CVSP 205: DANTE
Poetry
and
Eternity
DAVID CURRELL
THE END
Contents
•
Beginnings, Middles
•
Christianity (theology) and Antiquity (poetry)
•
The Divine Comedy: Structure and Narrative
•
Medieval reading practices
•
Dante and Florence: politics and exile
Beginnings, Middles
•
“Midway along the journey of our life…”
Beginnings, Middles
•
“Midway along the journey of our life…”
•
Dante Alighieri (1265-1321)
Beginnings, Middles
•
“Midway along the journey of our life…”
•
Dante Alighieri (1265-1321)
•
Commencement of the poem’s narrative 1300
(precisely on eve of Good Friday)
Beginnings, Middles
•
“Midway along the journey of our life…”
•
Dante Alighieri (1265-1321)
•
Commencement of the poem’s narrative 1300
(precisely on eve of Good Friday)
•
“Middle Ages”
CLASSICAL
CHRISTIAN
CLASSICAL
Reason (philosophy)
Aristotle
Virgil, Aeneid (poetry)
“Greater honor still they deigned to grant me:
they welcomed me as one of their own group,
so that I numbered sixth among such minds”
(Inferno IV.100-2)
City-state (Florence)
VIRGIL as guide
CHRISTIAN
CLASSICAL
CHRISTIAN
Reason (philosophy)
Faith (theology)
Aristotle
St. Augustine
(Confessions, City of God)
Virgil, Aeneid (poetry)
“Greater honor still they deigned to grant me:
they welcomed me as one of their own group,
so that I numbered sixth among such minds”
(Inferno IV.100-2)
 St. Thomas Aquinas
City of God (as King)
City-state (Florence)
(“Men, therefore, needed the restraint of laws,
needed a ruler able to at least
discern the towers of the True city.”
(Purgatorio XVI.94-6)
VIRGIL as guide
BEATRICE as guide
CLASSICAL
CHRISTIAN
“Io non Enëa, io non Paulo sono”
“I am not Aeneas, I am not Paul” (Inferno II.32)
Familiar Faces (?)
Familiar Faces (?)
Familiar Faces (?)
‘Brothers,’ I said, ‘who through a hundred thousand
perils have made your way to reach the West,
during this so brief vigil of our senses
that is still reserved for us, do not deny
yourself experience of what there is beyond,
behind the sun, in the world they call unpeopled.
Consider where you came from: you are Greeks!
You were not born to live like mindless brutes
but to follow paths of excellence and knowledge.’
(Inf. XXVI.112-20)
Dante’s Translators
STRUCTURE
NARRATIVE
STRUCTURE
3 spaces
(hell, purgatory, heaven)
further subdivisions:
• circles (hell)
• terraces (purgatory)
• spheres (heaven)
united by: divine love
Dante the Poet
NARRATIVE
STRUCTURE
NARRATIVE
3 spaces
(hell, purgatory, heaven)
3 canticles
(Inferno, Purgatorio, Paradiso)
further subdivisions:
further subdivisions:
• circles (hell)
• terraces (purgatory)
• spheres (heaven)
• cantos (33 per canticle)
• tercets
• terza rima
united by: divine love
united by: journey
Dante the Poet
Dante the Pilgrim
Cosmos
Paradiso
Purgatorio
Inferno
SPHERES
TERRACES
CIRCLES
Purgatory
Terraces: 7 “Capital
Vices” purged
LUST
GLUTTONY
GREED
SLOTH
WRATH
ENVY
PRIDE
Entry: Dante receives 7 “P”s
First valley (Waiting)
Shoreline (Arrival)
Purgatory
Neither Creator nor his creatures ever,
my son, lacked love. There are, as you well know,
two kinds: the natural love, the rational.
Natural love may never be at fault;
the other may: by choosing the wrong goal,
by insufficient or excessive zeal.
LUST
TOO MUCH GLUTTONY
GREED
NOT ENOUGH
SLOTH
TURNED
TOWARD
EVIL
WRATH
ENVY
PRIDE
While it is fixed on the Eternal Good,
and observes temperance loving worldly goods,
it cannot be the cause of sinful joys;
but when it turns toward evil or pursues
some good with not enough or too much zeal—
the creature turns on his Creator then.
(Purgatorio XVII.91-102)
Inferno I.1-9 (Musa trans.)
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura
ché la diritta via era smarrita.
Midway along the journey of our life
I woke to find myself in a dark wood
for I had wandered off from the straight path.
Ahi quanto a dir qual era è cosa dura
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
How hard it is to tell what it was like,
this wood of wilderness, savage and stubborn
(the thought of it brings back all my old fears),
Tant'è amara che poco è più morte;
ma per trattar del ben ch'i' vi trovai,
dirò de l'altre cose ch'i' v'ho scorte.
a bitter place! Death could scarce be bitterer.
But if I would show the good that came of it
I must talk about things other than the good.
Inferno I.1-9 (Palma trans.)
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura
ché la diritta via era smarrita.
Midway through the journey of our life, I found
myself in a dark wood, for I had strayed
from the straight pathway to this tangled ground.
