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Boska Komedia.Pdf
Dante Alighieri BOSKA KOMEDIA Przekład: Edward Porębowicz ver. 1.20 http://boskakomedia.korona-pl.com UWAGA !!! Tekst został przeze mnie zeskanowany i potraktowany programem OCR. Może zawierać błędy (literówki, itp.) Będę wdzięczny za wszelkie uwagi i komentarze. - 1 - SPIS TREŚCI PIEKŁO.............................................................................................................................................................................4 PIEŚŃ I ..........................................................................................................................................................................5 PIEŚŃ II.........................................................................................................................................................................8 PIEŚŃ III ..................................................................................................................................................................... 11 PIEŚŃ IV ..................................................................................................................................................................... 14 PIEŚŃ V....................................................................................................................................................................... 18 PIEŚŃ VI ..................................................................................................................................................................... 21 PIEŚŃ VII................................................................................................................................................................... -
Dante's Hell and Its Afterlife Spring 2013: Unique Numbers 64395, 64400, and 64405
UGS 303: Dante's Hell and Its Afterlife Spring 2013: Unique Numbers 64395, 64400, and 64405 Professor Guy P. Raffa Office: Homer Rainey Hall (HRH) 3.104A Department of French and Italian Office Hours: M 1:30-3:30, W 3-4, and by appointment E-mail: [email protected]; Phone: 232-5492 Home Page: http://uts.cc.utexas.edu/~guyr Teaching Assistant: TA E-mail and Phone: TA Office Hours: Lectures: MW 11-12 in Parlin 301 Discussion sections: F 9-10 in MAI 220C (64395) F 10-11 in MAI 220C (64400) F 11-12 in MAI 220C (64405) Course Description Dante Alighieri may not have invented Hell but he created the most powerful and enduring vision of the underworld as a place of eternal punishment for lost souls in the afterlife. This course takes you on a journey down through the nine circles of Hell presented in Dante's Inferno. "Danteworlds," a book and award-winning Web site created here at UT, will help guide you by portraying infernal creatures and scenes and by explaining the medieval poem's vast array of references to religion, philosophy, history, politics, and other works of literature. Along the way, you will encounter adaptations and echoes of Dante's Inferno in selected literary, artistic, cinematic, and popular works, ranging from Sandro Botticelli's illustrations, Mary Shelley's Frankenstein, and a silent Inferno film to T. S. Eliot's "The Love Song of J. Alfred Prufrock," Vincent Ward's What Dreams May Come, and Dante-inspired music and video games. Course themes, based on the Inferno and its resonance in modern culture, include moral values, emotional or psychological hell, religion and politics, oppression and injustice, attitudes toward gender and sexuality, and the risks and rewards of pursuing knowledge. -
Dante's Inferno</H1>
Dante's Inferno Dante's Inferno The Divine Comedy of Dante Alighieri Translated by Henry Wadsworth Longfellow Volume 1 This is all of Longfellow's Dante translation of Inferno minus the illustrations. It includes the arguments prefixed to the Cantos by the Rev. Henry Frances Carey, M,.A., in his well-known version, and also his chronological view of the age of Dante under the title of What was happening in the World while Dante Lived. If you find any correctable errors please notify me. My email addresses for now are [email protected] and [email protected]. David Reed Editorial Note page 1 / 554 A lady who knew Italy and the Italian people well, some thirty years ago, once remarked to the writer that Longfellow must have lived in every city in that county for almost all the educated Italians "talk as if they owned him." And they have certainly a right to a sense of possessing him, to be proud of him, and to be grateful to him, for the work which he did for the spread of the knowledge of Italian Literature in the article in the tenth volume on Dante as a Translator. * * * * * The three volumes of "The Divine Comedy" were printed for private purposes, as will be described later, in 1865-1866 and 1877, but they were not actually given to the public until the year last named. Naturally enough, ever since Longfellow's first visit to Europe (1826-1829), and no doubt from an eariler date still, he had been interested in Dante's great work, but though the period of the incubation of his translation was a long one, the actual time engaged in it, was as he himself informs us, exactly two years. -
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. -
Dante's Hidden
