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Divine Comedy
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epic poem by Dante Alighieri
"The Divine Comedy" redirects here. For other uses, see The Divine Comedy (disambiguation).
"La Divina Commedia" redirects here. For other uses, see Commedia (disambiguation).
Dante shown holding a copy of the Divine Comedy, next to the entrance to Hell, the seven terraces of Mount Purgatory and the city of Florence, with the spheres of Heaven above, in Michelino's fresco
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Dante's Divine Comedy
Inferno (Hell)
Purgatorio (Purgatory)
Paradiso (Heaven)
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The Divine Comedy (Italian: Divina Commedia [diˈviːna komˈmɛːdja]) is a long narrative poem by Dante Alighieri, begun c. 1308 and completed in 1320, a year before his death in 1321. It is widely considered to be the preeminent work in Italian literature[1] and one of the greatest works of world literature.[2] The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church by the 14th century. It helped establish the Tuscan language, in which it is written, as the standardized Italian language.[3] It is divided into three parts: Inferno, Purgatorio, and Paradiso.
The narrative describes Dante's travels through Hell, Purgatory, and Paradise or Heaven,[4] while allegorically the poem represents the soul's journey towards God.[5] Dante draws on medieval Christian theology and philosophy, especially Thomistic philosophy and the Summa Theologica of Thomas Aquinas.[6] Consequently, the Divine Comedy has been called "the Summa in verse".[7] In Dante's work, Virgil is presented as human reason and Beatrice is presented as divine knowledge.[8]
The work was originally simply titled Comedia (so also in the first printed edition, published in 1472). The adjective Divina was added by Giovanni Boccaccio, and the first edition to name the poem Divina Comedia in the title was that of the Venetian humanist Lodovico Dolce,[9] published in 1555 by Gabriele Giolito de' Ferrari.
Contents
[hide]
1 Structure and story
1.1 Inferno
1.2 Purgatorio
1.3 Paradiso
2 History
2.1 Manuscripts
2.2 Early printed editions
3 Thematic concerns
3.1 Scientific themes
4 Theories of influence from Islamic philosophy
5 Literary influence in the English-speaking world and beyond
5.1 English translations
6 In the arts
7 Gallery
8 See also
9 Notes and references
10 External links
Structure and story[edit]
The Divine Comedy is composed of 14,233 lines that are divided into three cantiche (singular cantica) – Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise) – each consisting of 33 cantos (Italian plural canti). An initial canto, serving as an introduction to the poem and generally considered to be part of the first cantica, brings the total number of cantos to 100. It is generally accepted, however, that the first two cantos serve as a unitary prologue to the entire epic, and that the opening two cantos of each cantica serve as prologues to each of the three cantiche.[10][11][12]
The number "three" is prominent in the work, represented in part by the number of cantiche and their lengths. Additionally, the verse scheme used, terza rima, is hendecasyllabic (lines of eleven syllables), with the lines composing tercets according to the rhyme scheme aba, bcb, cdc, ded, ....
Written in the first person, the poem tells of Dante's journey through the three realms of the dead, lasting from the night before Good Friday to the Wednesday after Easter in the spring of 1300. The Roman poet Virgil guides him through Hell and Purgatory; Beatrice, Dante's ideal woman, guides him through Heaven. Beatrice was a Florentine woman whom he had met in childhood and admired from afar in the mode of the then-fashionable courtly love tradition, which is highlighted in Dante's earlier work La Vita Nuova.[citation needed]
The structure of the three realms follows a common numerical pattern of 9 plus 1, for a total of 10: 9 circles of the Inferno, followed by Lucifer contained at its bottom; 9 rings of Mount Purgatory, followed by the Garden of Eden crowning its summit; and the 9 celestial bodies of Paradiso, followed by the Empyrean containing the very essence of God. Within each group of 9, 7 elements correspond to a specific moral scheme, subdivided into three subcategories, while 2 others of greater particularity are added to total nine. For example, the seven deadly sins of the Catholic Church that are cleansed in Purgatory are joined by special realms for the Late repentant and the excommunicated by the church. The core seven sins within Purgatory correspond to a moral scheme of love perverted, subdivided into three groups corresponding to excessive love (Lust, Gluttony, Greed), deficient love (Sloth), and malicious love (Wrath, Envy, Pride).[citation needed]
In central Italy's political struggle between Guelphs and Ghibellines, Dante was part of the Guelphs, who in general favored the Papacy over the Holy Roman Emperor. Florence's Guelphs split into factions around 1300: the White Guelphs and the Black Guelphs. Dante was among the White Guelphs who were exiled in 1302 by the Lord-Mayor Cante de' Gabrielli di Gubbio, after troops under Charles of Valois entered the city, at the request of Pope Boniface VIII, who supported the Black Guelphs. This exile, which lasted the rest of Dante's life, shows its influence in many parts of the Comedy, from prophecies of Dante's exile to Dante's views of politics, to the eternal damnation of some of his opponents.[citation needed]
The last word in each of the three cantiche is stelle ("stars").
Inferno[edit]
Gustave Doré's engravings illustrated the Divine Comedy (1861–1868); here Charon comes to ferry souls across the river Acheron to Hell.
Main article: Inferno (Dante)
The poem begins on the night before Good Friday in the year 1300, "halfway along our life's path" (Nel mezzo del cammin di nostra vita). Dante is thirty-five years old, half of the biblical lifespan of 70 (Psalms 89:10, Vulgate), lost in a dark wood (understood as sin),[13][14][15] assailed by beasts (a lion, a leopard, and a she-wolf) he cannot evade, and unable to find the "straight way" (diritta via) – also translatable as "right way" – to salvation (symbolized by the sun behind the mountain). Conscious that he is ruining himself and that he is falling into a "low place" (basso loco) where the sun is silent ('l sol tace), Dante is at last rescued by Virgil, and the two of them begin their journey to the underworld. Each sin's punishment in Inferno is a contrapasso, a symbolic instance of poetic justice; for example, in Canto XX, fortune-tellers and soothsayers must walk with their heads on backwards, unable to see what is ahead, because that was what they had tried to do in life:
they had their faces twisted toward their haunches
and found it necessary to walk backward,
because they could not see ahead of them.
