Islam and the Divine comedy:
Gespeichert in:
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| Weitere Verfasser: | |
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
London ; New York
Routledge
2008
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| Schriftenreihe: | Routledge library editions. Islam
volume 26 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Beschreibung: | Previously published: London : Frank Cass, 1968, in series: Islam and the Muslim world ; no. 4 Originally published in 1926 |
| Beschreibung: | xxv, 295 Seiten 24 cm |
| ISBN: | 9780415439190 0415439191 |
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| 240 | 1 | 0 | |a Escatología musulmana en la Divina comedia |
| 245 | 1 | 0 | |a Islam and the Divine comedy |c Miguel Asín Palacios ; [translated and abridged by Harold Sutherland] |
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| 490 | 1 | |a Routledge library editions. Islam |v volume 26 | |
| 500 | |a Previously published: London : Frank Cass, 1968, in series: Islam and the Muslim world ; no. 4 | ||
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| 505 | 8 | |a The legend of the nocturnal journey and ascension of Mahomet compared with the Divine comedy -- The Divine comedy compared with other Moslem legends on the after-life -- Moslem features in the Christian legends precursory of the Divine comedy -- Probability of the transmission of Islamic models to Christian Europe and particularly to Dante | |
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CONTENTS PART I THE LEGEND OF THE NOCTURNAL JOURNEY AND ASCENSION OF MAHOMET COMPARED WITH THE DIVINE COMEDY I. The Origin of the Legend : page I. The germ of the legend in the Koran . 3 2. Its development in the form of various versions grouped into three cycles . 3 II. First Cycle—Versions of the “ Isra," or Nocturnal Journey : I. Common character of the two main versions of this cycle . 4 2. Summary of Version A of Cycle I . . . . .4 3. Its comparison with the Divine Comedy. Agreement in general outline . 5 4. Similarity of descriptive features . 6 5. Summary of Version В of Cycle I . . . . .6 6. Its comparison with the Divine Comedy. General features of resemblance . 8 7. Analogies in descriptive detail . 8 III. Second Cycle—Versions of the “ MIRAJ," or Ascension : r. Features common to the three versions of this cycle . 9 2. Date and author of each version . 9 3. Summary of Version A of Cycle II . . . . .10 4. Its comparison with the Divine Comedy. Coincidence with outlines of Dante’s ascension . . . . .11 5. Version B. First attempt to link the journey to hell with the ascension to heaven . . . . .12 6. Summary of Version В of Cycle II . . . . .12 7. Its comparison with the Divine Comedy . 14 8. The architecture of hell the prototype of that of the Inferno 14 9. In both stories the guardians of hell bar the pilgrim’s way 15 xo. The City of Dis and the first stage of the Moslem hell . 16 II. Resemblance of some of the tortures of hell . . 17 12. Version C. The Ascension the main theme of this version 17 13. Summary of Version C of
Cycle II . . . . .18 14. Its comparison with the Divine Comedy. Preliminary remarks . 24 15. The description of heaven in terms of light and sound is as spiritual as the Paradiso . . . . . .25 16. Similarity in use of expedient : the comparison of the speed of flight, the inability to describe the sights wit nessed, and the brilliance of the light dazzling the pilgrims . 26 17. Identical services rendered by the guides, Gabriel and Beatrice . 28 18. Dante’s picture of the eagle inspired by the vision of the heavenly cock. Other angelic visions . 29 xvii
xviii CONTENTS PART I—continued PAGE 19. The littleness of the created world as seen by both pilgrims from on high 30 20. Striking likeness of the apotheoses of both ascensions. God a focus of light, surrounded by nine concentric circles of angels radiating light and chanting as they revolve. The Beatific Vision and ecstasy . IV. Third CYCLE—FUSION of the Versions of the “ Isra " and the " Miraj ” : i. Nature and date of the one version of this cycle . . 2. Summary of Sole Version of Cycle III . . . . 3. Its comparison with the Divine Comedy. A preliminary remark. · ■ · · 35 4. The element of moral allegory in this version and in Dante 5. The vision, in the Moslem legend and the Purgatorio, of the old seductress, symbolic of worldly pleasure . . 36 6. Threefold cleansing of the soul, in the Garden of Abraham and the Purgatorio . V. Theological Commentaries on the Legend : 1. The Version of Cycle III expanded by theological com mentaries. Their origin and nature . 2. New episodes in the commentaries, and their comparison with the Divine Comedy . 3. The afrite pursuing Mahomet and the demon pursuing Dante 4. The heavenly ladder in the Islamic tale and in the Paradiso 5. Analogy in wealth of incident and profusion of secondary characters. 41 VI. Adaptations from the Legend, Mainly Mystical Allegories : I. Origin and nature of such works . 2. General idea of some adaptations . 3. The ascension of the soul upon leaving the body . . 4. The ascension of the guardian angel with
