Formal and thematic devices demonstrate that Hebrew poetry is composed of a consistent pattern of cantos (stanzas) and strophes. The formal devices include quantitative balance on the level of cantos in terms of the number of verselines, verbal repetitions and transition markers.

This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the Cambridge Vertical Readings in Dante’s Comedy website.

This volume deals with the rhetoric, the formal and thematic framework, of Psalms 90-150 (the Fourth and Fifth Book of the Psalter). It is the conclusion of the Psalms Project started with Psalms 1-41, OTS 53 (2006) , and continued with Psalms 42-89, OTS 57 (2010). Formal and thematic devices demonstrate that the psalms are composed of a consistent pattern of cantos (stanzas) and strophes. The formal devices especially include quantitative balance on the level of the cantos in terms of verselines, verbal repetitions, and (on the level of the strophes) transition markers. The quantitative approach to a psalm in terms of verselines, cola and/or words in most cases clearly discloses a focal message. This massive study is rounded off by an updated introduction to the canto design of biblical poetry (including the book of Job, Lamentations, the Songs of Songs, Deutero-Isaiah and other major poems of the Hebrew Bible).

Vertical Readings in Dante’s Comedy is a reappraisal of the poem by an international team of thirty-four scholars. Each vertical reading analyses three same-numbered cantos from the three canticles: Inferno i, Purgatorio i and Paradiso i; Inferno ii, Purgatorio ii and Paradiso ii; etc. Although scholars have suggested before that there are correspondences between same-numbered cantos that beg to be explored, this is the first time that the approach has been pursued in a systematic fashion across the poem. This collection – to be issued in three volumes – offers an unprecedented repertoire of vertical readings for the whole poem. As the first volume exemplifies, vertical reading not only articulates unexamined connections between the three canticles but also unlocks engaging new ways to enter into core concerns of the poem. The three volumes thereby provide an indispensable resource for scholars, students and enthusiasts of Dante. The volume has its origin in a series of thirty-three public lectures held in Trinity College, the University of Cambridge (2012-2016) which can be accessed at the ‘Cambridge Vertical Readings in Dante’s Comedy’ website.