... and since he wanted so to see ahead,
he looks behind and walks a backward path.[16]
Allegorically, the Inferno represents the Christian soul seeing sin for what it really is, and the three beasts represent three types of sin: the self-indulgent, the violent, and the malicious.[17] These three types of sin also provide the three main divisions of Dante's Hell: Upper Hell, outside the city of Dis, for the four sins of indulgence (lust, gluttony, avarice, anger); Circle 7 for the sins of violence; and Circles 8 and 9 for the sins of malice (fraud and treachery). Added to these are two unlike categories that are specifically spiritual: Limbo, in Circle 1, contains the virtuous pagans who were not sinful but were ignorant of Christ, and Circle 6 contains the heretics who contradicted the doctrine and confused the spirit of Christ. The circles number 9, with the addition of Satan completing the structure of 9 + 1 = 10.[18]
Purgatorio[edit]
Main article: Purgatorio
Dante gazes at Mount Purgatory in an allegorical portrait by Agnolo Bronzino, painted c. 1530
Having survived the depths of Hell, Dante and Virgil ascend out of the undergloom to the Mountain of Purgatory on the far side of the world. The Mountain is on an island, the only land in the Southern Hemisphere, created by the displacement of rock which resulted when Satan's fall created Hell[19] (which Dante portrays as existing underneath Jerusalem[20]). The mountain has seven terraces, corresponding to the seven deadly sins or "seven roots of sinfulness."[21] The classification of sin here is more psychological than that of the Inferno, being based on motives, rather than actions. It is also drawn primarily from Christian theology, rather than from classical sources.[22] However, Dante's illustrative examples of sin and virtue draw on classical sources as well as on the Bible and on contemporary events.
Love, a theme throughout the Divine Comedy, is particularly important for the framing of sin on the Mountain of Purgatory. While the love that flows from God is pure, it can become sinful as it flows through humanity. Humans can sin by using love towards improper or malicious ends (Wrath, Envy, Pride), or using it to proper ends but with love that is either not strong enough (Sloth) or love that is too strong (Lust, Gluttony, Greed). Below the seven purges of the soul is the Ante-Purgatory, containing the Excommunicated from the church and the Late repentant who died, often violently, before receiving rites. Thus the total comes to nine, with the addition of the Garden of Eden at the summit, equaling ten.[23] <- 7 + 2 = 9 not 10
Allegorically, the Purgatorio represents the Christian life. Christian souls arrive escorted by an angel, singing In exitu Israel de Aegypto. In his Letter to Cangrande, Dante explains that this reference to Israel leaving Egypt refers both to the redemption of Christ and to "the conversion of the soul from the sorrow and misery of sin to the state of grace."[24] Appropriately, therefore, it is Easter Sunday when Dante and Virgil arrive.
The Purgatorio is notable for demonstrating the medieval knowledge of a spherical Earth. During the poem, Dante discusses the different stars visible in the southern hemisphere, the altered position of the sun, and the various timezones of the Earth. At this stage it is, Dante says, sunset at Jerusalem, midnight on the River Ganges, and sunrise in Purgatory.
Paradiso[edit]
Main article: Paradiso (Dante)
Paradiso, Canto 3: Dante and Beatrice speak to Piccarda and Constance of Sicily, in a fresco by Philipp Veit.
After an initial ascension, Beatrice guides Dante through the nine celestial spheres of Heaven. These are concentric and spherical, as in Aristotelian and Ptolemaic cosmology. While the structures of the Inferno and Purgatorio were based on different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues and the three theological virtues.
The first seven spheres of Heaven deal solely with the cardinal virtues of Prudence, Fortitude, Justice and Temperance. The first three describe a deficiency of one of the cardinal virtues – the Moon, containing the inconstant, whose vows to God waned as the moon and thus lack fortitude; Mercury, containing the ambitious, who were virtuous for glory and thus lacked justice; and Venus, containing the lovers, whose love was directed towards another than God and thus lacked Temperance. The final four incidentally are positive examples of the cardinal virtues, all led on by the Sun, containing the prudent, whose wisdom lighted the way for the other virtues, to which the others are bound (constituting a category on its own). Mars contains the men of fortitude who died in the cause of Christianity; Jupiter contains the kings of Justice; and Saturn contains the temperate, the monks who abided by the contemplative lifestyle. The seven subdivided into three are raised further by two more categories: the eighth sphere of the fixed stars that contain those who achieved the theological virtues of faith, hope and love, and represent the Church Triumphant – the total perfection of humanity, cleansed of all the sins and carrying all the virtues of heaven; and the ninth circle, or Primum Mobile (corresponding to the Geocentricism of Medieval astronomy), which contains the angels, creatures never poisoned by original sin. Topping them all is the Empyrean, which contains the essence of God, completing the 9-fold division to 10.
Dante meets and converses with several great saints of the Church, including Thomas Aquinas, Bonaventure, Saint Peter, and St. John. The Paradiso is consequently more theological in nature than the Inferno and the Purgatorio. However, Dante admits that the vision of heaven he receives is merely the one his human eyes permit him to see, and thus the vision of heaven found in the Cantos is Dante's personal vision.
The Divine Comedy finishes with Dante seeing the Triune God. In a flash of understanding that he cannot express, Dante finally understands the mystery of Christ's divinity and humanity, and his soul becomes aligned with God's love:[25]
But already my desire and my will
were being turned like a wheel, all at one speed,
by the Love which moves the sun and the other stars.[26]
History[edit]
Manuscripts[edit]
According to the Italian Dante Society, no original manuscript written by Dante has survived, although there are many manuscript copies from the 14th and 15th centuries – some 800 are listed on their site.[27]
Early printed editions[edit]
Title page of the first printed edition (Foligno, 11 April 1472)
First edition to name the poem Divina Comedia, 1555
Illustration of Lucifer in the first fully illustrated print edition. Woodcut for Inferno, canto 33. Pietro di Piasi, Venice, 1491.
The first printed edition was published in Foligno, Italy, by Johann Numeister and Evangelista Angelini da Trevi on 11 April 1472.[28] Of the 300 copies printed, fourteen still survive. The original printing press is on display in the Oratorio della Nunziatella in Foligno.
