Fernandez De Villegas's Translation and Commentary on Dante's "Inferno".

Abstract

Fernandez de Villegas's Traducio(n) del dante (Burgos, 1515) has traditionally only received cursory examination concerning its complex structure as a moralistic work. The present study overcomes this shortcoming of earlier investigations by clearly establishing the Spanish commentary's relationship to Christoforo L and ino's Comento (Venezia, 1481) on the Divine Comedy. Given the Italian commentary's role as a primary source for Villegas, I note first, that Villegas selectively employs L and ino's commentary as he would any other source of auctoritates and that his dependence extends only to references and excerpts from that work and other sources which clearly reflect the Spaniard's orthodox Catholic viewpoint. Thus, one important consequence is that L and ino's neo-Platonism gets omitted from the Spanish commentary. Second, by analyzing Villegas's method, the study compares the approaches of both Landino and Villegas to subjects such as the accessus ad auctores, the use of etymologies, and the dependence on churchly, classical, and vernacular sources. This was essential in establishing the Spanish exegete's own additions to the Traducio(n). The parts of the Spanish commentary that Villegas takes from his own repertoire of curriculum authors and churchly commentaries are distinguished from other major sources of auctoritates. Thus, Landino's Comento, varied patristic writings, and works such as the summae of St. Thomas, St. Antoninus of Florence, and the pseudo-Alex and er of Hales all serve as funds of authorities from which Villegas borrows freely. They contribute to about two-thirds of the Spanish exegete's material in the Traducio(n). Third, the analysis focuses on the thematics of the Traducio(n) as opposed to earlier sections which centered on its structure. Such topics as Dante's apparent doctrinal inconsistencies and his unorthodox imagery in the description of Hell fall into the former category. These lapses on Dante's part receive ample justification and clarification in Villegas's extensive references to traditional Catholic sources in the Spanish commentary. Moreover, Villegas expresses dismay at Dante's occasional faltering of style when describing such events as the obscene gestures of the damned or the antics of the demons. For the Spanish exegete such scenes are inappropriate to a work of moral instruction. The Spaniard's responses to Dante's unorthodoxy in these sections further points up his moralistic and churchly orientation to his subject.