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Divine Comedy: Inferno. A Study Help. DANTE'S.
Inferno Pizzeria
LIFEDante Alighieri was born to a Guelph family in Florence in 1. The. Guelph was the party of the. Ghibelline. was the party of of the feudal nobility. The Guelphs and the Ghibellines.
German origin. The names were used. The reference is certainly.
Dominican School of Santa Maria Novella where the works of. Thomas Aquinas were studied. Franciscan School of Santa Croce where the works of Bonaventure. He also tells us what were his preferred readings during. Boethius'On Consolation of Philosophy and Cicero's Laelius, or.
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Friendship. At the age of. Dante participated as an assault cavalry man, for Guelph. Florence, in the battle of Campaldino. Ghibelline cities of Arezzo. Pisa and Siena. lead by Buonconte da Montefeltro.
This is an extremely. Dante. THE YEARS 1.
The years between 1. Dante is totally. Florence. In 1. 29. Council of the Captains.
People and serves in that capacity for one year. In 1. 29. 6. he delivers a speech to the Council of the Onehundred, having been. Council. A couple of years later he is. Florence ambassador to San. Gimignano, to perorate the cause of the Guelphs. In the meantime. with the Ghibellines permanently defeated, the Guelphs in Florence.
Whites. who were interested in conserving the independence of the city, and. Blacks who wanted to put. Florence under the dominion of Pope Boniface. VIII. Dante is a White and strongly opposes the Pope's aims. Together with two other people, Dante is sent to Rome as ambassador. Boniface the VIII himself about.
In the meantime, in Florence,a quarrel breakes. Blacks and the Whites, and Charles of Valois helps. Blacks to gain control of Florence. Dante is accused and condemned. He becomes aware of the sentence against him in Siena. Rome. Of course he doesn't continue towards Florence. So begins the long exile which.
Poet away from his beloved city forever. THE EXILE Dante doesn't describe anywhere in his works the terrible feeling. Truly I. have been a ship without sail, brought to various ports and shores. Not much is known about his life.
We know that he was in Verona. Bartolomeo della. Scala and of his son first, and later of Cangrande. Scala to whom, as a sign of affection and gratitude, Dante. Paradiso. He travels to Bologna. Lucca. where as we read in the Comedy he meets Gentucca.
Boccaccio. and Giovanni Villani,the historian. Florence, tell us that Dante traveled also to Paris, but we are. In May 1. 31. 5 an amnesty was declared. Florence: by paying a certain sum of money and publicly admitting.
Dante could return home. But. he refused to accept the humiliating and unjust conditions. In October. of the same year his previously decreed condemnation to death is renewed. In 1. 32. 1 Dante is sent to Venice as ambassador on behalf. Guido Novello. Upon returning from Venice, in the night between. S eptember, Dante dies at the age of fifty six. The. sepulchral monument erected to him in the Florentine church of Santa.
Croce (the equivalent of London's Westminister Abbey) is actually. The various attempts of the city of. Florence to regain the mortal remains of her son have always failed- -and. Dante perhaps justly so! MINOR WORKS IN LATIN DE VULGARI ELOQUENTIA De vulgari eloquentia (On the Vulgar Language) is a work written.
Italian language. This treatise was to consist of four books, but only the. In the work. Dante envisions a common language for all of Italy based on the best. Dante`s time. What Dante wants.
Peninsula in a common bond; a language. Therefore. the Vulgari eloquentia is also a manual on rhetoric for the. Italian, aimed at the learned persons who at present may be. Latin. The title De vulgari eloquentia. Convivio (I, xix, 3) where Dante.
On the vulgar language that he. Therefore the points in common between this.
Latin and his Convivio, in Italian, are numerous and. DE MONARCHIA De monarchia (On World Government), is a treatise in three. Henry the VII's descent. Italy (1. 31. 0- 1. Dante fervently hoped that the Holy Roman Emperor. Guelfs and the Ghibellines. Italy. In the first book of the World Government.
Dante takes into consideration the idea of a universal monarchy which. In. the second book, he states that it belongs by right to the Roman people. In this work the author demonstrates that. THE EGLOGHE The Eclogues are two poetical compositions addressed to Giovanni del.