Early printed editions
Date
Title
Place
Publisher
Notes
1472 La Comedia di Dante Alleghieri Foligno Johann Numeister and Evangelista Angelini da Trevi First printed edition (or editio princeps)
1477 La Commedia Venice Wendelin of Speyer
1481 Comento di Christophoro Landino fiorentino sopra la Comedia di Dante Alighieri Florence Nicolaus Laurentii With Cristoforo Landino's commentary in Italian, and some engraved illustrations by Baccio Baldini after designs by Sandro Botticelli
1491 Comento di Christophoro Landino fiorentino sopra la Comedia di Dante Alighieri Venice Pietro di Piasi First fully illustrated edition
1506 Commedia di Dante insieme con uno diagolo circa el sito forma et misure dello inferno Florence Philippo di Giunta
1555 La Divina Comedia di Dante Venice Gabriel Giolito First use of "Divine" in title
Thematic concerns[edit]
The Divine Comedy can be described simply as an allegory: each canto, and the episodes therein, can contain many alternative meanings. Dante's allegory, however, is more complex, and, in explaining how to read the poem – see the Letter to Cangrande[29] – he outlines other levels of meaning besides the allegory: the historical, the moral, the literal, and the anagogical.
The structure of the poem, likewise, is quite complex, with mathematical and numerological patterns arching throughout the work, particularly threes and nines, which are related to the Trinity. The poem is often lauded for its particularly human qualities: Dante's skillful delineation of the characters he encounters in Hell, Purgatory, and Paradise; his bitter denunciations of Florentine and Italian politics; and his powerful poetic imagination. Dante's use of real characters, according to Dorothy Sayers in her introduction to her translation of the Inferno, allows Dante the freedom of not having to involve the reader in description, and allows him to "[make] room in his poem for the discussion of a great many subjects of the utmost importance, thus widening its range and increasing its variety."[30]
Dante called the poem "Comedy" (the adjective "Divine" was added later in the 16th century) because poems in the ancient world were classified as High ("Tragedy") or Low ("Comedy").[31] Low poems had happy endings and were written in everyday language, whereas High poems treated more serious matters and were written in an elevated style. Dante was one of the first in the Middle Ages to write of a serious subject, the Redemption of humanity, in the low and "vulgar" Italian language and not the Latin one might expect for such a serious topic. Boccaccio's account that an early version of the poem was begun by Dante in Latin is still controversial.[32][33]
Scientific themes[edit]
Albert Ritter sketched the Comedy's geography from Dante's Cantos: Hell's entrance is near Florence with the circles descending to Earth's centre; sketch 5 reflects Canto 34's inversion as Dante passes down, and thereby up to Mount Purgatory's shores in the southern hemisphere, where he passes to the first sphere of Heaven at the top.
Although the Divine Comedy is primarily a religious poem, discussing sin, virtue, and theology, Dante also discusses several elements of the science of his day (this mixture of science with poetry has received both praise and blame over the centuries[34]). The Purgatorio repeatedly refers to the implications of a spherical Earth, such as the different stars visible in the southern hemisphere, the altered position of the sun, and the various timezones of the Earth. For example, at sunset in Purgatory it is midnight at the Ebro, dawn in Jerusalem, and noon on the River Ganges:[35]
Just as, there where its Maker shed His blood,
the sun shed its first rays, and Ebro lay
beneath high Libra, and the ninth hour's rays

were scorching Ganges' waves; so here, the sun
stood at the point of day's departure when
God's angel—happy—showed himself to us.[36]
Dante travels through the centre of the Earth in the Inferno, and comments on the resulting change in the direction of gravity in Canto XXXIV (lines 76–120). A little earlier (XXXIII, 102–105), he queries the existence of wind in the frozen inner circle of hell, since it has no temperature differentials.[37]
Inevitably, given its setting, the Paradiso discusses astronomy extensively, but in the Ptolemaic sense. The Paradiso also discusses the importance of the experimental method in science, with a detailed example in lines 94–105 of Canto II:
Yet an experiment, were you to try it,
could free you from your cavil and the source
of your arts' course springs from experiment.

Taking three mirrors, place a pair of them
at equal distance from you; set the third
midway between those two, but farther back.

Then, turning toward them, at your back have placed
a light that kindles those three mirrors and
returns to you, reflected by them all.

Although the image in the farthest glass
will be of lesser size, there you will see
that it must match the brightness of the rest.[38]
A briefer example occurs in Canto XV of the Purgatorio (lines 16–21), where Dante points out that both theory and experiment confirm that the angle of incidence is equal to the angle of reflection. Other references to science in the Paradiso include descriptions of clockwork in Canto XXIV (lines 13–18), and Thales' theorem about triangles in Canto XIII (lines 101–102).
Galileo Galilei is known to have lectured on the Inferno, and it has been suggested that the poem may have influenced some of Galileo's own ideas regarding mechanics.[39]
Theories of influence from Islamic philosophy[edit]
In 1919, Miguel Asín Palacios, a Spanish scholar and a Catholic priest, published La Escatología musulmana en la Divina Comedia (Islamic Eschatology in the Divine Comedy), an account of parallels between early Islamic philosophy and the Divine Comedy. Palacios argued that Dante derived many features of and episodes about the hereafter from the spiritual writings of Ibn Arabi and from the Isra and Mi'raj or night journey of Muhammad to heaven. The latter is described in the Hadith and the Kitab al Miraj (translated into Latin in 1264 or shortly before[40] as Liber Scalae Machometi, "The Book of Muhammad's Ladder"), and has significant similarities to the Paradiso, such as a sevenfold division of Paradise,[41] although this is not unique to the Kitab al Miraj.[citation needed]
Some "superficial similarities"[42] of the Divine Comedy to the Resalat Al-Ghufran or Epistle of Forgiveness of Al-Ma'arri have also been mentioned in this debate. The Resalat Al-Ghufran describes the journey of the poet in the realms of the afterlife and includes dialogue with people in Heaven and Hell, although, unlike the Kitab al Miraj, there is little description of these locations,[43] and it is unlikely that Dante borrowed from this work.[44][45]
Dante did, however, live in a Europe of substantial literary and philosophical contact with the Muslim world, encouraged by such factors as Averroism ("Averrois, che'l gran comento feo" Commedia, Inferno, IV, 144, meaning "Averrois, who wrote the great comment") and the patronage of Alfonso X of Castile. Of the twelve wise men Dante meets in Canto X of the Paradiso, Thomas Aquinas and, even more so, Siger of Brabant were strongly influenced by Arabic commentators on Aristotle.[46] Medieval Christian mysticism also shared the Neoplatonic influence of Sufis such as Ibn Arabi. Philosopher Frederick Copleston argued in 1950 that Dante's respectful treatment of Averroes, Avicenna, and Siger of Brabant indicates his acknowledgement of a "considerable debt" to Islamic philosophy.[46]
Although this philosophical influence is generally acknowledged, many scholars have not been satisfied that Dante was influenced by the Kitab al Miraj. The 20th century Orientalist Francesco Gabrieli expressed skepticism regarding the claimed similarities, and the lack of evidence of a vehicle through which it could have been transmitted to Dante. Even so, while dismissing the probability of some influences posited in Palacios' work,[47] Gabrieli conceded that it was "at least possible, if not probable, that Dante may have known the Liber scalae and have taken from it certain images and concepts of Muslim eschatology". Shortly before her death, the Italian philologist Maria Corti pointed out that, during his stay at the court of Alfonso X, Dante's mentor Brunetto Latini met Bonaventura de Siena, a Tuscan who had translated the Kitab al Miraj from Arabic into Latin. Corti speculates that Brunetto may have provided a copy of that work to Dante.[48] René Guénon, a Sufi convert and scholar of Ibn Arabi, rejected in The Esoterism of Dante the theory of his influence (direct or indirect) on Dante.[49]
Literary influence in the English-speaking world and beyond[edit]
A detail from one of Sandro Botticelli's illustrations for Inferno, Canto XVIII, 1480s. Silverpoint on parchment, completed in pen and ink.
