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Dante said he first met Beatrice Portinari, daughter of Folco Portinari, when he was nine (she was eight), [22] and he claimed to have fallen in love with her " at first sight", apparently without even talking with her. [23] When he was 12, however, he was promised in marriage to Gemma di Manetto Donati, daughter of Manetto Donati, member of the powerful Donati family. [20] Contracting marriages for children at such an early age was quite common and involved a formal ceremony, including contracts signed before a notary. [20] Dante claimed to have seen Beatrice again frequently after he turned 18, exchanging greetings with her in the streets of Florence, though he never knew her well. [24]
Dante - Poet, Inferno, Purgatorio | Britannica Dante - Poet, Inferno, Purgatorio | Britannica
Dante reads an inscription on one of the tombs indicating it belongs to Pope Anastasius II – although some modern scholars hold that Dante erred in the verse mentioning Anastasius (" Anastasio papa guardo, / lo qual trasse Fotin de la via dritta", lines 8–9), confusing the pope with the Byzantine emperor of the time, Anastasius I. [62] [63] [64] [65] Pausing for a moment before the steep descent to the foul-smelling seventh circle, Virgil explains the geography and rationale of Lower Hell, in which the sins of violence (or bestiality) and fraud (or malice) are punished. In his explanation, Virgil refers to the Nicomachean Ethics and the Physics of Aristotle, with medieval interpretations. Virgil asserts that there are only two legitimate sources of wealth: natural resources ("Nature") and human labor and activity ("Art"). Usury, to be punished in the next circle, is therefore an offence against both; it is a kind of blasphemy, since it is an act of violence against Art, which is the child of Nature, and Nature derives from God. [66] Miles, Thomas (2008). "Dante: Tours of Hell: Mapping the Landscape of Sin and Despair". In Stewart, Jon (ed.). Kierkegaard and the Patristic and Medieval Traditions. Ashgate. pp.223–236. ISBN 978-0-7546-6391-1. Richard P. McBrien (1997). Lives of the Popes: The Pontiffs from St. Peter to John Paul II. HarperCollins. pp.82–83. ISBN 978-0-06-065304-0 . Retrieved 8 March 2013. Dante called the poem "Comedy" (the adjective "Divine" was added later, in the 16th century) because poems in the ancient world were classified as High ("Tragedy") or Low ("Comedy"). [43] Low poems had happy endings and were written in everyday language, whereas High poems treated more serious matters and were written in an elevated style. Dante was one of the first in the Middle Ages to write of a serious subject, the Redemption of humanity, in the low and "vulgar" Italian language and not the Latin one might expect for such a serious topic. Boccaccio's account that an early version of the poem was begun by Dante in Latin is still controversial. [44] [45] Scientific themes [ edit ] Florence eventually came to regret having exiled Dante. The city made repeated requests for the return of his remains. The custodians of the body in Ravenna refused, at one point going so far as to conceal the bones in a false wall of the monastery. Florence built a tomb for Dante in 1829, in the Basilica of Santa Croce. That tomb has been empty ever since, with Dante's body remaining in Ravenna. The front of his tomb in Florence reads Onorate l'altissimo poeta — which roughly translates as "Honor the most exalted poet" and is a quote from the fourth canto of the Inferno. [55]
The gnawing sinner tells his story: he is Count Ugolino, and the head he gnaws belongs to Archbishop Ruggieri. In "the most pathetic and dramatic passage of the Inferno", [104] Ugolino describes how he conspired with Ruggieri in 1288 to oust his nephew, Nino Visconti, and take control over the Guelphs of Pisa. However, as soon as Nino was gone, the Archbishop, sensing the Guelphs' weakened position, turned on Ugolino and imprisoned him with his sons and grandsons in the Torre dei Gualandi. In March 1289, the Archbishop condemned the prisoners to death by starvation in the tower. This newly commissioned volume presents a focused overview of Dante's masterpiece, the Commedia, offering readers of today wide-ranging insights into the poem and its core features. Leading scholars discuss matters of structure, narrative, language and style, characterization, doctrine, and politics, in chapters that make their own contributions to Dante criticism by raising problems and questions that call for renewed attention, while investigating contextual concerns as well as the current state of criticism about the poem. The Commedia is also placed in a variety of cultural and historical contexts through accounts of the poem's transmission and reception that explore both its… Gorni, Guglielmo (2009). "Nascita e anagrafe di Dante". Dante: storia di un visionario. Rome: Gius. Laterza & Figli. ISBN 9788858101742.
