Maquetación 1

Total Page:16

File Type:pdf, Size:1020Kb

Maquetación 1 10 -Villarejo inglés_Neurosciences&History 23/12/14 13:17 Página 170 Original Neurosciences and History 2014; 2(4):170-175 Neurological references in the Divine Comedy A. Villarejo Neurology Department. Instituto de Investigación i+12, Hospital Universitario 12 de Octubre, Madrid, Spain. ABSTRACT Background. e Divine Comedy is considered one of the masterpieces of world literature. is engaging and fascinating epic poem also illustrates the knowledge of philosophy, theology, and cosmology in the Middle Ages and contains numerous references to medicine in general and to neurology in particular. Methods. We searched the Divine Comedy for references to neurological signs and symptoms. We also reviewed the literature addressing the medical references present in this piece by Dante Alighieri (1265-1321). Results . e Divine Comedy includes references to such varied neurological symptoms as headache, cervical dystonia, and epileptic seizures. Dante reports his own experience with amaurosis fugax and symptoms suggesting narcolepsy, and he describes depressive symptoms among the inhabitants of Hell. He delivers interesting theoretical explanations of cognitive concepts such as attention and the origin of the brain and intelligence, and references to what is known today as the theory of mind. Conclusions. Although Dante never actually practised medicine, he became a member of the Arte dei Medici e Speziali (Guild of Physicians and Apothecaries) of Florence in order to be allowed to participate in the complex political affairs of his city. is fact may partially explain the references to neurological symptoms in Dante’s master - piece. Some of them, such as sleepiness or amaurosis fugax, play highly symbolic roles in this poem. KEYWORDS Dante, Divine Comedy, history, neurology Nessun maggior dolore including philosophy, theology, mythology, history, and che ricordarsi del tempo felice science, and it is therefore open to multiple interpretations. nella miseria; e ciò sa ‘l tuo dottore This review aims to present a reading from the viewpoint …There is no greater sorrow of neurology and highlight any neurological theories or than thinking back upon a happy time symptoms mentioned in this poem. We will also review the in misery and this your teacher knows. literature addressing medicine in the Divine Comedy . In order to avoid an excessively lengthy text and references Inferno, V, 121-123 section, we specify the book and the canto and verse numbers when citing passages of the Divine Comedy (for example: Inferno, X, 24). Although many rhymed English Introduction translations have been completed, the passages cited in this 1 The Divine Comedy was written by the Florentine poet review are excerpted from Allen Mandelbaum’s version. Dante Alighieri between 1304 and 1321. The magnificence Development of this masterpiece of world literature still captivates readers seven centuries later. This epic poem narrates Dante’s travel A brief biography of Dante Alighieri (1265-1321) through Inferno (hell), Purgatorio (purgatory), and Paradiso Dante Alighieri was born in the Italian city of Florence in (paradise). At the same time, however, it represents a 1265. His family, of noble extraction, supported the Guelph compilation of medieval knowledge in various fields, faction. Dante recounts that the turning point of his child - Corresponding author: Alberto Villarejo Galende Received: 13 August 2014 / Accepted: 27 September 2014 E-mail: [email protected] © 2014 Sociedad Española de Neurología 170 10 -Villarejo inglés_Neurosciences&History 23/12/14 13:17 Página 171 Neurological references in the Divine Comedy hood, and of his entire life, was when he met Beatrice Porti - nari when he was nine years old and fell in love with her at first sight. Beatrice would later become the embodiment of ideal love in Dante’s works. It is not known whether Dante ever spoke to her. Following his family’s wishes, he married Gemma Donati, with whom he had several children. As can be deduced from his vast knowledge, Dante received a meticulous and varied education, as was common in the Middle Ages. Dante is believed to have studied at several universities and he may also have attended courses in medi - cine, at least at the University of Bologna. What we do know for certain is that upon returning to Florence, he became a member of the Arte dei Medici e Speziali (Guild of Physi - cians and Apothecaries) for the sole purpose of partici - pating in the political affairs of his city. Enrolling in a guild Figure 1 . Domenico di Michelino. The Comedy illuminating Florence . was a requirement for taking part in political life in Florence Dante is wearing the cape of the Guild of Physicians and Apothecaries. (Figure 1). He never actually practised medicine, but rather Fresco painting at the Cathedral of Florence. devoted his time to literature and an active political life that was marked by disappointments. Like his father before