The Divine Comedy was not always as well-regarded as it is today. Although recognized as a masterpiece in the centuries immediately following its publication,[50] the work was largely ignored during the Enlightenment, with some notable exceptions such as Vittorio Alfieri; Antoine de Rivarol, who translated the Inferno into French; and Giambattista Vico, who in the Scienza nuova and in the Giudizio su Dante inaugurated what would later become the romantic reappraisal of Dante, juxtaposing him to Homer.[51] The Comedy was "rediscovered" in the English-speaking world by William Blake – who illustrated several passages of the epic – and the romantic writers of the 19th century. Later authors such as T. S. Eliot, Ezra Pound, Samuel Beckett, C. S. Lewis and James Joyce have drawn on it for inspiration. The poet Henry Wadsworth Longfellow was its first American translator,[52] and modern poets, including Seamus Heaney,[53] Robert Pinsky, John Ciardi, W. S. Merwin, and Stanley Lombardo, have also produced translations of all or parts of the book. In Russia, beyond Pushkin's translation of a few tercets,[54] Osip Mandelstam's late poetry has been said to bear the mark of a "tormented meditation" on the Comedy.[55] In 1934, Mandelstam gave a modern reading of the poem in his labyrinthine "Conversation on Dante".[56] In T. S. Eliot's estimation, "Dante and Shakespeare divide the world between them. There is no third."[57] For Jorge Luis Borges the Divine Comedy was "the best book literature has achieved".[58]
English translations[edit]
Main article: English translations of Dante's Divine comedy
New English translations of the Divine Comedy continue to be published regularly. Notable English translations of the complete poem include the following.[59]
Year
Translator
Notes
1805–1814 Henry Francis Cary An older translation, widely available online.
1867 Henry Wadsworth Longfellow The first U.S. translation, raising American interest in the poem. It is still widely available, including online.
1891–1892 Charles Eliot Norton Translation used by Great Books of the Western World. Available online at Project Gutenberg.
1933–1943 Laurence Binyon An English version rendered in terza rima, with some advisory assistance from Ezra Pound
1949–1962 Dorothy L. Sayers Translated for Penguin Classics, intended for a wider audience, and completed by Barbara Reynolds.
1969 Thomas G. Bergin Cast in blank verse with illustrations by Leonard Baskin.[60]
1954–1970 John Ciardi His Inferno was recorded and released by Folkways Records in 1954.
1970–1991 Charles S. Singleton Literal prose version with extensive commentary; 6 vols.
1981 C. H. Sisson Available in Oxford World's Classics.
1980–1984 Allen Mandelbaum Available online.
1967–2002 Mark Musa An alternative Penguin Classics version.
2000–2007 Robert and Jean Hollander Online as part of the Princeton Dante Project.
2002–2004 Anthony M. Esolen Modern Library Classics edition.
2006–2007 Robin Kirkpatrick A third Penguin Classics version, replacing Musa's.
2010 Burton Raffel A Northwestern World Classics version.
2013 Clive James A poetic version in quatrains.
A number of other translators, such as Robert Pinsky, have translated the Inferno only.
In the arts[edit]
Dante and Virgil in Hell, painting by William-Adolphe Bouguereau (1850)
Rodin's The Kiss represents Paolo and Francesca from the Inferno.[61]
Main article: Dante and his Divine Comedy in popular culture
The Divine Comedy has been a source of inspiration for countless artists for almost seven centuries. There are many references to Dante's work in literature. In music, Franz Liszt was one of many composers to write works based on the Divine Comedy. In sculpture, the work of Auguste Rodin includes themes from Dante, and many visual artists have illustrated Dante's work, as shown by the examples above. There have also been many references to the Divine Comedy in cinema and computer games.
Gallery[edit]
Series of woodcuts illustrating Dante's Hell by Antonio Manetti (1423–1497):
From Dialogo di Antonio Manetti, cittadino fiorentino, circa al sito, forma, et misure dello inferno di Dante Alighieri poeta excellentissimo (Florence: F. Giunta, 1510?)
"Everything Reduced to One Plan", 1506
"The Chamber of Hell", 1506
"Overview of Hell", 1506
"The First Five Circles", 1506
"Circles Six and Seven", 1506
"The Lair of Geryon", 1506
"The Tomb of Lucifer", 1506
La materia della Divina commedia di Dante Alighieri, dichiarata in VI tavole, by Michelangelo Caetani (1804–1882)
1855 title page
Plate I: "Overview of the Divine Comedy"
Plate II: "The Ordering of Hell"
Plate III: "Map of Hell"
Plate IV: "Cross Section of Hell"
Plate V: "The Ordering of Purgatory"
Plate VI: "The Ordering of Paradise"
See also[edit]
Book: Divine Comedy
Allegory in the Middle Ages
Book of Arda Viraf
List of cultural references in Divine Comedy
Paradise Lost
Notes and references[edit]
Jump up ^ For example, Encyclopedia Americana, 2006, Vol. 30. p. 605: "the greatest single work of Italian literature;" John Julius Norwich, The Italians: History, Art, and the Genius of a People, Abrams, 1983, p. 27: "his tremendous poem, still after six and a half centuries the supreme work of Italian literature, remains – after the legacy of ancient Rome – the grandest single element in the Italian heritage;" and Robert Reinhold Ergang, The Renaissance, Van Nostrand, 1967, p. 103: "Many literary historians regard the Divine Comedy as the greatest work of Italian literature. In world literature it is ranked as an epic poem of the highest order."