Virgilio, a professor at the University of Bologna. In 1. 31. 9 Giovanni. Virgilio wrote to Dante showing sincere admiration for his genious. Italian, and suggesting to him that. Latin, as this would. Dante answers Giovanni's eclogues.
Answering in the pastoral allegorical form. Giovanni, Dante's Eclogues propound his fervid hope to receive. Italian. The Eclogues are therefore important because, once again. Dante's clear- cut. Italian language, mostly through his own experience.
EPISTLES or LETTERSOf the Letters written by Dante only thirteen are extant and pertain. Of particular. interest is the one written to Henry VII of Luxemburg on the occasion. Italy. It is Dante`s cherished hope that Henry might. Italy and to his beloved Florence. Also noteworthy. is the one written to his .
Finally, very interesting is the letter to Cangrande della. Scala, his Veronese friend and patron to whom the Paradiso is. In this letter Dante expounds on the four levels of interpretation. Divine Comedy. Others belong to.
Dante's life and his poetic. They are poems written in a. These do include the. Dante and incorporated in the Vita Nuova. The expression < vita nova> in Italian, is also.
Purgatorio (XXX, 1. Beatrice's lips. while she is accusing Dante of having gone astray during his youth. The booklet is written, or better. Beatrice's death, between 1.
It is a work. of poetry and prose. The prose is intended to explain its 3. Beatrice is first.
Dante had. met her when both were nine. Now after some 1. Beatrice appears in the New Life as a figure between reality and art. The New Life is a 'composite'. Dante exalts Beatrice as the giver of . So that she bestows salvific power on him and on. When Dante realizes this, he promises at the.
Obviously the allusion is to. Divine Comedy. As such the Vita Nuova is ideally.
But before. he is able to fulfill his promise, Dante must study and prepare himself. And to this end, I apply myself as much as I can. I hope to write of her what has never been composed in rhyme.
CONVIVIO The Convivio, or Banquet, is a kind of philosophical and scientific. Most of the canzoni to. Convivio had been written by Dante before. He wrote only four books, and the work remains incomplete.
Dante. explains the meaning of three canzoni according to a fourfold system. Divine Comedy, as we. The title of the work is metaphoric and suggests. The Convivio, with other works written during. Dante had made at the end of the Vita Nuova.
But there. is more: at the beginning of the Convivio Dante fervently glorifies. Moreover, as it has been mentioned above, in the Convivio Dante. Latin, and therefore written for the learned who might want to.
Dante is thoroughly convinced of the. He died in 1. 27. Dante was only eleven years. In the Comedy Dante calls Guinizzelli . Dante is much indebted to both Guidos for his literary. Cavalcanti is only ten years older than Dante, and dies in.
Generally the lyric poetry of Cavalcanti is and remains concerned. The effects of love in Cavalcanti's poetry. Because of the impossibility to obtain the real woman. During his first.
Dante follows the conception of love held. Cavalcanti. However, at a certain moment in his life and growth. Dante rediscovers, so to speak, the idea underlying the basic love. Guinizzelli, and writes chapter XVIII of Vita. Nuova. In his philosophical.
Al cor gentil rempaira sempre amore) the first. Guido is able to fuse Love and the gentle heart into a new unity. Also, and more importantly, in.
Guinizzelli's poem the lady assumes the qualities of an angel from. She passes through the streets, inspiring noble sentiments. In addition, and again more importantly, Dante takes. Guinizzelli in his canzone. God, the poet will say .
So he writes Chapter XVIII of. Vita Nuova where he states that while once the aim of his love. In fact, this is almost. Chapter XVIII of the Vita Nuova becomes . Dante's expressed promise that we have mentioned.
Of course, it is also the starting point in Dante's long voyage. Paradiso, in the vision. It consists. of one hundred cantos. There are about 1.
The rhyme pattern is therefor as follows. A B A, B C B, C D C, D E D, etc.
The Divine Comedy is divided. It is evident. at once that the insistence on the number three is the large scheme.
Dante's masterpiece. In addition, we also find multiples of . It became part of the title much later, and.
Ludovico Dolce published in Venice by. Giolito de' Ferrari in 1.
In De vulgari eloquentia (II, iv) Dante says that tragedy. Moreover,in accordance. In fact, in. his letter to Cangrande Dante justifies the title of Comedia given. And the style is low and humble, because it is written in. It is therefore credible. Dante abandons writing the two treatises because.