him, Dante became a member of the White Guelph faction. He it is divided into three books ( Inferno , Purgatorio , and was condemned to exile in 1302 due to a series of military Paradiso ), each of which has 33 cantos written in an defeats and the envy and treachery of his enemies and some interlocking three-line rhyme scheme ( terza rima ), plus among his supposed friends. He was supported by several a canto that introduces Inferno . The poem also features nobles who gave him asylum in Bologna, Pisa, Verona, and three main characters, representing Mankind (Dante), Ravenna, where he died in 1321, presumably of malaria, Reason (Virgil), and Faith (Beatrice) journeying through without ever returning to his own city. In addition to the the circles of the inverted cone of Hell, the terraces of the Divine Comedy , Dante wrote several other pieces such as Mount Purgatory, and the concentric celestial spheres of Vita nuova and treatises in Latin about philosophy, politics, Heaven. The Divine Comedy has so many implications and literature. The position he holds in Italian literature is −whether literary, philosophical, theological, or mystic− comparable to that of Miguel de Cervantes in Spanish liter - that it has as many interpretations as it has readers. For ature or William Shakespeare’s in English literature. example, it has been suggested that Dante wrote this piece to elicit the four senses of interpretation used to The Divine Comedy analyse sacred texts: literal, moral, allegorical, and anagogic. From a scientific perspective, some have even The Divine Comedy is an extremely complex epic poem postulated that the Divine Comedy is one of the precur - that nevertheless presents an engaging adventure. It sors of psychoanalysis, 2 and that Dante’s rapid descent narrates Dante’s journeys from the depths of Hell to the on the back of the monster Geryon provides the first celestial spheres, guided first by Virgil and then by Beat - description of the physical principle of Galilean invari - rice. The protagonist is transformed by his travels, and ance, several centuries before that scholar would formu - the readers are affected as well. Without detracting from lated the principle. 3 Less eccentric in his remarks is Jorge the poem’s other qualities, its epic scale, along with its Luis Borges, a great reader who penned the excellent structural perfection and the author’s almost delusional recommendation that follows: inventiveness, is what has fascinated millions of readers since it was first published. In the beginning we must read the book with the The exact date when Dante started to write the Divine faith of a child, abandoning ourselves to it; then it Comedy is unknown, but we do know that it was written will accompany us to the end. It has accompanied during his time in exile. He finished Inferno in 1312, me for so many years, and I know that as soon as I open it tomorrow I will discover things I did not see Purgatorio in 1315, and Paradiso in 1321, shortly before before. I know that this book will go on, beyond my his death. The poem’s structure is entirely symmetrical: walking life, and beyond ours. 4 171 10 -Villarejo inglés_Neurosciences&History 23/12/14 13:17 Página 172 A. Villarejo Physicians in the Divine Comedy with many other conditions affecting the doomed souls. Some of these neurological manifestations have been Dante mentions several physicians among the prominent depicted by famous illustrators including Botticelli, Doré, figures that appear in the poem (including kings, popes, Dalí, and Barceló. We will analyse these two types of nobles, politicians, masters, and writers). Classical physi - references separately. cians (Dioscorides, Hippocrates, Galen, Avicenna, and Averroes) were to be found in limbo along with his guide 1. Neurological theories in the Divine Comedy Virgil. Limbo contained the souls of the virtuous who did Dante addresses several topics currently regarded as not know Christianity and were not baptised, and who pertaining to neurology or psychology. In the Middle Ages, therefore could not behold God (Inferno, IV). Less fortu - however, these concepts were mingled with philosophy and nate were the alchemists such as Michael Scot, condemned theology. There are digressions on the origin of the brain to the pit of the fraudulent, in the eighth circle of Inferno and the soul (Purgatorio, XXV, 31-108), attention (Purga - (Inferno, XX, 115-117). However, Dante seemed to show torio, IV, 1-38), intelligence (Purgatorio, XXV, 83; Paradiso, the highest regard for Taddeo Alderotti (1223-1303), I, 1-36), and even a reference to what today might be professor at the University of Bologna and the founder of considered the ‘theory of mind’: “Ah, how much care men medical dialectics, who may have been one of Dante’s ought to exercise/with those whose penetrating intellect/can mentors. 5 The author described meeting him in Heaven, see our thoughts not just our outer act!”; Inferno, XVI, 118- enjoying eternal life (Paradiso, XII, 82-83).