Jump up ^ Bloom, Harold (1994). The Western Canon. See also Western canon for other "canons" that include the Divine Comedy.
Jump up ^ See Lepschy, Laura; Lepschy, Giulio (1977). The Italian Language Today. or any other history of Italian language.
Jump up ^ Peter E. Bondanella, The Inferno, Introduction, p. xliii, Barnes & Noble Classics, 2003, ISBN 1-59308-051-4: "the key fiction of the Divine Comedy is that the poem is true."
Jump up ^ Dorothy L. Sayers, Hell, notes on page 19.
Jump up ^ Charles Allen Dinsmore, The Teachings of Dante, Ayer Publishing, 1970, p. 38, ISBN 0-8369-5521-8.
Jump up ^ The Fordham Monthly Fordham University, Vol. XL, Dec. 1921, p. 76
Jump up ^ Approaches to teaching Dante's Divine comedy. Slade, Carole., Cecchetti, Giovanni, 1922–1998. New York, N.Y.: Modern Language Association of America. 1982. ISBN 0873524780. OCLC 7671339.
Jump up ^ Ronnie H. Terpening, Lodovico Dolce, Renaissance Man of Letters (Toronto, Buffalo, London: University of Toronto Press, 1997), p. 166.
Jump up ^ Dante The Inferno A Verse Translation by Professor Robert and Jean Hollander p. 43
Jump up ^ Epist. XIII 43 to 48
Jump up ^ Wilkins E.H The Prologue to the Divine Comedy Annual Report of the Dante Society, pp. 1–7.
Jump up ^ "Inferno, la Divina Commedia annotata e commentata da Tommaso Di Salvo, Zanichelli, Bologna, 1985". Abebooks.it. Retrieved 16 January 2010.
Jump up ^ Lectura Dantis, Società dantesca italiana
Jump up ^ Online sources include [1], [2], [3] [4], "Archived copy". Archived from the original on 2 December 2009. Retrieved 1 December 2009. , [5], and [6] Archived 4 March 2016 at the Wayback Machine.
Jump up ^ Inferno, Canto XX, lines 13–15 and 38–39, Mandelbaum translation.
Jump up ^ Dorothy L. Sayers, Purgatory, notes on p. 75.
Jump up ^ Carlyle-Okey-Wicksteed, Divine Comedy, "Notes to Dante's Inferno"
Jump up ^ Inferno, Canto 34, lines 121–126.
Jump up ^ Richard Lansing and Teodolinda Barolini, The Dante Encyclopedia, p. 475, Garland Publishing, 2000, ISBN 0-8153-1659-3.
Jump up ^ Dorothy L. Sayers, Purgatory, Introduction, pp. 65–67 (Penguin, 1955).
Jump up ^ Robin Kirkpatrick, Purgatorio, Introduction, p. xiv (Penguin, 2007).
Jump up ^ Carlyle-Oakey-Wickstead, Divine Comedy, "Notes on Dante's Purgatory.
Jump up ^ "The Letter to Can Grande," in Literary Criticism of Dante Alighieri, translated and edited by Robert S. Haller (Lincoln: University of Nebraska Press, 1973), 99
Jump up ^ Dorothy L. Sayers, Paradise, notes on Canto XXXIII.
Jump up ^ Paradiso, Canto XXXIII, lines 142–145, C. H. Sisson translation.
Jump up ^ "Elenco Codici". Dante Online. Retrieved 5 August 2009.
Jump up ^ Christopher Kleinhenz, Medieval Italy: An Encyclopedia, Volume 1, Routledge, 2004, ISBN 0-415-93930-5, p. 360.
Jump up ^ "Epistle to Can Grande". faculty.georgetown.edu. Retrieved 20 October 2014.
Jump up ^ Dorothy L. Sayers, Hell, Introduction, p. 16 (Penguin, 1955).
Jump up ^ "Ancient History Encyclopedia".
Jump up ^ Boccaccio also quotes the initial triplet:"Ultima regna canam fluvido contermina mundo, / spiritibus quae lata patent, quae premia solvunt /pro meritis cuicumque suis". For translation and more, see Guyda Armstrong, Review of Giovanni Boccaccio. Life of Dante. J. G. Nichols, trans. London: Hesperus Press, 2002.
Jump up ^ Peri, Hiram (1955). "The Original Plan of the Divine Comedy". Journal of the Warburg and Courtauld Institutes. 18 (3/4): 189–210. doi:10.2307/750179. JSTOR 750179.
Jump up ^ Michael Caesar, Dante: The Critical Heritage, Routledge, 1995, pp. 288, 383, 412, 631.
Jump up ^ Dorothy L. Sayers, Purgatory, notes on p. 286
Jump up ^ Purgatorio, Canto XXVII, lines 1–6, Mandelbaum translation.
Jump up ^ Dorothy L. Sayers, Inferno, notes on p. 284.
Jump up ^ Paradiso, Canto II, lines 94–105, Mandelbaum translation.
Jump up ^ Peterson, Mark A. "Galileo's discovery of scaling laws". American Journal of Physics 70, 575 (2002). doi:10.1119/1.1475329.
Jump up ^ I. Heullant-Donat and M.-A. Polo de Beaulieu, "Histoire d'une traduction," in Le Livre de l'échelle de Mahomet, Latin edition and French translation by Gisèle Besson and Michèle Brossard-Dandré, Collection Lettres Gothiques, Le Livre de Poche, 1991, p. 22 with note 37.
Jump up ^ See the https://web.archive.org/web/20080319003125/http://www20.brinkster.com/gurupak/Miraaj%20-%20The%20Ascension%20to%20Heaven.htm. Archived from the original on 19 March 2008. Retrieved 1 June 2016. Missing or empty |title= (help) of the Kitab al Miraj. https://web.archive.org/web/20080319003125/http://www20.brinkster.com/gurupak/Miraaj%20-%20The%20Ascension%20to%20Heaven.htm. Archived from the original on 19 March 2008. Retrieved June 1, 2016. Missing or empty |title= (help)
Jump up ^ William Montgomery Watt and Pierre Cachia, A History of Islamic Spain, 2nd edition, Edinburgh University Press, 1996, pp. 125–126, ISBN 0-7486-0847-8.