the good deeds of his ward . 5. The real or symbolical ascension of the mystic. . . 6. Ibn Arabi’s “ Book· of the Nocturnal Journey ’’ and its analogy with the Divine Comedy regarded as a work of allegory . 7. Ibn Arabi’s allegorical ascension of the philosopher and the theologian. Summary of the ascension . 8. Its comparison with the Divine Comedy. Agreement in allegorical meaning . . . . . · . 51 9. Resemblance in episode, such as the distribution of the Blessed on an astrological and moral principle ; in the didactic tendency of both authors ; and in their enig matical style . VII. Literary Imitations of the Legend : I. General nature of such works . 2. The “ Treatise on Pardon ’’ of Abu-1-Ala al Maarri. Its purpose both theological and literary . 31 32 33 35 37 38 40 40 41 42 43 43 44 44 45 47 52 54 55
CONTENTS xix PART I—continued PAGE 3. Summary of the work. 56 4. Its comparison with the Divine Comedy. Agreement in realism . 61 5. General artifices common to both stories. . 61 6. Similarity of actual incidents, such as the encounter with the two heavenly beauties . 65 7. The lion and the wolf barring the road to hell . 65 8. The discussion with Adam. 66 9. The meeting with the beloved of the poet Imru-1-Qays . 66 10. Coincidence in intrinsic literary value . 67 Vin. SUMMARY of Comparisons : 1. Systematic grouping of the analogies found to exist between the Divine Comedy and the different versions, adapta tions and imitations of the Moslem legend . 67 2. Resemblance of the descriptions of hell . . . .68 3. Resemblance of the descriptions of purgatory . 69 4. Resemblance of the descriptions of heaven . 70 5. Similarity in allegorical meaning . 73 6. Other, secondary, features of resemblance . 74 7. Provisional conclusions . . . . . . »75 8. Influence upon the Islamic legend of tales from other faiths 75 PART II THE DIVINE COMEDY COMPARED WITH OTHER MOSLEM LEGENDS ON THE AFTER-LIFE I. INTRODUCTION : I. Need of further examination of the poem in its five parte— limbo, hell, purgatory, earthly and celestial paradises . 79 2. Preliminary enquiry into the doctrine of Islam on the after-life . 79 3. ' Comparison of that doctrine with the teaching of Christianity 79 II. The Moslem Limbo in the Divine Comedy : I. The
name and site of Dante’s limbo, the dwellers therein and their suffering . . . . .81 2. Was Dante’s picture, for which there is no Christian precedent, derived from Moslem eschatology ?. 82 3. The name and site of the Moslem limbo, the dwellers therein and their suffering. The picture is identical with that of Dante’s limbo. . 83 III. The Moslem Hell in the Divine Comedy : I. The supposed originality of Dante’s conception of the architecture of hell . 85 2. The Moslem hell, according to the Koran and the hadiths, agrees with Dante’s hell in architectural outline . . 86 3. The Moslem hell, according to the description and designs of Ibn Arabi, is identical in its architectural plan with the hell described by Dante and graphically illustrated by the Dantiste. 91
CONTENTS PART II—continued TV. The MOSLEM Hell in the Divine Comedy—continued. VKGB. I. Islamic origin of descriptive detail and actual scenes, such as the movement towards the left . . . 96 2, The torture of the adulterers. . . 3. The City of Dis . 4. The rain of fire and the meeting with Brunetto Latini . 5. The first three valleys of Malebolge . 6. The torture of the soothsayers in the fourth pit . . 7. The torture of hypocrites . 8. The torture of thieves . 9. The torture of the schismatic . 10. The last chasm of Malebolge . V. The Moslem Hell in the Divine COMEDY (Conclusion) : I. The giants of Dante’s hell . 2. The torture of cold . 3. Dante's picture of Lucifer and its supposed originality . 4. Its prototypes in Islam . 97 98 98 99 100 101 102 103 104 105 106 108 109 VI. The Moslem Purgatory in the Divine Comedy: I. .Dante’s conception of purgatory . . . . .111 2. Its supposed originality . . . . . .112 3. Precedents for the topography are to be found in Moslem tradition . 113 4. Further precedents for the topography furnished by Ibn Arabi’s conception . . . . . .115 5. The punishments in the ante-purgatory . . . . 117 6. The torments of purgatory . . . . . .118 VII. The Earthly Paradise of Islam in the Divine Comedy : I. Dante's story of the earthly paradise and the supposed originality of its setting . 121 2. Situation of the earthly paradise, according to Islam, on a lofty mountain in the middle of the ocean . . . 122 3. The garden of paradise placed by Islamic legend between purgatory and heaven. .