Dante and The Divine Comedy: He took us on a tour of Hell - BBC Dante and The Divine Comedy: He took us on a tour of Hell - BBC
With its seriousness of purpose, its literary stature and the range—both stylistic and thematic—of its content, the Comedy soon became a cornerstone in the evolution of Italian as an established literary language. Dante was more aware than most early Italian writers of the variety of Italian dialects and of the need to create a literature and a unified literary language beyond the limits of Latin writing at the time; in that sense, he is a forerunner of the Renaissance, with its effort to create vernacular literature in competition with earlier classical writers. Dante's in-depth knowledge (within the limits of his time) of Roman antiquity, and his evident admiration for some aspects of pagan Rome, also point forward to the 15th century. Ironically, while he was widely honored in the centuries after his death, the Comedy slipped out of fashion among men of letters: too medieval, too rough and tragic, and not stylistically refined in the respects that the high and late Renaissance came to demand of literature. [ citation needed] Dante Alighieri ( Italian: [ˈdante aliˈɡjɛːri]; c. 1265 – 14 September 1321), most likely baptized Durante di Alighiero degli Alighieri [note 1] and often referred to as Dante ( English: / ˈ d ɑː n t eɪ, ˈ d æ n t eɪ, ˈ d æ n t i/, [3] [4] US: / ˈ d ɑː n t i/ [5]), was an Italian [a] poet, writer and philosopher. [7] His Divine Comedy, originally called Comedìa (modern Italian: Commedia) and later christened Divina by Giovanni Boccaccio, [8] is widely considered one of the most important poems of the Middle Ages and the greatest literary work in the Italian language. [9] [10] Danteworlds, multimedia presentation of the Divine Comedy for students by Guy Raffa of the University of Texas The Divine Comedy describes Dante's journey through Hell ( Inferno), Purgatory ( Purgatorio), and Paradise ( Paradiso); he is first guided by the Roman poet Virgil and then by Beatrice. Of the books, Purgatorio is arguably the most lyrical of the three, referring to more contemporary poets and artists than Inferno; Paradiso is the most heavily theological, and the one in which, many scholars have argued, the Divine Comedy's most beautiful and mystic passages appear. [82] [83] Dante, poised between the mountain of purgatory and the city of Florence, displays the incipit Nel mezzo del cammin di nostra vita in a detail of Domenico di Michelino's painting, Florence, 1465.
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Century: A History of English Romanticism by Henry Augustin Beers: Ch. 3: Keats, Leigh Hunt, and the Dante Revival". www.online-literature.com . Retrieved 18 August 2022. Without access to the works of Homer, Dante used Virgil, Lucan, Ovid, and Statius as the models for the style, history, and mythology of the Comedy. [52] This is most obvious in the case of Virgil, who appears as a mentor character throughout the first two canticles and who has his epic The Aeneid praised with language Dante reserves elsewhere for Scripture. [53] Ovid is given less explicit praise in the poem, but besides Virgil, Dante uses Ovid as a source more than any other poet, mostly through metaphors and fantastical episodes based on those in The Metamorphoses. [54] Less influential than either of the two are Statius and Lucan, the latter of whom has only been given proper recognition as a source in the Divine Comedy in the twentieth century. [55]
Inferno (Dante) - Wikipedia
In Dante's Commedia: Theology as Poetry, an international group of theologians and Dante scholars provide a uniquely rich set of perspectives focused on the relationship between theology and poetry in the Commedia. Examining Dante's treatment of questions of language, personhood, and the body; his engagement with the theological tradition he inherited; and the implications of his work for contemporary theology, the contributors argue for the close intersection of theology and poetry in the text as well as the importance of theology for Dante studies. Through discussion of issues ranging from Dante's use of imagery of the Church to the significance… Geryon, the winged monster who allows Dante and Virgil to descend a vast cliff to reach the Eighth Circle, was traditionally represented as a giant with three heads and three conjoined bodies. [77] Dante's Geryon, meanwhile, is an image of fraud, [78] combining human, bestial, and reptilian elements: Geryon is a "monster with the general shape of a wyvern but with the tail of a scorpion, hairy arms, a gaudily-marked reptilian body, and the face of