Jump up ^ Dionisius A. Agius and Richard Hitchcock, The Arab Influence in Medieval Europe, Ithaca Press, 1996, p. 70, ISBN 0-86372-213-X.
Jump up ^ Kāmil Kīlānī and G. Brackenbury, Introduction to Risalat ul Ghufran: A Divine Comedy, 3rd ed, Al-Maaref Printing and Publishing House, 1943, p. 8.
Jump up ^ The theory "receives little credence", according to Watt and Cachia, p. 183.
^ Jump up to: a b Frederick Copleston (1950). A History of Philosophy, Volume 2. London: Continuum. p. 200.
Jump up ^ Francesco Gabrieli, "New light on Dante and Islam", Diogenes, 2:61–73, 1954
Jump up ^ "Errore".
Jump up ^ Guenon, René (1925). The Esoterism of Dante.
Jump up ^ Chaucer wrote in the Monk's Tale, "Redeth the grete poete of Ytaille / That highte Dant, for he kan al devyse / Fro point to point; nat o word wol he faille".
Jump up ^ Erich Auerbach, Dante: Poet of the Secular World. ISBN 0-226-03205-1.
Jump up ^ Irmscher, Christoph. Longfellow Redux. University of Illinois, 2008: 11. ISBN 978-0-252-03063-5.
Jump up ^ Seamus Heaney, "Envies and Identifications: Dante and the Modern Poet." The Poet's Dante: Twentieth-Century Responses. Ed. Peter S. Hawkins and Rachel Jacoff. New York: Farrar, 2001. 239–258.
Jump up ^ 'Dante in Russia' in The Dante encyclopedia by Richard H. Lansing and Teodolinda Barolini, [7]
Jump up ^ Marina Glazova, Mandelstam and Dante: The Divine Comedy in Mandelstam's poetry of the 1930s Studies in East European Thought, Volume 28, Number 4, November 1984.
Jump up ^ James Fenton, Hell set to music, The Guardian, 16 July 2005
Jump up ^ T. S. Eliot (1950) "Dante." Selected Essays, pp. 199–237. New York: Harcourt, Brace and Company.
Jump up ^ Jorge Luis Borges, "Selected Non-Fictions". Ed. Eliot Weinberger. Trans. Esther Allen et. al. New York: Viking, 1999. 303.
Jump up ^ A comprehensive listing and criticism, covering the period 1782–1966, of English translations of at least one of the three books (cantiche; singular: cantica) is given by Gilbert F. Cunningham, "The Divine comedy in English: a critical biography 1782–1966". 2 vols., Barnes & Noble, NY; esp. v. 2 pp. 5–9.
Jump up ^ Dante Alighieri. Bergin, Thomas G. trans. Divine Comedy. Grossman Publishers; 1st edition (1969) .
Jump up ^ Le Normand-Romain, Antoinette (1999). Rodin:The Gates of Hell. Paris: Musée Rodin. ISBN 2-901428-69-X.
External links[edit]
Wikimedia Commons has media related to The Divine Comedy.
Wikisource has original text related to this article:
Divine Comedy
Princeton Dante Project Website that offers the complete text of the Divine Comedy (and Dante's other works) in Italian and English along with audio accompaniment in both languages. Includes historical and interpretive annotation.
The Comedy in English: trans. Cary (with Doré's illustrations) (zipped HTML downloadable from Project Gutenberg), Cary/Longfellow/Mandelbaum parallel edition, trans. James Finn Cotter
(in Italian) Full text of the Commedia: [8]
Dante Dartmouth Project: Full text of more than 70 Italian, Latin, and English commentaries on the Commedia, ranging in date from 1322 (Iacopo Alighieri) to the 2000s (Robert Hollander)
On-line Concordance to the Divine Comedy
A Dictionary of the Proper Names and Notable Matters in the Works of Dante by Paget Toynbee, London, The Clarendon Press (1898).
Online manuscript codices: Phillips 9589
Danteworlds, multimedia presentation of the Divine Comedy for students by Guy Raffa of the University of Texas
World of Dante Multimedia website that offers Italian text of Divine Comedy, Allen Mandelbaum's translation, gallery, interactive maps, timeline, musical recordings, and searchable database for students and teachers by Deborah Parker and IATH (Institute for Advanced Technologies in the Humanities) of the University of Virginia
Images of the 1564 edition of Divine Comedy First edition to contain both the commentaries by Landino and Vellutello published by Francesco Sansovino
bilingual (Italian and English)Divine Comedy in pdf format in Online Library of Liberty
More images of the Divine Comedy by selecting the "Heaven & Hell" subject at the Persuasive Cartography, The PJ Mode Collection, Cornell University Library
Mapping Dante: A Study of Places in the Commedia Digital interactive map with the geographical references of the Divine Comedy
Audio
Lino Pertile's reading, Professor of Romance Languages and Literatures, Harvard University.
Divine Comedy public domain audiobook at LibriVox (in English) and (in Italian)
Readings of the complete Italian Divina Commedia in MP3 format by Iacopo Vettori
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text:
Graded-index fiber
From Wikipedia, the free encyclopedia
Jump to: navigation, search
In fiber optics, a graded index is an optical fiber whose core has a refractive index that decreases with increasing radial distance from the optical axis of the fiber.
Because parts of the core closer to the fiber axis have a higher refractive index than the parts near the cladding, light rays follow sinusoidal paths down the fiber. The most common refractive index profile for a graded-index fiber is very nearly parabolic. The parabolic profile results in continual refocusing of the rays in the core, and minimizes modal dispersion.
Multi-mode optical fiber can be built with either graded index or step index. The advantage of the multi-mode graded index compared to the multi-mode step index is the considerable decrease in modal dispersion. Modal dispersion can be further decreased by selecting a smaller core size (less than 5-10μm) and forming a single mode step index fiber.[1]
This type of fiber is normalized by the International Telecommunications Union ITU-T at recommendation G.651.1.[2]
Pulse dispersion[edit]
Pulse dispersion in a graded index optical fiber is given by
P u l s e d i s p e r s i o n = k δ n n 1 l c , {\displaystyle \mathrm {Pulse~dispersion} ={\frac {k\delta n\ n_{1}\ l}{c}}\,\!,} [citation needed]
where
δ n {\displaystyle \delta n\,\!} is the difference in refractive indices of core and cladding,
n 1 {\displaystyle n_{1}\,\!} is the refractive index of the cladding,
l {\displaystyle l\,\!} is the length of the fiber taken for observing the pulse dispersion,
c ≈ 3 × 10 8 m / s {\displaystyle c\approx 3\times 10^{8}~\mathrm {m/s} \,\!} is the speed of light, and
k {\displaystyle k\,\!} is the constant of graded index profile.