. . . .125 4. Dante’s picture compared with the story of Shakir ibn Muslim, of Orihuela . . . . . . .125 5. Islamic sources of the scene of the meeting of Beatrice and Dante . 128 6. Summary of the principal Moslem legends on the meeting of the heavenly bride and bridegroom. Their comparison with the episode in Dante . . . . . .130 7. Recapitulation of partial comparisons . . . .134 VIII. The Celestial Paradise of Islam in the Divine Comedy : I. The sensuality of the Koranic paradise spiritually inter preted in the hadiths . 135 2. Idealistic conception of the delights of paradise according to Algazel, Averrhoes, and Ibn Arabi . . . . 137
CONTENTS xxi PART II—continued PAGE 3. The Moslem paradise susceptible of comparison with that of Dante. . ' 139 4. The general scheme of the Paradiso and its precedents in Islam. 142 5. Dante’s conception of the abode of glory . . . 145 6. Islamic precedents for that conception . . . . 147 IX. The CELESTIAL Paradise of Islam in the Divine Comedy (Conclusion) : I. The architecture of paradise, according to Ibn Arabi . 2. His geometrical design of paradise is identical with the plan of the mystic rose, as traced by the Dantists. . 3. Dante and Ibn Arabi use the same similes in describing paradise . 4. The moral structure of paradise is strikingly similar in both authors . 5. The life of glory, as depicted by Ibn Arabi . . . 6. Ibn Arabi’s cardinal theses compared with Dante’s ideas : (1) Beatific Vision of the Divine Light . 7. (2) Difierent grades in the Vision ; (3) External brilliance of the elect ; (4) Ecstasy of delight ; (5) Absence of envy 8. Dante’s symbol of the Trinity compared with similar geometrical symbols used by Ibn Arabi. . .167 150 151 152 154 157 160 163 X. Synthesis of all the Partial Comparisons : I. General conclusions to be drawn from the resemblances found . 171 2. Identity in construction shown by Ibn Arabi's and Dante’s plans of the hereafter . . . . . . 172 3. Analogies in topographical decoration . . . .172 4. Analogies in symmetry of conception . 173 5. The likeness extends to many of the episodes and scenes . 173 6. Conclusions
to be drawn from the first two parts of this enquiry : Islamic literature sheds light upon a greater number of problems in Dante than do all other religious literatures combined . X73 7. Transition to Part III . . . . . . . 174 PART III MOSLEM FEATURES IN THE CHRISTIAN PRECURSORY OF THE DIVINE COMEDY LEGENDS I. Introduction : г. Slight influence of these legends upon the genesis of Dante’s poem . 177 2. Are these legends the spontaneous outcome of popular imagination, or did they originate in other literatures ? 178 3. General evidence of their Moslem origin . . . .178 4. Remarks upon the method followed in this part of the enquiry . 179
xxii CONTENTS PART III—continued PAGE II. LEGENDS of Visions of Hell : I. Legend of the Three Monks of the East . 180 2. Moslem features in the general setting and in the tortures of hell . 180 3. Moslem origin of the myth of the souls incarnate in birds 181 4. Vision of St. Paul . 182 5. Scenes of Islamic origin ; tortures similar to those described in Mahomet's nocturnal journey; the sirat, or bridge of the Koran ; the wheel of fire . 183 6. The final vision, the respite of the sinners and similar Moslem tales . 184 III. Legends of Visions of Hell—continued : I. Legend of Tundal . . . ^ . . . 186 2. Features of Moslem origin ; hell represented as a monster ; the Aaraf, or Moslem limbo ; the punishment in the grave 186 3. The devil with the hundred hands . 187 4. Heaven shown to the sinner, ut magis doleant . . .188 5. The sinner tormented by the cow he had stolen . . 190 6. Legend of Purgatory of St. Patrick . 190 7. Moslem features which this legend shares in common with the former legends . 191 IV. Legends of Visions of Hell (Conclusion) : I. Vision of Alberic. Episodes already shown to be of Moslem origin . . 191 2. The Solar Liod. The topography of hell and other Moslem features. 192 3. Vision of Turcill. The Moslem torture of the thief, forced to swallow his illicit gains . 193 4. Vision of the Abbot Joachim. The passage of the sirat . 193 5. Vision of the Bard of Regio Emilia . 193 6. Islamic origin of the Bard's scheme of