a just and honest man". [79] The pleasant human face on this grotesque body evokes the insincere fraudster whose intentions "behind the face" are all monstrous, cold-blooded, and stinging with poison. Ugolino and His Sons by Jean-Baptiste Carpeaux ( Metropolitan Museum of Art) depicts Ugolino della Gherardesca's story from Canto XXXIII. Imprisoned for treachery, Ugolino starves to death with his children, who, before dying, beg him to eat their bodies Years after his marriage to Gemma, he claims to have met Beatrice again; he wrote several sonnets to Beatrice but never mentioned Gemma in any of his poems. He refers to other Donati relations, notably Forese and Piccarda, in his Divine Comedy. The exact date of his marriage is not known; the only certain information is that, before his exile in 1301, he had fathered three children with Gemma (Pietro, Jacopo and Antonia). [20]Mapping Dante's Inferno, One Circle of Hell at a Time", article by Anika Burgess, Atlas Obscura, July 13, 2017 Israely, Jeff (31 July 2008). "A City's Infernal Dante Dispute". Time. ISSN 0040-781X . Retrieved 25 September 2018. a b c d e f Chimenz, S.A (2014). Alighieri, Dante. Bibcode: 2014bea..book...56. Retrieved 7 March 2016. {{ cite book}}: |work= ignored ( help) Dante is known for establishing the use of the vernacular in literature at a time when most poetry was written in Latin, which was accessible only to educated readers. His De vulgari eloquentia ( On Eloquence in the Vernacular) was one of the first scholarly defenses of the vernacular. His use of the Florentine dialect for works such as The New Life (1295) and Divine Comedy helped establish the modern-day standardized Italian language. By writing his poem in the Italian vernacular rather than in Latin, Dante influenced the course of literary development, making Italian the literary language in western Europe for several centuries. [11] His work set a precedent that important Italian writers such as Petrarch and Boccaccio would later follow.
Dante: Biography, Medieval Italian Poet, The Divine Comedy Dante: Biography, Medieval Italian Poet, The Divine Comedy
Main article: First circle of hell The Harrowing of Hell, in a 14th-century illuminated manuscript, the Petites Heures de Jean de Berry The work was originally simply titled Comedìa ( pronounced [komeˈdiːa], Tuscan for "Comedy") – so also in the first printed edition, published in 1472 – later adjusted to the modern Italian Commedia. The adjective Divina was added by Giovanni Boccaccio, [13] owing to its subject matter and lofty style, [14] and the first edition to name the poem Divina Comedia in the title was that of the Venetian humanist Lodovico Dolce, [15] published in 1555 by Gabriele Giolito de' Ferrari. BBC Culture’s Stories that shaped the world series looks at epic poems, plays and novels from around the globe that have influenced history and changed mindsets. A poll of writers and critics, 100 Stories that Shaped the World, was published in May. Bolgia 2 – Flatterers: These also exploited other people, this time abusing and corrupting language to play upon others' desires and fears. They are steeped in excrement (representative of the false flatteries they told on earth) as they howl and fight amongst themselves. Alessio Interminei of Lucca and Thaïs are seen here. [80] A celebration was held in 2015 at Italy's Senate of the Republic for the 750th anniversary of Dante's birth. It included a commemoration from Pope Francis, who also issued the apostolic letter Cando lucis aeternae in honor of the anniversary. [77] [78]
On 30 April 1921, in honor of the 600th anniversary of Dante's death, Pope Benedict XV promulgated an encyclical named In praeclara summorum, naming Dante as one "of the many celebrated geniuses of whom the Catholic faith can boast" and the "pride and glory of humanity". [66] The Divine Comedy ( Italian: Divina Commedia [diˈviːna komˈmɛːdja]) is an Italian narrative poem by Dante Alighieri, begun c. 1308 and completed around 1321, shortly before the author's death. It is widely considered the pre-eminent work in Italian literature [1] and one of the greatest works of world literature. [2] The poem's imaginative vision of the afterlife is representative of the medieval worldview as it existed in the Western Church by the 14th century. It helped establish the Tuscan language, in which it is written, as the standardized Italian language. [3] It is divided into three parts: Inferno, Purgatorio, and Paradiso. In 2008, the Municipality of Florence officially apologized for expelling Dante 700 years earlier. [73] [74] [75] [76]
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