[While it is impossible to avoid errors, especially when articles are transmitted electronically and then "translated" from one word processing program to another, there was an exceptionally inordinate number, and one serious lacuna, in J.H.Copley's 'Plurilingualism and the Mind of Europe in T.S.Eliot and Dante', from the Yeats Eliot Review, 22.1, Spring 2005, pp. 2-24. A list of errors follows. Our apologies to Professor Copley and his readers for the omitted text in particular.]
p. 4 The epigraph from D.H.Lawrence is in verse, not prose as the layout suggests.
p. 7 'As McLaughlin obviously' should read 'As McLaughlin observes'.
p. 13 Bara?ski (and p. 20 Baraski, p. 22 Bara?ski) should read: 'Bara?ski'.
p. 14 'TROIE' should read 'TROIEI' (otherwise it wouldn't rhyme with 'lee-way').
p. 16 The text in bold was omitted from the section 'The complete fitness of content and idiom':
Contini' s definition of plurilinguismo does not restrict itself solely to the employment of various languages, but also refers to Dante's practice of making language and poetic diction conform to subject matter and the atmosphere of a particular scene. As Dante's choice of vocabulary and musical sensibility range from the 'rime aspre e ciocche' [rhymes rough and hoarse] (Inf. XXXII 1) conveying the ineffable agony of damnation in the 'dismal hole', through to the tuneful and solemn circumlocutions in Latin, appropriate for the elevated subject matter of Paradise, Eliot blends and alternates the most wide-ranging varieties of tones, styles, languages, rhyming schemes and polyphonic sensations in his poems. The feature that both have in common is 'the complete fitness of content and idiom' which Eliot greatly admired in Davidson's 'Thirty Bob a Week' (1961: i-ii). There is, in other words, a rational necessity dictating their choice of vocabulary and polytonality, a lesson which Eliot seems to have learnt from Dante.
In the Inferno, for example, where the sinful nature and the flagitious character of the place would make it unfitting to mention the word 'Dio', which will be pronounced more uninhibitedly in the other two reigns, Dante often has to resort to periphrases such as Francesca's 'il re dell'universo' [the King of the Universe], quoted by Eliot (1929: 27), or to the word 'altrui' [another]. In the excised narrative section from 'Death by Water', which was inspired by the Ulysses adventure in Inferno XXVI (Eliot 1959: 53), Eliot employs both 'God' and 'Another' in the final moments of the shipwreck (1971: 61):
My God man there's bears on it. Not a chance. Home and mother. Where's a cocktail shaker, Ben, here's plenty of cracked ice. Remember me. And if Another knows, I know I know not, Who only know that there is no more noise now.
The exclamation 'My God' is an informal assertion uttered by the sailor as the ship inexorably approaches the iceberg meaning certain death, appropriate for the context in which it is located.
p. 19 The quotation from Eliot's Clark Lectures (p. 227) should read: 'So far as I am concerned'.
p. 21 (Notes) 'Eliot as' should read 'Eliot was'.