Comedy. We know that the cantiche were circulated. Paradiso. after Dante's death- -although a group of Cantos were known earlier. Boccaccio informs us.
There is a good probability that Inferno. Purgatorio around 1.
Paradiso. not much before Dante's death. We do not have an autograph of the. Comedy. The earliest comment we have is of Inferno. Latin and written around 1. Comedy written by Iacopo della Lana. Other comments. were written in the XIV century. For our purpose it will be sufficient.
Giovanni Boccaccio wrote the first . The first edition of the Commedia was printed. Foligno in 1. 47. Venice and another in Mantova.
DANTE'S . There is nothing new about this. Narrations of. visions and voyages into the Beyond are common in the Middle Ages. In fact, the. two veins of the genre derivation are made clear by Dante at the very. Inferno(II, 1. 3- 2.
Here Dante recalls to mind. St. But both in the Bible and in the classics. St. John the Divine's Revelation. Lucan's Pharsalia, Ovid's Metamorphoses, Cicero's Somnium. Scipionis, to mention only a few.
The Divine Comedy, Vol. Inferno) (English trans.)EVERY new translation of the Divine Comedy, though in itself a fresh tribute, however humble, to the interlingual, as well as to the international claims of “the loftiest of poets,” calls for a word of justification. That justification involves the expression of some theory as to the translation of Dante’s world- poem, itself implying a criticism, whether expressed or not, of competitors already in the field. The present translation, which is the result of over twenty years’ work with large classes in “Dante in English” at Brown University, was undertaken and continued with the object of meeting a need, which did not seem adequately met by the well known translations of Cary, Longfellow, Norton, or others more recent; it, therefore, frankly aimed at being in every possible way an improvement on its rivals old and new. Since the advent of the feeling that minute loyalty to the actual words and thought of the original is a prerequisite to a translation of any poem of supreme human import, such a pioneer work as that of Cary, which so long held the field, came to be recognized as being, not only no longer abreast of the modern achievements of Dante scholars, but as inadequate in the above all- important respect. Longfellow’s widely diffused version, which is an almost painfully accurate translation of the then accepted Italian text, at once attained great popularity not only in America Edition: current; Page: . Longfellow, however, in his apparent eagerness to be true to every syllable of the Italian, was led to draw too much upon the tempting Latin element, which looks like Italian, and too little upon the stronger, homely Anglo- Saxon element, of his English medium, to bring due conviction to an English ear; he was also betrayed into infelicities of construction and rhythm peculiarly surprising in such a poet as the author of the incomparable Dante Sonnets, a betrayal which has found explanation in the state of his mind and heart during the prosecution of the work.
This, consequently, remains as an instance of a great translation which, not intended to be prose, ought not to have been thought of as poetry. After using it for two or three years, I gave it up, in spite of its many happy lines, and valuable notes, because I found that I could not read it aloud with continuous pleasure either to myself or to my hearers. Possibly as a reaction against these obvious defects, Charles Eliot Norton produced his well known and excellent prose version, against which the only thing that can be said is, that it is just what it purports to be, prose, a prose only slightly hampered by extreme verbal loyalty; and that it was composed under the strange conviction, expressed in his preface, that “to preserve in its integrity what” (of the Edition: current; Page: . Norton unfortunately added: “but the difference is fatal,” and in giving up the creation of a new harmony himself, he lent the great authority of his name to the suggestion that any such attempt by others would prove futile. As to such efforts as that of Dean Plumptre and others to translate Dante in English terza rima, it ought to be sufficient to urge, in the first place, that rhymes are practically an insurmountable obstacle for one who, as a translator, is already limited by the demands of loyalty to another’s articulated thought and feeling; and, secondly, that terza rima is not an indigenous, or even a fully acclimated, form of verse in English, and can not be made to sound natural to an English ear, or, at any rate, produce the effect it does in Italian, where it is to the manner born. I, therefore, feel that neither terza rima, nor, indeed, any rhymed translation in metrical forms still more alien in poetical tone to that in which the Divine Comedy was written, can prove to be at best other than unnatural and unsympathetic, though at times brilliant, tours de force. Their readers will too often be met by forced constructions, and forced or weak rhymes, while students familiar with the Italian original will too often be grieved by omissions, weakenings, or additions, to Edition: current; Page: .
