allegory in Dante's “Commedia”, pp. 136-91. Princeton: Princeton University Press, 1969.

Examines figural patterns, including that of Ulysses and the Sirens, used in passages concerning Matilda and Beatrice.

——————. “Dante's Use of the Fiftieth Psalm (A Note on Purg. XXX, 84).” Dante Studies XCI (1973): 145-50.

Contends that the angels stop singing at the precise point they do because Dante has not yet reached the moment of repentance.

Iannucci, Amilcare A. “The Nino Visconti Episode in Purgatorio VIII (vv. 43-84).” La Fusta 3, No. 2 (Fall 1978): 1-8.

Interprets the negligent priest episode as “universal history individualized” in that Nino's story represents the fall and the redemption of man.

Kaske, Carol V. “Mount Sinai and Dante's Mount Purgatory.” Dante Studies LXXXIX (1971): 1-18.

Argues that Dante uses Sinai typology and Exodus motifs in developing his Mount Purgatory.

Mackay, L. A. “Statius in Purgatory.” Classica et Mediaevalia XXVI (1965): 293-305.

Summarizes Statius's work and argues that Dante liked him because “for Statius the way to salvation was opened by poetry.”

Nolan, David, ed. Dante Commentaries: Eight Studies of the “Divine Comedy.” Dublin: Irish Academic Press, 1977, 184p.

Includes analyses of Cantos XIX, XXVII, and XXVIII.

Smith, Nathaniel B. “Arnaut Daniel in the Purgatorio: Dante's Ambivalence toward Provençal.” Dante Studies XCVIII (1980): 99-109.

Explores the reasons why Dante preferred the Italian language while still admiring the language of the troubadours.

Spraycar, Rudy S. “Dante's lago del cor.” Dante Studies XCVI (1978): 1-19.

Analyzes the imagery of the lake of the heart, frozen by pride.

Stambler, Bernard. “The Confrontation of Beatrice and Dante: Purgatorio XXX.” Italica XLII, No. 1 (March 1965): 61-97.

Explains why, in Canto XXX, Dante “projects a marriage only to frustrate it,” and examines the notion of the Three Utopias.

Wenzel, Siegfried. “Dante's Rationale for the Seven Deadly Sins (Purgatorio XVII).” Modern Language Review 60, No. 4 (October 1965): 529-33.

Contends that William Peraldus, a thirteenth-century theologian, is the source for Dante's explanation of the seven deadly sins as misdirected love.

Additional coverage of Dante's life and career is contained in the following sources published by the Gale Group: Classical and Medieval Literature Criticism, Vols. 3, 18; Poetry Criticism, Vol. 21.