This study argues the imaginary dialogue in Pasolini's La Divina Mimesis (1963-65), between two historical versions of the author and on the ground of Dante's Comedy, is a typical and recurrent structure in the work. From the civic poetry of the 1950's and 1960's, to the plays Calderón and Pilade, to the pastiches of Trasumanar e organizzar, the poet's recourse to various forms of polyphonic discourse and address, like his protean play with genres and myths and his polemical attack on the «institutions», aids in his continuous paraphrase of the compelling issues of his day.