It is, therefore, possible for the indwelling spirit of a supremely great poem to reclothe itself fittingly, and yet retain its essential identity, because in such a case the spirit, and not the clothing, is paramountly the thing; being that which originally made itself a body, it can make itself another, whatever the former’s perfection; but this is true only on condition that the new clothing fit it, and hold Edition: current; Page: . Now the evolution and acquired associations of poetical forms having, as I believe, given the qualities of blank verse the nearest possible position in English to those sustained by terza rima in Italian, notwithstanding the rhymes of the latter, blank verse would seem to be the translator’s natural choice.
Being rhythmical and also metrical, it can supply the translator with the emotional and fusing element fatally lacking in prose; and being free from the artificial bondage of rhymes, or stanza schemes, which can only rarely prove happy under the restraints of dictated thought, it will release him from all temptation to disloyalty to the integrity of the original’s intellectual and spiritual message, or to any interruption of that formal continuity, which is a quality that blank verse and terza rima possess in common, in spite of the latter’s divisibility into terzine. For these reasons I cannot but feel that blank verse would be the medium that Dante himself would use, were he writing the same poem in English now, to say nothing of what he would do, were he translating it into that language. This blank verse must, however, be loyal to itself and to its own laws, and must not take any such liberties with them as too many manufacturers of “vers libres,” so- called, seem to think proof against the charge of license. In other words, a blank verse line cannot be made by applying scissors to indifferent prose. Again, in some such use of blank verse Edition: current; Page: .
Aiming ever at keeping the reader’s attention from being unnaturally diverted, I have tried to avoid the use of any word whose archaic nature would draw an attention to itself, not drawn to its Italian counterpart. I have furthermore striven to keep myself free from all organic omissions or additions, however sorely tempted by actual indolence, or fancied inspiration, in the hope that a faithful translation, expressed in the best English and in the best blank verse at my command, would ultimately enable me to render with some success the homely directness and familiarity, Edition: current; Page: . Accurate and sympathetic reproduction of its author’s thoughts and moods, good English, and good verse have, therefore, been the triune aim of my long continued work on the poem’s every line and poetic unit, with what result the reader and student must be the ultimate judge, no one realizing more than I how far any achievement is likely to be from its inspiring ideal. The Italian text is that of the Vandelli edition of 1. Italian editors of the poem as Torraca, Casini, Passerini, or, in some instances, by our American Dantist, Dr. In very few cases only have I risked erring heretically on the side of radical boldness in adopting a rejected variant which seemed more Dante- like, or more consistent with its immediate or more remote context, than that of the textus receptus. On the other hand, several temptations to make Dante say in my translation something in Edition: current; Page: .
On the English page the reader will see that in the vast majority of cases I have found it possible to have three lines of blank verse match the three lines of each opposite terzina without disloyalty to the interests of either. Where this seemed impossible or undesirable, simple typographical devices have been adopted, to keep up the useful parallelism to the eye, without detriment to the flow or metrical integrity of the English verse. Again, in the translation the subject matter has been helped, I trust, by being divided into paragraphs, with the object of making the dialogue clearer, as well as of isolating and framing independent gems of thought, feeling or description. A temperate use of capitals has been made in printing both texts with a similar aim. In dealing with the title Maestro, as applied to Virgil by Dante, I have replaced the usual translation, Master, by that of Teacher, which more correctly and unambiguously distinguishes his function as an instructor from that of lord, leader, or guide.
In the translation of individual words — idiomatic phrases having been rendered as far as possible by idiomatic equivalents — while careful to reproduce Dante’s quaint choices, when illuminating, I have not always thought it a part of loyalty to reproduce obscurities, when obviously due, in spite of his reported claim to the contrary, to the tyrannical exigencies Edition: current; Page: . The grave accent has been used for all purposes in the Italian text, except that of marking a closed o or e, and in the English, to facilitate the pronunciation of proper nouns, or the rhythmic reading of the verse; while a free use has been made of the apostrophe, as one way of rendering the frequently colloquial style of the Italian, and in such embarrassing cases as that of see’st when pronounced as one syllable.
In the hope of publishing before long a fourth volume containing a running commentary on the poem, all notes have been omitted from the pages of the translation, what seemed indispensable being inserted in the Interpretative Analysis, which will explain itself.