hell . . . 194 V. Legends on the Weighing of Souls: I. Subject common to the legends of this cycle . . . 195 2. The Egypto-Persian myth in Islam, and its influence on the Christian legends . 195 3. The representation of St. Michael holding the scales is further evidence of such influence . 196 4. Digression to other instances of Moslem influence upon Christian illustrations of the Day of Judgment. _ The intercession of the Saints. The nakedness of the sinners 197 VI. Legends of Paradise: I. Anthropomorphism of the legends of this cycle, and their general resemblance to other Islamic legends . . 199 2. Episodes of Moslem origin, such as the vision of Adam in the legend of Turcill . 200 3. Moslem tales precursory of the Christian legends depicting life in paradise as a courtly gathering or religious festival 200
CONTENTS xxiii PART III—continued PAGE VII. Legends of Sea Voyages : I. Common characteristics of these legends. Classification into three groups . 204 2. Early Moslem counterparts of these legends . . . 205 3. Hypothesis of the influence of the Moslem cycle upon the Christian cycle . 205 4. Moslem episodes in the Legend of St. Brandan, such as the table spread with food ; the island-whale ; the angel birds ; the enormous vines ; the crystal column ; the torment of Judas ; the sea-hermit ; the isle of paradise 206 5. Conclusion, affirming the Oriental character of the Legend of St. Brandan . . 2Г4 6. Islamic features of other Christian tales of voyages . .214 VIII. LEGENDS of Sleepers: I. Characteristics common to the legends of this cycle, and brief summary of the main legends . . . .216 2. Prior existence of two groups of similar legends in Islamic literature . 218 3. Examination of the three legends of the first group . . 218 4. The Islamic tales of the second group . 220 5. Their resemblance to the mediaeval Christian tales may be attributed to Moslem influence upon Christian folklore . 221 IX. Legends of the Respite from Torture : I. The main theme of these legends unauthorized by Catholic doctrine . 222 2. Examination of a typical legend of this cycle . . . 223 3. Its main features, viz. the respite from torture and the incarnation of the souls in birds of black plumage, are of Moslem origin . 223 4. Christian tales dealing with the mitigation of suffering upon the payment of debt. Their Islamic prototypes . . 224 5. The
mitigation of the pains of hell by means of prayer. Moslem precedents for the Christian legends . . 225 X. Legends on the Debate Between Angels and Devils for Possession of the Soul : I. Main elements of the legends of this cycle . . . 226 2. Some of these features unauthorized by Christian doctrine 227 3. Islamic legends describing (1) the appointment of an angel and a devil to each man ; (2) the fight for the soul ; (3) the books of record ; (4) the personification of virtues and vices ; (5) the personification of the members of the body ; (6) the removal of the soul to hell or heaven . . . 228 4. Summary of comparisons contained in Part III and con clusion to be drawn therefrom ; Islamic literature furnishes the explanation of the growth of many of the pre-Dante Christian legends on the after-life . 232 5. Transition to Part IV. 233