Dominican Scholar Graduate Master's Theses, Capstones, and Culminating Projects Student Scholarship 5-2016 Dante’s Hidden Sin - Wrath: How Dante Vindictively Used The Inferno Against Contemporaries Michael J. Rupers Dominican University of California https://doi.org/10.33015/dominican.edu/2016.hum.01 Survey: Let us know how this paper benefits you. Recommended Citation Rupers, Michael J., "Dante’s Hidden Sin - Wrath: How Dante Vindictively Used The Inferno Against Contemporaries" (2016). Graduate Master's Theses, Capstones, and Culminating Projects. 214. https://doi.org/10.33015/dominican.edu/2016.hum.01 This Master's Thesis is brought to you for free and open access by the Student Scholarship at Dominican Scholar. It has been accepted for inclusion in Graduate Master's Theses, Capstones, and Culminating Projects by an authorized administrator of Dominican Scholar. For more information, please contact [email protected]. Dante’s Hidden Sin: Wrath How Dante Vindictively Used The Inferno Against Contemporaries by Michael Rupers A culminating thesis submitted to the faculty of Dominican University of California in partial fulfillment of the requirements for the degree of Master of Arts in Humanities San Rafael, California May 2016 This thesis, written under the direction of the candidate’s thesis advisor and approved by the department chair, has been presented to and accepted by the Department of Humanities in partial fulfillment of the requirements for the degree of Master of Arts. The content and research presented in this work represent the work of the candidate alone. Michael Rupers May 2016 Candidate Joan Baranow, Ph.D. May 2016 MAH Program Director Sister Aaron Winkelman, Ph.D., Professor Emerita (English) May 2016 Thesis Advisor Leslie Ross, Ph.D., Professor (Art History) May 2016 Secondary Thesis Advisor "II Copyright @ 2016 by Michael Rupers All Rights Reserved "III Table of Contents Introduction: Contemporaries of Dante in The Inferno ……………….……… 1 Pope Celestine V ………………………………………………………………. -
Copyrighted Material
1 INFERNO Christopher Moltisanti reports that Hell is The Emerald Piper, an Irish bar where it is St. Patrick Day, every day, forever. The bar is supervised by a bouncer – a big, Irish goon wearing old-fashioned clothes – and is always open for business; the Irishmen win every roll of the dice in the crap games they play against the Italians and two Roman soldiers; and Moltisanti’s gangster father is murdered painfully every midnight, in the same fashion as he was slain on earth. Moltisanti, member of the mythical Soprano crime family, gleaned his vision of Hell from a one-minute near-death experience, when he suffered cardiac arrest after being shot by an enterprising hoodlum. For Moltisanti, being at the mercy of Irish American gangsters in the context of an eternal St. Patrick Day celebration tailors Hell specifically for Italian Americans.1 Indeed, I shudder as I type. Dante’s Mission Fortunately, Dante Aligiheri has a more expansive vision of Hell. Dante the author had been exiled from Florence by the time he composed the Commedia and, like all of us, he had been exiled from heaven because of the transgressions of Adam and Eve. The prime character in the Commedia, Dante the pilgrim, portrays this dual exile as he journeys toward earthly and spiritual reconciliation.COPYRIGHTED As the pilgrim travels MATERIAL through Hell, Purgatory, and Paradise, he interprets those regions and interprets himself. The process is an exercise in self-transformation. The pilgrim will move from the pure Dante’s Deadly Sins: Moral Philosophy in Hell, First Edition. -
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 . -
Jennifer C. Vaught 25.2.2008.Proofed
35 ‘Le penne delle mie ali‘: The Flight of the Poet in Dante’s Commedia Jennifer C. Vaught Throughout the Commedia, the motif of a winged creature ascending upward toward a goal serves as Dante’s principal means of self-presentation on his quest for literary fame.[1] He associates his guide Virgil as well as other famous writers of epic with the eagle—a royal bird known in the Middle Ages and Renaissance for its ability to soar to great heights. Winged creatures function as Dante the Poet’s signature: they provide him with suitable travel metaphors for his descent into the Inferno followed by his ascent up Mount Purgatory toward the beatific vision in Paradise. In the Inferno winged creatures that only descend, are relatively static, or use their mouths for perverse rather than salvific ends act as parodic inversions of Dante’s celestial flight and song as a poet. He aligns liars, deceivers, and defrauders with fowl that plummet or with winged monsters that become entrapped so they cannot fly. Lucifer provides the archetype for such prisoners guilty of fraud in the Inferno; he falls from grace only to become stuck in ice and has “two mighty wings stretched out, / the size you might expect of this huge bird” (Inferno 34.46-47).[2] Lucifer uses his wings, not to fly, but to keep Cocytus frozen and his mouth, not for sacred poetic delights, but to inflict pain on other defrauders, Judas, Brutus, and Cassius. In this way this infamous monster serves as the polar opposite of the poet on his signature flight to God. -
Dante's Inferno Study Guide