References[edit]
Jump up ^ A Reference Guide to Optical Fibers and Light Guides, archived from the original on 2015-07-22, retrieved 2015-04-22
Jump up ^ Characteristics of a 50/125 µm multimode graded index optical fibre cable for the optical access network, retrieved 2012-11-23
This article incorporates public domain material from the General Services Administration document "Federal Standard 1037C" (in support of MIL-STD-188).

This optics-related article is a stub. You can help Wikipedia by expanding it.
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values: {\mathrm  {Pulse~dispersion}}={\frac  {k\delta n\ n_{1}\ l}{c}}\,\!,

values: This formula seems to assume that a pulse will happily travel along the cladding. In reality, I thought the whole point of GRIN fibre was to make the pulse travelling down the centre of the fibre go slower (due to higher refractive index) than the pulse travelling on a sinusoidal path close to the cladding. If there's a distinction between modal and pulse dispertion that I'm missing, then this should definitely be expounded upon here. (March 2013)

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text:
Little Giants
From Wikipedia, the free encyclopedia
Jump to navigation Jump to search
For other uses, see Little Giant (disambiguation).
Little Giants
Theatrical release poster
Directed by
Duwayne Dunham
Produced by
Arne Schmidt
Written by
James Ferguson
Robert Shallcross
Starring
Rick Moranis
Ed O'Neill
John Madden
Music by
John Debney
Cinematography
Janusz Kamiński
Edited by
Donn Cambern
Production
company
Amblin Entertainment
Warner Bros. Family Entertainment
Distributed by
Warner Bros. Pictures
Release date
October 21, 1994 (1994-10-21)
Running time
106 minutes
Language
English
Budget
$20 million
Box office
$19.3 million
Little Giants is a 1994 American family sports comedy film, starring Rick Moranis and Ed O'Neill as brothers in a small Ohio town, coaching rival Pee-Wee Football teams.[1]
Contents
1 Plot
2 Cast
3 Production
4 Reception
4.1 Box office
5 Cultural references
6 Home media
7 References
8 External links
Plot[edit]
This section's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (February 2013) (Learn how and when to remove this template message)
Danny O'Shea (Rick Moranis) has always lived in the shadow of his older brother, Kevin (Ed O'Neill), a Heisman Trophy winner and a local football hero. They live in their hometown of Urbania, Ohio. Kevin coaches the local "Pee-Wee Cowboys" football team. Despite being the best player, Danny's tomboy daughter, Becky (Shawna Waldron), nicknamed Icebox, is cut during try outs because she is a girl. Also cut are her less-talented friends, Rashid Hanon (who can't catch anything), Tad Simpson (who can't run), and Rudy Zolteck (who's overweight and quite flatulent). After being ridiculed by the other players who made the team, she convinces her dad to coach a new pee-wee team of their own.
At first, Danny is reluctant to do so, but later accepts in an attempt to show Urbania that Kevin is not invincible, and that there is another O'Shea in town capable of winning. Kevin mockingly reminds him of the "one town, one team" rule and with the help of the locals, they decide to have a playoff game to determine the lone team that will represent Urbania. Among Becky, Hanon, Tad, Rudy, and Nubie (an intelligent boy who becomes assistant coach), Danny also gathers other children that have never been given a chance and dubs the team the "Little Giants." One such player is Junior Floyd (Devon Sawa), a strong-armed quarterback who turns out to be the son of Danny's childhood crush, Patty Floyd (Susanna Thompson). Becky slowly develops a crush on him and struggles with her newfound feelings as a girl.
Two old-timers, Orville (Harry Fleer) and Wilbur (Dabbs Greer), encourage the rivalry between Danny and Kevin by reporting to them that a new star player, Spike Hammersmith (Sam Horrigan), has just moved to Urbania. Danny succeeds at recruiting him by tricking his overzealous father, Mike (Brian Haley), that he is the famous "Coach O'Shea", but this is a problem as Spike proves to be rude, arrogant, and refuses to play on a team with a girl. The deception is later discovered and he switches over to Kevin's more well-structured team. Kevin also encourages his daughter, Debbie (Courtney Peldon), to be a cheerleader and later convinces Becky that a quarterback will want to date a cheerleader, not a teammate. Believing it is her best chance to win over Junior, she decides to quit the team and pursue cheerleading.
Just as Danny's team start to lose hope, a bus arrives carrying NFL stars John Madden, Emmitt Smith, Bruce Smith, Tim Brown, and Steve Emtman. They teach and inspire the young players into believing they can win.
On the day of the game, Kevin goads Danny into making an impulsive bet: If Danny wins, he gets Kevin's Chevrolet dealership; if Kevin wins, he gets Danny's gas station. Facing a 21-point halftime deficit, the Giants are lifted when Danny asks them to individually recall a time when they had a proud accomplishment and reassures them that all it takes is "one time" to beat the Cowboys. With this, they begin to make a big comeback with a series of outstanding and unexpected plays. Realizing that Junior is the main threat to them, Spike, under orders from Mike, injures him by spearing him with his helmet after the whistle, which even Kevin considers disgraceful, unsportsmanlike conduct. Witnessing from the sidelines, an enraged Becky drops her pompoms and suits up for the game, to which Kevin knows she will be a threat. She immediately makes an impact when she forces a fumble after a jarring hit on Spike. Other Giants make touchdowns in tandem with overcoming personal problems, such as Hanon's fear of dropping passes and making a reception, or another one running towards the end zone in excitement when he sees his little-seen dad has rushed back from a business trip to watch him play. In the game's closing seconds with the score tied at 21 all, the Giants make a goal line stand when Becky stops Spike. With time remaining for one final play, their offense steps back onto the field and uses a trick play Nubie calls "The Annexation of Puerto Rico," inspired by one of Madden's plays at Super Bowl XI. Kevin shouts out its actual name as it occurs, shouting "Fumblerooski, Fumblerooski!" The play includes three different ball carriers, utilizing the hook and lateral from Zolteck, to Junior, and finally to Berman, who scores the Giants' 99 yard game-winning touchdown.