xxiv CONTENTS PART IV PROBABILITY OF THE TRANSMISSION OF ISLAMIC MODELS TO CHRISTIAN EUROPE AND PARTICULARLY TO DANTE I. Introduction : page I. Literary imitation dependent on three conditions, viz. resemblance between model and copy ; priority of the former ; and communication between the two . . 237 2. The similarity in artistic representation of the life beyond the grave is conclusive proof . 237 3. Three headings under which evidence of contact may be furnished . 238 II. Communication Between Islam and Christian Europe During the MIDDLE Ages : I. Trade ; pilgrimages to the Holy Land ; the Crusades ; Missions to Islam . ·* · · · · 239 2. Norman expeditions and conquest of Sicily. The Sicilian court under the Norman dynasty a centre of Moslem culture . 3. Contact in Spain. The Mozarabs ; the slaves ; the Jews ; other intermediaries . 4. The Mudejars and the court of Toledo. Archbishop Raymond’s School of Translators. . 5. The court of Alphonso the Wise and the inter-denomina tional colleges of Murcia and Seville . III. Transmission of the Moslem Legends on the After-Life to Christian Europe and Dante: I. Probability of their transmission through any of the channels mentioned . 2. Moslem Spain a likely channel . 3. The knowledge of Moslem legendary lore possessed by the Mozarabs . 248 4. The legend of the " Miraj ” probably included in the " Summa ’’ of Robert of Reading . 5. The legend of the “ Miraj ” in the “ Historia Arabum " of Archbishop Rodrigo and
the “ Estoria d’Espanna ” of Alphonso the Wise . 6. Tbe '* Miraj ” and other legends of the after-life in the “ Impunaçion de la seta de Mahomah ” of St. Peter Paschal. 250 7. The legend probably transmitted to Italy by St. Peter Paschal . 8. The knowledge of Arabic learning possessed by Dante’s master, Brunetto Latini . 9. Brunetto may have learnt of the legend of the " Miraj ’’ during his mission to the court of Alphonso the Wise, and have transmitted his knowledge to his disciple . 240 242 244 245 246 247 248 249 251 252 253 IV. The Attraction Felt by Dante Towards Arabic Culture Confirms the Hypothesis of Imitation : I. Need of this final enquiry . 256 2. The receptiveness of Dante's mind such that he cannot have felt aversion to Arabic culture . 256
CONTENTS XXV PART IV—continued PAGE 3. Signs of Dante's liking for the Semitic languages . . 258 4. Evidence of his thorough knowledge of the history of Islam ; the torture of Mahomet and Ali. . . . 259 5. Dante's liking for Arabic culture shown by the use he makes of the works of the astronomers and the exemption from hell of Saladin, Avicenna and Averrhoes . .261 6. Sigier of Brabant, the champion of Averrhoism, placed in paradise . 262 7. Bruno Nardi’s explanation of this enigma ; Dante’s philo sophy akin rather to that of Avicenna and Averrhoes than to that of St. Thomas . 263 V. The Close Resemblance between Dante and the Mystic, Ibn Arabi of Murcia, Furnishes Further Proof of the Thesis of Imitation : X. Dante’s relation to the Illuministic Mystics mooted . . 2. General parallel between the Illuministic images used by both authors . 3. Comparison of their expository methods. The cabbala of letters and numbers ; astrological subtleties ; personifi cation of abstract entities ; interpretation of dream visions 4. Particular parallel between Dante’s vision of Love (Vita Nuova, XII) and similar visions described by Ibn Arabi 5. Striking analogy of Dante’s “ Cancionero ” and its allegorical commentary, the “ Convito," to Ibn Arabi’s book of songs, “ The Interpreter of Love," and its allegorical commentary, “ The Treasures of Lovers ” . 6. The dolce stil nuovo poetry and Vossler’s hypothesis as to its origin. 271 7. Earlier examples of this type of poetry in Islam. Romantic love in
profane literature. The " Necklace of the Dove,” or “ Book of Love," of Ibn Hazm of Cordova . . 272 8. The mystical love of woman in Sufi literature. Woman as an angel and a symbol of Divine wisdom. The phenomena of love analysed and allegorically interpreted in Ibn Arabi’s Futuhat . 9. Epilogue. The eschatology of Islam and the conceptions of Ibn Arabi as a key to the riddles in Dante and a remote reflex of Christian spirituality . 263 264 265 266 267 274 275 |
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| id | DE-604.BV049585145 |
| illustrated | Not Illustrated |
| index_date | 2024-07-03T23:32:32Z |
| indexdate | 2024-07-10T10:11:22Z |
| institution | BVB |
| isbn | 9780415439190 0415439191 |
