03 Purgatorio.Pdf
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Name of the Devils in the Romanian Translation of the Divine Comedy
The name of the devils in the Romanian translation of the Divine Comedy Gh. Chivu Academia Română, Universitatea din București, România Abstract: For George Coșbuc, the translation of the Divine Comedy was not only an attempt to achieve a cultural adaptation of an outstanding literary work, but also a proof of literary craftsmanship. The names given to the devils in the Romanian version of the songs XXI and XXII in the Inferno testify to the linguistic competence and, at the same time, the absolutely remarkable stylistic intuition of the great Romanian poet and translator. Keywords: Dante Alighieri, George Coșbuc, literary translation, names of the devils. 1. The version given by George Coşbuc to theDivine Comedy is, and this fact is still relatively little known, the result of a prolonged and competent activity of studying the Dantesque text, with the well-known poet translating, working and at times returning to the initial Romanian version for a period that is said to have lasted longer than two decades1. The text obtained after such an effort, printed in its entirety posthumously2, reveals George Coşbuc’s in-depth knowledge of the Italian original, doubled by the Romanian translator’s frequently noticeable poetic talent. George Coşbuc wanted and managed to offer a Romanian equivalent that was almost perfect both as regards the content and the form of the original, respecting the ideas of the source and attentively rebuilding its form with the means afforded by the Romanian language. 1 George Coșbuc accidentally started the fragmentary translation of Dante’s text in 1891, using German sources, and he continued systematically by working on the Romanian version, referring to Italian sources and commentaries, from the winter of 1899 to the year of 1913. -
Dante Alighieri's Divine Comedy – Inferno
DIVINE COMEDY -INFERNO DANTE ALIGHIERI HENRY WADSWORTH LONGFELLOW ENGLISH TRANSLATION AND NOTES PAUL GUSTAVE DORE´ ILLUSTRATIONS JOSEF NYGRIN PDF PREPARATION AND TYPESETTING ENGLISH TRANSLATION AND NOTES Henry Wadsworth Longfellow ILLUSTRATIONS Paul Gustave Dor´e Released under Creative Commons Attribution-Noncommercial Licence. http://creativecommons.org/licenses/by-nc/3.0/us/ You are free: to share – to copy, distribute, display, and perform the work; to remix – to make derivative works. Under the following conditions: attribution – you must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work); noncommercial – you may not use this work for commercial purposes. Any of the above conditions can be waived if you get permission from the copyright holder. English translation and notes by H. W. Longfellow obtained from http://dante.ilt.columbia.edu/new/comedy/. Scans of illustrations by P. G. Dor´e obtained from http://www.danshort.com/dc/, scanned by Dan Short, used with permission. MIKTEXLATEX typesetting by Josef Nygrin, in Jan & Feb 2008. http://www.paskvil.com/ Some rights reserved c 2008 Josef Nygrin Contents Canto 1 1 Canto 2 9 Canto 3 16 Canto 4 23 Canto 5 30 Canto 6 38 Canto 7 44 Canto 8 51 Canto 9 58 Canto 10 65 Canto 11 71 Canto 12 77 Canto 13 85 Canto 14 93 Canto 15 99 Canto 16 104 Canto 17 110 Canto 18 116 Canto 19 124 Canto 20 131 Canto 21 136 Canto 22 143 Canto 23 150 Canto 24 158 Canto 25 164 Canto 26 171 Canto 27 177 Canto 28 183 Canto 29 192 Canto 30 200 Canto 31 207 Canto 32 215 Canto 33 222 Canto 34 231 Dante Alighieri 239 Henry Wadsworth Longfellow 245 Paul Gustave Dor´e 251 Some rights reserved c 2008 Josef Nygrin http://www.paskvil.com/ Inferno Figure 1: Midway upon the journey of our life I found myself within a forest dark.. -
Cari Dantisti: I Very Much Enjoyed Our First Session Together on 9/30 And