Recommended publications
  • Katabasis in Eliot's the Waste Land
    “I had not thought death had undone so many”: Katabasis in Eliot’s The Waste Land Research Thesis Presented in partial fulfillment of the requirements for graduation with research distinction in English in the undergraduate colleges of The Ohio State University by Noah Mastruserio The Ohio State University May 2018 Project Advisor: Professor Sebastian Knowles, Department of English 1 Introduction Of the many works referenced in Eliot’s The Waste Land, Dante’s Divine Comedy holds the most prominent position. Eliot’s dedication to Pound on the title page alludes to a line from Purgatorio, and Dante makes an appearance in every section of the poem, either by direct quote or veiled allusion. Such an association brings Dante’s journey through the Underworld to the forefront of the mind when reading The Waste Land, and provides one of the easiest avenues toward unpacking the poem’s density. But I propose that the poem’s exploration of the Underworld extends beyond a kinship to Dante and toward a deeper structural and thematic debt to the narrative of the katabasis, the descent into the Underworld. I suggest that the five parts of The Waste Land can be united via a traditional katabasis narrative, a narrative of metamorphosis and self-refinement. The katabasis is only one of the many classical and mythological structures Eliot employs throughout the poem. Already thoroughly explored in criticism are his use of the Grail legend1 and the burial and rebirth of a dying god figure. Less so is the appearance of the katabasis in the poem. The poem’s debt to Dante is obvious, but the presence of katabasis extends beyond Eliot quoting pieces of Inferno.
    [Show full text]
  • “And Lo, As Luke Sets Down for Us”: Dante's Re-Imagining of The
    religions Article “And Lo, As Luke Sets Down for Us”: Dante’s Re-Imagining of the Emmaus Story in Purgatorio XXIX–XXXIII Jane Kelley Rodeheffer Humanities/Teacher Education Division, Seaver College, Pepperdine University, Malibu, CA 90263, USA; janekelley.rodeheff[email protected] Received: 6 March 2019; Accepted: 28 April 2019; Published: 14 May 2019 Abstract: This essay will suggest that Dante’s journey through the earthly paradise in the Purgatorio is a figural representation of the journey of Cleopas and the unnamed disciple on the road to Emmaus in Luke 24. By making several references to the Gospel of Luke, Dante seems to be setting the stage for the reader to understand his own pilgrimage through the Garden of Eden as a retelling of the Emmaus story in the context of the Church Triumphant. Indeed, reading Luke 24 alongside Cantos XXIX–XXXI of the Purgatorio helps students to unpack the complex images of Dante’s experience in light of the themes present in the Emmaus story. For example, the concealment of Beatrice’s face and the gradual unveiling of her beauty mirrors Christ’s gradual revelation of his nature to Cleopas and the unnamed disciple. Cleopas and his companion also walk away from the promise of God revealed in Christ by leaving Jerusalem, just as Dante “took himself” from Beatrice and “set his steps upon an untrue way” (XXX 125, 130). In developing these and other parallels as well as elaborating on their significance for the latter cantos of the Purgatorio, this essay will attempt to establish a pedagogical approach to Books XXIX–XXX that draws on students’ recollections of the familiar Gospel text of Emmaus, which Dante clearly intends (among others) as a resource for appreciating his vision of an essential passage in Christian life.