Afterwards, Danny suggests that rather than having the Giants solely represent Urbania, they should merge with the Cowboys, and both he and Kevin can coach the team. Danny and Patty rekindle their childhood romance. He also decides not to hold Kevin to the prior bet, on the stipulation that the town water tower be changed from "Home of Kevin O'Shea" to "Home of The O'Shea Brothers," reflecting a much earlier promise that Kevin made to Danny from their childhood.
Cast[edit]
Rick Moranis - Danny O'Shea
Justin Jon Ross as Young Danny
Ed O'Neill - Kevin O'Shea
Travis Robertson as Young Kevin
Shawna Waldron - Becky "Icebox" O'Shea
Susanna Thompson - Patty Floyd
Janna Michaels as Young Patty
Devon Sawa - Junior Floyd
Brian Haley - Mike Hammersmith
Sam Horrigan - Spike Hammersmith
Joe Bays - Coach Harold Butz
Austin Kottke as Young Butz
Frank Carl Fisher Jr. - Patterson
Mary Ellen Trainor - Karen O'Shea
Courtney Peldon - Debbie O'Shea
Alexa Vega - Priscilla O'Shea
Danny Pritchett - Tad Simpson
Todd Bosley - Jake Berman
Mark Holton - Mr. Zolteck
Matthew McCurley - Nubie
Joey Simmirin - Sean Murphy
Jon Paul Steuer - Johnny "Viper" Vennaro
Troy Simmons - Rashid "Hot Hands" Hanon
Marcus Toji - Marcus "The Toe"
Pat Crawford Brown - Louise
Production[edit]
The film was inspired by a 1992 McDonald's Super Bowl commercial developed by Jim Ferguson and Bob Shallcross. According to the Baltimore Sun[2], after seeing the commercial, Steven Spielberg contacted them and said, "I want that commercial made into a movie. I want my 'Home Alone.'"[3]
Reception[edit]
The film received mixed reviews. Stephen Holden remarked, in The New York Times, that "anyone who was ever rejected or picked last for a team can relate to the concept behind "Little Giants," a slickly contrived family movie about an inept junior football team that succeeds in spite of spectacular liabilities [...] In typical Hollywood fashion, "Little Giants" raises issues about competition, machismo and sexism in American sports, then blithely skirts them in confrontations that let everyone have his cake and eat it too [...] "Little Giants," which was directed by Duwayne Dunham, devotes much of its energy to such comic antics as balls getting stuck into face masks, and wispy little kids practicing looking intimidating."[4] The Washington Post stated that "if "Little Giants" were in a beauty pageant it might win votes for Miss Congeniality, but it definitely wouldn't take the crown."[5] Conversely, the Los Angeles Times suggested that the film was "smarter than many of its ilk. Clearly a great deal of care and thought has gone into making special a picture that could so easily have been routine family fare."[6] Little Giants currently holds a 40% rating on Rotten Tomatoes.
Box office[edit]
The film had a budget of $20 million and failed to recoup it, with a total of $19.3 million in box office returns.[7][8][9][10]
Cultural references[edit]
In a 2010 NCAA football game, Michigan State defeated Notre Dame on a fake field goal touchdown pass in overtime to end the game. Head coach Mark Dantonio said the play was called "Little Giants".[11]
The uniforms worn by the Cowboys in the film were the same ones worn by the Dallas Cowboys during the 1994 season as part of the NFL's 75th anniversary. From 2004 to 2007, the New York Giants' alternate jerseys were red with white numerals, similar to the jerseys worn by the Little Giants in the movie.
The Annexation of Puerto Rico play was actually used during the December 18, 2011, game between the Carolina Panthers and the Houston Texans.[12]
Home media[edit]
On February 7, 1995, Warner Home Video released Little Giants on VHS and LaserDisc. The VHS tape includes a Merrie Melodies cartoon, One Froggy Evening, celebrating the 40th anniversary of Michigan J. Frog. On July 8, 2003, the film was released on DVD. However, it's currently out of print. On March 29, 2011, the film was re-released in a four pack: 4 Film Favorites: Kids Sports (Little Big League, Surf Ninjas and Hometown Legend).
References[edit]
Jump up ^ Judy Brennan (August 21, 1994). "PEEWEES' PLAYHOUSE : New Quarterback Takes 'Little Giants' Toward Goal - Los Angeles Times". Articles.latimes.com. Retrieved July 16, 2012.
Jump up ^ "'Little Giants' a big hit not to be written off". Baltimore Sun. 1994-10-21.
Jump up ^ "8 Things Even Football Fans Don't Know About The Super Bowl". Huffington Post. 2015-01-30.
Jump up ^ Holden, Stephen (1994-10-14). "Little Giants (1994) FILM REVIEW; Extra Points For Trying". Movies.nytimes.com. Retrieved 2012-07-16.
Jump up ^ "'Little Giants' (PG)". Washingtonpost.com. 1994-10-17. Retrieved 2012-07-16.
Jump up ^ Thomas, Kevin (1994-10-14). "MOVIE REVIEW : 'Giants': A Comedy Worthy of Cheers - Los Angeles Times". Articles.latimes.com. Retrieved 2012-07-16.
Jump up ^ ROBERT W. WELKOS (1994-10-18). "Weekend Box Office : 'Fiction' Outdraws 'The Specialist' - Los Angeles Times". Articles.latimes.com. Retrieved 2012-07-16.
Jump up ^ ROBERT W. WELKOS (1994-10-25). "Weekend Box Office : 'Pulp Fiction' Stays in No. 1 - Los Angeles Times". Articles.latimes.com. Retrieved 2012-07-16.
Jump up ^ ELAINE DUTKA (1988-01-26). "Weekend Box Office : 'Stargate' Has MGM Starry-Eyed - Los Angeles Times". Articles.latimes.com. Retrieved 2012-07-16.
Jump up ^ ROBERT W. WELKOS (1994-11-08). "Weekend Box Office : 'Stargate' a Back-to-Back Champ - Los Angeles Times". Articles.latimes.com. Retrieved 2012-07-16.
Jump up ^ Peter Tirrell (October 29, 2010). "2010 Notre Dame at MSU "Little Giants" fake field goal called by George Blaha". Retrieved April 6, 2017 – via YouTube.
Jump up ^ "Panthers used play from 'Little Giants' for TD". ESPN.go.com. Retrieved April 6, 2017.
External links[edit]
Wikiquote has quotations related to: Little Giants
Little Giants on IMDb
Little Giants at Rotten Tomatoes
Little Giants at Box Office Mojo
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