Cari Dantisti: I very much enjoyed our first session together on 9/30 and am grateful to those of you who’ve written with your own reactions. There was nothing tentative about our beginning; we are already well on our way. That said, I know from Sharon Small that there were raised hands that were not acknowledged. Also, because text largely occupied the screen, you were not able to see one another. And we were only looking at snippets of text rather than the entire canto under discussion. So, I’d like us to try something different on 10/7. Please have your Durling-Martinez text available so that we can work from it: can read from the text, paraphrase it, comment on it, draw your attention to this or that line. All of this by way of setting you up for Q&A and discussion. A great additional resource is Columbia University’s dedicated Dante website (https://digitaldante.columbia.edu/dante/divine-comedy/). where you can find for each canto the text (along with Longfellow and Mandelbaum translations), a written commentary by Teodolinda Barolini, a taped hour-long lecture by Barolini (select “video”), and a reading of the poem in Italian by a native speaker (“audio”). This site is a treasure trove. Another treasure is Lino Pertile’s “Introduction to the INFERNO” in the Cambridge Companion to Dante, 2nd ed. I’ve just gotten a pdf of the chapter and attach it to this email. It’s comprehensive and beautifully written. All of these are extras, which I draw your attention to while we are proceeding at a leisurely pace compared to our velocity in the succeeding weeks, Although you may not have time or inclination to pursue them now, I want you to know that they are there if and when you are interested in going further. -
"From the Crude Cacophony of Inferno to the Celestial Music of the Spheres
"From the crude cacophony of Inferno to the celestial music of the spheres in Paradise, music abounds in The Divine Comedy." MUSIC AS MIRROR Dante's Treatment of Music in the Divine Comedy KRI STI N A ASTE A TIME OF GREAT MUSICAL DEVELOPMENT, THE FOURTEENTH CENTURY IS THE PERFECT BACKDROP FOR THE AUDITORY ALLUSIONS OF DANTE ALIGHIERl's DIVINE COMEDY. THIS ARTICLE ARGUES THAT DANTE UTILIZES MUSICAL IMAGERY AS AN ESSENTIAL COMPONENT OF HIS ALLEGORY. INFLUENCED BY BOTH CHRISTIAN THINKERS AND PHILOSOPHERS, DANTE LIKELY VIEWED SCHOLASTIC MUSIC AS AN ADJUNCT OF RELIGION. IN THE DIVINE COMEDY, THEREFORE, DANTE PRESENTS AUDITORY ALLUSIONS AS AN INEXTRICABLE FACTOR OF THE PROTAGONIST'S EPIC PI LGRIMAGE THROUGH HELL, PU RG ATORY, AND HEAVEN. THROUGH A PROGRESSION OF ANTI-MUSIC IN INFERNO TO HUMAN CONTEXT IN PURGATORY TO THE MUSIC OF THE SPHERES IN PARADISE, THIS ESSAY EXPLORES HOW THE MUSICAL LANGUAGE OF DANTE'S DIVINE COMEDY CONVEYS HUMANITY'S INNATE CONNECTION WITH GOD. From the crude cacophony of Inferno to the celestial music with the lukewarm in Inferno, the song of Casella in of the spheres in Paradise, music abounds in The Divine Purgatory, and the celestial music of the spheres in Comedy. The text contains one hundred and forty-six refer- Paradise. Each specific passage, especially seen in context ences to music: twenty-nine in Inferno, fifty-nine in of the Comedy's other musical references, illustrates Purgatory, and fifty-seven in Paradise. Rich in hymns and Dante's overall thematic thesis of humanity's relationship liturgical songs, including "Regina Coelis", "Gloria", with God. -
The Divine Comedy
THE DIVINE COMEDY OF DANTE ALIGHIERI TRANSLATED BY HENRY WADSWORTH LONGFELLOW I follow here the footing of thy feete That with thy meaning so I may the rather meete S p e n s e r . VOL. I. BOSTON FIELDS, OSGOOD, & CO. SUCCESSORS TO TICKNOR AND FIELDS I 869 Entered according to Act of Congress, in the year 1867, by HENRY WADSWORTH LONGFELLOW,, in the Clerk’s Office of the District Court of the District of Massachusetts. University Press : W elch, Bigelow, & Co., C a m b r id g e . CONTENTS OF VOL. I. INFERNO. CANTO I. Page The Dark Forest. — The Hill of Difficulty. — The Panther, the Lion, and the Wolf.— Virgil ....................................................................................................1 CANTO II. Dante’s Protest and Virgil’s Appeal. — The Intercession of the Three Ladies B e n e d i g h t .............................................................................................................7 CANTO III. The Gate of Hell. — The Inefficient or Indifferent. — Pope Celestine V. — The Shores of Acheron. — Charon. — The Earthquake and the Swoon . 14 CANTO IV. The First Circle. — Limbo, or the Border Land of the Unbaptized. — The Four Poets, Homer, Horace, Ovid, and Lucan. — The Noble Castle of Philosophy ........................................................................ ........ 2 0 CANTO V. The Second Circle. — Minos. — The Wanton. — The Infernal Hurricane. — Francesca da Rimini— .......................................................................................... 27 CANTO VI. - * V ..' The Third Circle. — Cerberus. — The Gluttonous. — The Eternal Rain. — Ciacco . ............................................................... 34 IV Contents CANTO VII. | The Fourth Circle. — Plutus. — The Avaricious and the Prodigal. — Fortune and her Wheel. — The Fifth Circle. — Styx. — The Irascible and the S u l l e n ......................................................................................... ........ ............... 39 CANTO VIII. Phlegyas. — Philippo Argenti. — The Gate of the City of Dis . -
Divine Comedy
Divine Comedy Author(s): Alighieri, Dante (1265-1321) Publisher: CCEL Description: Dante©s Divine Comedy is the masterpiece of the Italian lan- guage. Written between 1308 and 1321, the three-part epic poem is well-known as a literary classic. The poem features Dante as the main character (though it is fiction), and de- scribes his journey through Hell (Inferno), Purgatory (Pur- gatorio) and Heaven (Paradiso). He meets many angels, demons, and other human travelers on this trip, and his guides are the Latin poet Virgil and Beatrice, a woman he loved. Under the surface, though, Divine Comedy is an al- legory. Dante uses his journey to represent the soul©s movement toward God, and the poem has many other reli- gious themes, mostly gathered from the medieval theology of Thomas Aquinas. The poem is extremely intricate, and mathematical and scientific patterns can be found throughout. Dante also makes many cultural references and allusions, Greek and Roman myth provide many of the characters and history, and the story even has political themes. Divine Comedy is a work that explores the afterlife from a medieval perspective. It is a fascinating read that will entrance all who take the journey with Dante. Abby Zwart CCEL Staff Writer i Contents Divine Comedy 1 Title Page 1 Credits 2 Inferno 3 Canto I 4 Canto II 8 Canto III 12 Canto IV 16 Canto V 20 Canto VI 24 Canto VII 28 Canto VIII 32 Canto IX 36 Canto X 40 Canto XI 44 Canto XII 48 Canto XIII 52 Canto XIV 56 Canto XV 60 Canto XVI 64 Canto XVII 68 Canto XVIII 72 Canto XIX 76 Canto XX 80 Canto -
Editorial Post Script: Farfarello Between Horror and Humour, in Dante, Leopardi, and Folklore
Nissan, “Post Script: A Hundred Years Since Sholem Aleichem’s Demise” | 20 Editorial Post Script: Farfarello between Horror and Humour, in Dante, Leopardi, and Folklore Ephraim Nissan London Abstract. In this post script, which follows Roberta Cauchi Santoro’s article “‘Ridendo dei nostri mali, trovo qualche conforto’: Giacomo Leopardi’s Humour”, we further develop a topic she touched upon briefly: Giacomo Leopardi’s “Dialogo di Malambruno e di Farfarello” from the Operette Morali, a dialogue which treats with outwardly levity the theme of human unhappiness (so central to Leopardi). The demon Farfarello and several fellow demons (some of whom, Leopardi’s magician Malambruno invokes) already appear in Dante’s Comedy, in a horrific context with some humour in it. Farfarello (or Farfareddu, in Sicily) also appears in folktales, such as in aetiological tale about why a rival ecumenical religion was demographically so successful (Farfareddu tries to promote with his colleagues his clever little brother, as a condition for a star performance if entrusted with a major task), as well as a variant, told in a feminine perspective, of the legend of Virgil the magician. Keywords: Farfarello; Giacomo Leopardi; Operette Morali; Dante Alighieri; Divine Comedy; Malebranche; Sicilian folktales; Giuseppe Pitrè; Humour and horror; Virgil the wizard; Count Rezzonico della Torre’s voyage to Sicily; Anti-hagiography; Mi‘rāj; Cosmic Cock 1. Introduction: The Starting Point for the Discussion 2. Giacomo Leopardi 3. The Operette Morali, and the Canticle of the Wild Cock 4. The Dialogue of the Magician Malambruno and the Devil Farfarello 5. The Malebranche, Including Farfarello, in Dante’s Inferno 6. -
Dante in a Modern Context: a Review of Sepultura's Album Dante XXI