Ahi quanto a dir qual era è cosa dura
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
How hard it is to tell of, overlaid
with harsh and savage growth, so wild and raw
the thought of it still makes me feel afraid.
Tant'è amara che poco è più morte;
ma per trattar del ben ch'i' vi trovai,
dirò de l'altre cose ch'i' v'ho scorte.
Death scarce could be more bitter. But to draw
the lessons of the good that came my way,
I will describe the other things I saw.
Inferno I.1-9 (Palma trans.)
Nel mezzo del cammin di nostra vita
mi ritrovai per una selva oscura
ché la diritta via era smarrita.
Midway through the journey of our life, I found
myself in a dark wood, for I had strayed
from the straight pathway to this tangled ground.
Ahi quanto a dir qual era è cosa dura
esta selva selvaggia e aspra e forte
che nel pensier rinova la paura!
How hard it is to tell of, overlaid
with harsh and savage growth, so wild and raw
the thought of it still makes me feel afraid.
Tant'è amara che poco è più morte;
ma per trattar del ben ch'i' vi trovai,
dirò de l'altre cose ch'i' v'ho scorte.
Death scarce could be more bitter. But to draw
the lessons of the good that came my way,
I will describe the other things I saw.
Florence
Medieval Tuscany
Modern Italy
Florence
To me, however, the whole world is a homeland, like the sea
to fish—though I drank from the Arno before cutting my
teeth, and love Florence so much that, because I loved her, I
suffer exile unjustly—and I will weight the balance of my
judgement more with reason than with sentiment.
(De vulgari eloquentia I.vi)
Was it not enough to correct you that, banished from the
light for your first transgression, you should live in exile from
the delights of your homeland (I.vii)
Florence
Be joyful, Florence, since you are so great
that your outstretched wings beat over land and sea,
and your name is spread throughout the realm of Hell!
I was ashamed to find among the thieves
five of your most eminent citizens,
a fact which does you very little honor
But if early morning dreams have any truth,
you will have the fate, in not too long a time,
that Prato and the others crave for you.
And were this the day, it would not be too soon!
Would it had come to pass, since pass it must!
The longer the delay, the more my grief. (Inferno XXVI.1-12)
Letter to Can Grande
“For the first sense is that which is contained in the letter, while there is
another which is contained in what is signified by the letter. The first is
called literal, while the second is called allegorical, or moral or
anagogic. And in order to make this manner of treatment clear, it can
be applied to the following verses: ‘When Israel went out of Egypt, the
house of Jacob from a barbarous people, Judea was made his sanctuary,
Israel his dominion’ [Psalm 114:1-2]. Now if we look at the letter alone,
what is signified to us is the departure of the sons of Israel from Egypt
during the time of Moses; if at the allegory, what is signified to us is our
redemption through Christ [typology]; if at the moral sense, what is
signified to us is the conversion of the soul from the sorrow and misery
of sin to the state of grace; if at the anagogic, what is signified to us is
the departure of the sanctified soul from bondage to the corruption of
this world into the freedom of eternal glory.”
Exodus in Purgatorio
William Blake
Salvadore Dali
Exodus in Purgatorio
(Virgil and Dante on the shore at the foot of Mt. Purgatory)
and the celestial pilot stood astern
with blessedness inscribed upon his face,
More than a hundred souls were in his ship:
In exitu Israël de Aegypto,
they all were singing with a single voice,
chanting it verse by verse until the end.
(Purgatorio II.43-48)
Purgatorio II: quiz
(The musician Casella recognizes Dante after disembarking)
Three times I clasped my hands around his form,
as many times they came back to my breast
(Purgatorio II.80-1)
Purgatorio II: quiz
(The musician Casella recognizes Dante after disembarking)
Three times I clasped my hands around his form,
as many times they came back to my breast
(Purgatorio II.80-1)
‘So she spoke, but I, pondering it in my heart, yet wished
to take the soul of my dead mother in my arms. Three times
I started toward her, and my heart was urgent to hold her,
and three times she fluttered out of my hands like a shadow
or a dream, and the sorrow sharpened at the heart within me
(Odyssey 11.204-8)
Exodus in Purgatorio
(Souls on terrace of the slothful call out to Dante and Virgil)
Two at the end were shouting “All of those
for whom the Red Sea’s waters opened wide
were dead before the Jordan saw their heirs;
and those who found the task too difficult
to keep on striving with Anchises’ son,
give themselves up to an inglorious life.”
(Purgatorio XVIII.133-38)
Purgatorio XVI: Marco on free will
Purgatorio XVI: Marco on free will
The spheres initiate your tendenceies:
not all of them—but even if they did,
you have the light that shows you right from wrong,
and your Free Will, which, though it may grow faint
in its first struggles with the heavens, can still
surmount all obstacles if nurtured well.
You are free subjects of a greater power,
a nobler nature that creates your mind,
and over this the spheres have no control. (73-81)
Purgatorio XVI: allegory
On Rome, that brought the world to know the good,
once shone two suns that lighted up two ways:
the road of this world and the road of God.
The one sun has put out the other’s light;
the sword is now one with the crook—and fused
together thus, must bring about misrule,
since joined, now neither fears the other one. (106-112)
THE END