Dante’s Inferno Study Guide 1 Copyright © 2015 by Greenville Area School District All rights reserved. These materials or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher. Use the text on the following site: <http://englishare.net/literature/POL-DC-TEXT-Inferno.htm> Canto 1 1. At what age is Dante at the beginning of the story? How is this age known? 2. Where is Dante at the beginning, how did he get there? 3. What day is it? 4. What three animals does Dante encounter? Look at the notes what political figures do each represent? 5. Who comes to Dante’s aid? What is he renowned for? 6. According to Virgil what will eventually defeat the she-wolf? Who does this creature represent? 7. What is the name of the mountain before Dante? As an allegory what could the three beasts also represent that prevent Dante from climbing the mountain? 8. Why must they find a different path? Canto 2 1. What epic convention is used at the beginning of Canto 2? 2. What other famous figures’ footsteps is Dante following by descending into hell? How does he feel compared to them? 3. Scholars call the heavenly women who are looking out for Dante the Three Ladies Benedight (Blessed), who are they? What connection do they have to Dante? 4. What effect does Virgil’s story have on Dante? Canto 3 2 Copyright © 2015 by Greenville Area School District All rights reserved. These materials or any portion thereof may not be reproduced or used in any manner whatsoever without the express written permission of the publisher. -
Botticelli Past and Present Ever, the Significant and Continued Debate About the Artist
The recent exhibitions dedicated to Botticelli around the world show, more than and Present Botticelli Past ever, the significant and continued debate about the artist. Botticelli Past and Present engages with this debate. The book comprises four thematic parts, spanning four centuries of Botticelli’s artistic fame and reception from the fifteenth century. Each part comprises a number of essays and includes a short introduction which positions them within the wider scholarly literature on Botticelli. The parts are organised chronologically beginning with discussion of the artist and his working practice in his own time, moving onto the progressive rediscovery of his work from the late eighteenth to the turn of the twentieth century, through to his enduring impact on contemporary art and design. Expertly written by researchers and eminent art historians and richly illustrated throughout, the broad range of essays in this book make a valuable contribution to Botticelli studies. Ana Debenedetti is an art historian specialising in Florentine art, artistic literature and workshop practice in the Renaissance. She is Curator of Paintings at the Victoria and Albert Museum, responsible for the collections of paintings, drawings, watercolours and miniatures. She has written and published on Renaissance art and Botticelli philosophy. Caroline Elam is a Senior Research Fellow at the Warburg Institute, University of London. She specialises in architecture, art and patronage in the Italian Renaissance and in the reception of early Italian art in the late nineteenth and twentieth century. Past She has held academic positions at the University of Glasgow, King’s College, Cambridge and Westfield College, University of London. -
Piekło, Szybko Rozleciała Się Po Całych Włoszech, Odtąd Popular- Ność Dantego Jako Poety Rosła Bez Końca
Ta lektura, podobnie jak tysiące innych, jest dostępna on-line na stronie wolnelektury.pl. Utwór opracowany został w ramach projektu Wolne Lektury przez fun- dację Nowoczesna Polska. DANTEALIGHIERI Boska Komedia ł. Wstęp Julian Korsak urodzony w r., zmarły w r., przyjaciel Mickiewicza, poeta i tłu- macz, był pierwszym w piśmiennictwie polskim, który przedsięwziął pracę ogromnie trudną i szczęśliwie jej dokonał: jemu zawdzięcza piśmiennictwo polskie pierwszy całko- wity przekład jednego z największych arcydzieł poezji, Boskiej Komedii Dantego. Przekład Korsaka wyszedł w lat po śmierci poety, bo dopiero w r., w War- szawie, u Orgelbranda. Tłumaczenie Korsaka ma przede wszystkim jedną nieocenioną zaletę — jest ono bardzo jasne, łatwo zrozumiałe i dlatego najodpowiedniejsze, aby po- średniczyć w pierwszym zaznajomieniu się z dziełem, nad którego objaśnieniem od tylu wieków tylu komentatorów łamało głowy. Przy tym zdaniem znawców, poetycznym po- lotem góruje przekład Korsaka nad przekładem nierymowanym Stanisławskiego, który jako drugi z rzędu tłumacz Bosk Komedię oblekł w słowa polskie. Wydając w „Bibliotece powszechnej” Bosk Komedię w przekładzie Korsaka, powtó- rzyliśmy także wstęp i objaśnienia, jakie się znajdują w wydaniu pierwotnym. Wstęp jednak uczyniliśmy przejrzystszym, opuszczając kilka miejsc mniej ważnych, także obja- śnienia i uwagi niektóre skróciliśmy; wszystkie objaśnienia jednak przejrzeliśmy, wiele z nich skracając, zmieniając albo rozszerzając, wiele też dodaliśmy nowych, które nam się wydawały potrzebne. Także tekst przekładu stał się łatwiej zrozumiały wskutek właściwej interpunkcji, gdyż pierwsze wydanie pod tym względem mocno kulało. Również krótkie napisy nad każdą pieśnią powinny się przydać czytelnikom. ł Dante, a właściwiej zwany Durante (bo pierwsze imię powstało ze zdrobnienia drugiego), urodził się we Florencji maja roku z ojca Alighieri degli Elisei, wywodzącego ród swój ze starożytnej czystej krwi rzymskiej, uczonego prawnika i sekretarza rządu ówcze- snej Rzeczypospolitej Florenckiej, a z matki Donny Belli.