LATCH: A Journal for the Study of the Literary Vol. 1 Artifact in Theory, Culture, or History (2008) Dante in a Modern Context: A Review of Sepultura's Album Dante XXI Matthew Teutsch University of Louisiana—Monroe Abstract Sepultura’s Dante XXI, an attempt to create a modern-day soundtrack for Dante’s Divine Comedy, provides us an opportunity of exploring the Divine Comedy through an aesthetic rendering of twenty-first-century national (and international) issues. The album also allows us to examine how a musical tenor can guide a modern audience along the same paths that Dante’s medieval readers transversed. Although Dante XXI does not provide a narrative, plot-informed version of Dante’s Divine Comedy, the musical tenor employed by the band provides a rough sketch of Dante’s journey. The listeners’ musical involvement encourages them to embark on this journey for themselves. Keywords Dante, Divine Comedy, Sepultura, Dante XXI, tenor, Italian literature In 2006, Sepultura, a thrash metal band from Brazil, unleashed Dante XXI on the world. As lead singer Derrick Green acknowledges, this album is a modern-day soundtrack for the Divine Comedy. Going further, guitarist and lyricist Andreas Kisser reveals that the band’s purpose “was to find the inspiration to write music and of course to make people read the book.” In light of these statements, one might wonder what Sepultura adds to a discussion of Dante’s Divine Comedy? One answer is that the band provides a timely aesthetic injection of critical commentary about current political institutions. Another answer is that the band, with the assistance of graphic artist Stephan Doitschinoff, gives us a work that explores the musicality and spirituality present in the 159 Matthew Teutsch Dante in a Modern Context: pp. -
Divina Commedia Di Dante
DIVINA COMMEDIA DI DANTE By Dante Alighieri CONTENTS: INFERNO .......................................................................................................................5 Inferno: Canto I...........................................................................................................5 Inferno: Canto II........................................................................................................11 Inferno: Canto III.......................................................................................................17 Inferno: Canto IV ......................................................................................................22 Inferno: Canto V........................................................................................................28 Inferno: Canto VI ......................................................................................................34 Inferno: Canto VII.....................................................................................................39 Inferno: Canto VIII....................................................................................................44 Inferno: Canto IX ......................................................................................................49 Inferno: Canto X........................................................................................................54 Inferno: Canto XI ......................................................................................................60 Inferno: Canto XII.....................................................................................................65 -
The Divine Comedy of Dante Alighieri (1265-1321) Translated by Henry Wadsworth Longfellow
The Divine Comedy of Dante Alighieri (1265-1321) Translated by Henry Wadsworth Longfellow An Electronic Classics Series Publication The Divine Comedy of Dante Alighieri trans. Henry Wadsworth Longfellow is a publication of The Elec- tronic Classics Series. This Portable Document file is furnished free and without any charge of any kind. Any person using this document file, for any purpose, and in any way does so at his or her own risk. Neither the Pennsylvania State University nor Jim Manis, Editor, nor anyone associated with the Penn- sylvania State University assumes any responsibility for the material contained within the document or for the file as an electronic transmission, in