| language | English |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034929990 |
| oclc_num | 255043057 |
| open_access_boolean | |
| owner | DE-739 DE-703 |
| owner_facet | DE-739 DE-703 |
| physical | xxv, 295 Seiten 24 cm |
| publishDate | 2008 |
| publishDateSearch | 2008 |
| publishDateSort | 2008 |
| publisher | Routledge |
| record_format | marc |
| series | Routledge library editions. Islam |
| series2 | Routledge library editions. Islam |
| spelling | Asín Palacios, Miguel 1871-1944 Verfasser (DE-588)116361328 aut Escatología musulmana en la Divina comedia Islam and the Divine comedy Miguel Asín Palacios ; [translated and abridged by Harold Sutherland] London ; New York Routledge 2008 © 1926 xxv, 295 Seiten 24 cm txt rdacontent n rdamedia nc rdacarrier Routledge library editions. Islam volume 26 Previously published: London : Frank Cass, 1968, in series: Islam and the Muslim world ; no. 4 Originally published in 1926 The legend of the nocturnal journey and ascension of Mahomet compared with the Divine comedy -- The Divine comedy compared with other Moslem legends on the after-life -- Moslem features in the Christian legends precursory of the Divine comedy -- Probability of the transmission of Islamic models to Christian Europe and particularly to Dante Dante Alighieri 1265-1321 Divina commedia (DE-588)4113270-1 gnd rswk-swf Islam (DE-588)4027743-4 gnd rswk-swf Dante Alighieri / 1265-1321 / Sources Dante Alighieri / 1265-1321 / Knowledge and learning Dante Alighieri / 1265-1321 / Divina commedia Islamic legends / History and criticism Islamic eschatology in literature Eschatology Comparative literature Légendes islamiques / Histoire et critique Dante Alighieri / 1265-1321 Divina commedia (Dante Alighieri) Literature Islamic legends Criticism, interpretation, etc Sources Dante Alighieri 1265-1321 Divina commedia (DE-588)4113270-1 u Islam (DE-588)4027743-4 s DE-604 Sutherland, Harold trl ctb Routledge library editions. Islam volume 26 (DE-604)BV023113766 26 Digitalisierung UB Passau - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034929990&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Asín Palacios, Miguel 1871-1944 Islam and the Divine comedy Routledge library editions. Islam The legend of the nocturnal journey and ascension of Mahomet compared with the Divine comedy -- The Divine comedy compared with other Moslem legends on the after-life -- Moslem features in the Christian legends precursory of the Divine comedy -- Probability of the transmission of Islamic models to Christian Europe and particularly to Dante Dante Alighieri 1265-1321 Divina commedia (DE-588)4113270-1 gnd Islam (DE-588)4027743-4 gnd |
| subject_GND | (DE-588)4113270-1 (DE-588)4027743-4 |
| title | Islam and the Divine comedy |
| title_alt | Escatología musulmana en la Divina comedia |
| title_auth | Islam and the Divine comedy |
| title_exact_search | Islam and the Divine comedy |
| title_exact_search_txtP | Islam and the Divine comedy |
| title_full | Islam and the Divine comedy Miguel Asín Palacios ; [translated and abridged by Harold Sutherland] |
| title_fullStr | Islam and the Divine comedy Miguel Asín Palacios ; [translated and abridged by Harold Sutherland] |
| title_full_unstemmed | Islam and the Divine comedy Miguel Asín Palacios ; [translated and abridged by Harold Sutherland] |
| title_short | Islam and the Divine comedy |
| title_sort | islam and the divine comedy |
| topic | Dante Alighieri 1265-1321 Divina commedia (DE-588)4113270-1 gnd Islam (DE-588)4027743-4 gnd |
| topic_facet | Dante Alighieri 1265-1321 Divina commedia Islam |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034929990&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV023113766 |
| work_keys_str_mv | AT asinpalaciosmiguel escatologiamusulmanaenladivinacomedia AT sutherlandharold escatologiamusulmanaenladivinacomedia AT asinpalaciosmiguel islamandthedivinecomedy AT sutherlandharold islamandthedivinecomedy |