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by liontwist 569 days ago
Good info. But is the difficulty detecting the references? Or interpreting the meaning and metaphor?
2 comments

Looking at Inferno book 4 (the virtuous pagans), Jacopo gives us notes for the Pleiad Electra at 4.121; for Hector at 4.122; Julius Caesar at 4.123; Camilla and Penthesilea at 4.124; Latinus at 4.125; Brutus, Julia, Marcia, and Cornelia at 4.127; Saladin at 4.129; Democritus at 4.136.

But he does not give notes for Abel, Noah, Moses at 4.55; Abraham, David, Israel and Rachel at 4.58; Homer, Horace, Ovid and Lucian at 4.88; Aristotle at 4.130; Socrates and Plato at 4.133; Diogenes, Thales, Anaxagoras, Zeno, Heraclitus, and Empedocles at 4.136; Dioscorides, Orpheus, Cicero, Linus, and Seneca at 4.139; Euclid, Ptolemy, Hippocrates, Galen, Avicenna, and Averroës at 4.142.

So Jacopo, at any rate, thought that readers might need help with mythological and historical references, but not with biblical and philosophical; or maybe he thought it was clear enough from the text that Diogenes, Thales, Anaxagoras, etc. were pagan philosophers. But Guido da Pisa's 1328 commentary has detailed notes on all of these. So there must have been readers who wanted more information on these figures.

Thanks. This aligns with my original comment.
In serious reading of anything, there is no difference
We are discussing a book where the author intentionally fills the world with historical figures. This is not the structure of every work.
Historical figures aren't the only exogenous things in written works, and historical figures are far from the extent of the external structures and themes that are present in Dante's Comedy, I would go as far as to say that the historical connections in the comedy are not that significant, and serve mostly to distract one particular class of reader.
Ok, but you aren’t participating in the discussion being had here.
I responded directly to your comment where you suggested that the work of identifying and/or interpreting "references" was unique to or characteristic of Dante.

And I am adding that while always interesting and rewarding for those that are obsessed with a work, "getting" the references in Dante's Comedy or any other work of merit is not the point, and they are not all that important in the work.

And further, since I am near the subject, I am engraving my personal ad hominem, that it is the characteristic mark of a certain class of readership (which I hold in low regard) to fixate on which 7th century monk in which manuscript first introduced some mentioned doctrine before having (and never-to-have) attempted to commune with the work itself.