any way. The Divine Comedy of Dante Alighieri trans. Henry Wadsworth Longfellow, The Electronic Classics Series, Jim Manis, Editor, PSU-Hazleton, Hazleton, PA 18202 is a Portable Document File produced as part of an ongoing publication project to bring classical works of literature, in English, to free and easy access of those wishing to make use of them. Jim Manis is a faculty member of the English Department of The Pennsylvania State University. This page and any preceding page(s) are restricted by copyright. The text of the following pages are not copyrighted within the United States; however, the fonts used may be. Cover Design: Jim Manis Copyright © 2005 - 2013 The Pennsylvania State University is an equal opportunity university. Contents INFERNO .......................................................................................................................................... -
The Divine Comedy
DANTE ALIGHIERI THE DIVINE COMEDY Translated in blank verse by Rev. H.F. Cary Republished in 2020 by William C. Michael Classical Liberal Arts Academy www.classicalliberalarts.com 2 DANTE ALIGHIERI (AD 1265-1321) 3 4 CONTENTS PART I. HELL ........................................................................................................ 9 HELL, CANTO 1 ...................................................................................................11 HELL, CANTO 2 ...................................................................................................15 HELL, CANTO 3 ...................................................................................................19 HELL, CANTO 4 ...................................................................................................24 HELL, CANTO 5 ...................................................................................................28 HELL, CANTO 6 ...................................................................................................33 HELL, CANTO 7 ...................................................................................................37 HELL, CANTO 8 ...................................................................................................41 HELL, CANTO 9 ...................................................................................................45 HELL, CANTO 10 .................................................................................................49 HELL, CANTO 11 .................................................................................................54 -
The Divine Comedy by Dante Alighieri
The Divine Comedy by Dante Alighieri Volume 1 – Inferno The opening canzone of Dante Alighieri's The Divine Comedy Translated by Henry Wadsworth Longfellow Dante – Divine Comedy (Inferno) 2 Dante – Divine Comedy (Inferno) From Amazon.Com: “Seven centuries after Dante Alighieri wrote La Divina Commedia, it remains one of the most spectacularly amazing literary masterpieces in any language of any time. The story of a spiritual journey, The Divine Comedy is essentially an allegory which began on Good Friday 1300 (when Dante was thirty-five) and lasted for just seven days. It is also a bitter political polemic, directed against all in authority in Italy at the time, but particularly those in Dante's native Florence, and also serves as a denouncement of the wealth and corruption of the papacy. The Divine Comedy embraces the celestial and the terrestrial, the mythological and the historical, the practical and the ethical. It is a discourse on the role of reason in faith and the individual in society. The Divine Comedy is a poem in which Dante views himself as a pilgrim, representative of all mankind, who is led on a journey through the various circles of Hell, Purgatory and Heaven. It is written in three volumes (Inferno, Purgatorio and Paradiso), each composed of thirty-three cantos (there is one introductory canto serving as an overview). Originally written in Italian, The Divine Comedy uses a rhyming scheme known as terza rima, which was invented by Dante, himself. Many translations attempt to adhere to this rhyming scheme, however this only confines and constrains the translator in his ability to capture the meaning and nuance of the original text.