    [Show full text]
  • Singing for Dante in 'Purgatorio'
    Bibliotheca Dantesca: Journal of Dante Studies Volume 1 Dante and Music Article 7 2018 SINGING FOR DANTE IN ‘PURGATORIO’ 30–31 Helena Phillips-Robins Follow this and additional works at: https://repository.upenn.edu/bibdant Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Italian Language and Literature Commons, Medieval History Commons, and the Music Commons Recommended Citation Phillips-Robins, Helena (2018) "SINGING FOR DANTE IN ‘PURGATORIO’ 30–31," Bibliotheca Dantesca: Journal of Dante Studies: Vol. 1 , Article 7. Available at: https://repository.upenn.edu/bibdant/vol1/iss1/7 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/bibdant/vol1/iss1/7 For more information, please contact [email protected]. Phillips-Robins: SINGING FOR DANTE Bibliotheca Dantesca, 1 (2018): 127-145 SINGING FOR DANTE IN ‘PURGATORIO’ 30–31 HELENA PHILLIPS-ROBINS, University of Cambridge This essay investigates types of sociality enacted through song, as depicted in Dante’s Earthly Paradise. The first section of the essay argues that the singing of Psalm 30 (In te, Domine, speravi) in Purgatorio 30 is a way of enacting a particular mode of compassion. In the second section of the essay I argue that Dante’s depiction of Psalm 30—together with his depiction of the antiphon sung in Purgatorio 31, the Asperges me—invites a devotional response from the reader. The sociality of prayer can involve not only the characters, but also the readers of the Commedia. I investigate the liturgical context in which Dante and medieval readers would have known and lived the Asperges me. I argue that here, at the end of the narrative of his penitential journey, Dante, with this antiphon, invites the reader to her own performance of penance.
    [Show full text]
  • Pilgrim Readers: Introducing Undergraduates to Dante's Divine
    religions Article Pilgrim Readers: Introducing Undergraduates to Dante’s Divine Comedy John Edelman Nazareth College of Rochester, 4245 East Avenue, Rochester, NY 14618, USA; [email protected] Received: 12 January 2019; Accepted: 8 March 2019; Published: 14 March 2019 Abstract: In the context of undergraduate education, “Teaching Dante” often means reading selected cantos from the Divine Comedy, most, if not all of them, taken from the Inferno. I suggest, however, that Dante’s aims in the Divine Comedy, as well as the particular experiences related in the Inferno itself, cannot be understood from any perspective offered by the Inferno alone. In spelling out my reasons for saying this I offer an approach to the text that includes readings from each of its three cantiche within the sometimes severe time-limitations of an undergraduate course. Central to this approach is the notion that student-readers of the Divine Comedy are called upon by the poem to be not mere observers of the experiences of the poet-pilgrim but to become themselves “pilgrim-readers.” In this presentation, this “call” is itself explored through the treatment of “divine justice” within the poem. Keywords: Dante; pedagogy; interdisciplinarity; literary studies; philosophy; core and general education curricula; great books programs 1. Introduction About 15 years ago I signed myself up for Italian 101 at the college where I teach, having decided that I wanted to read Dante’s Divine Comedy in Italian. I made my way through a half dozen courses and finally on to Dante I and Dante II. Along the way, colleagues and other acquaintances would tell me of their having read some Dante in college or even in high school.
    [Show full text]
  • A Twopart Curriculum Bulletin Pays Tribute to the Lite and Works of Dante Alighieri During the 700Th Annivarsary of His Birte
    DOCUMENT RESUME ED 036 241 FL 001 644 AUTHOR CAVICCHIA, GIDA; CCSTADASI, VIRGINIA TITLE DANTE, SEVENTH CENTENNIAL, 1265-1965: RESOURCE MATERIALS FOR TEACHERS. CURRICULUM BULLETIN, 1965-66 SERIES, NUMBER 16. INSTITUTION NEW YORK CITY BOARD aF EDUCATION, BROOKLYNe N.Y. PUB DATE SEP 65 NOTE 111P. AVAILABLE FRCM BOARD OF-EDUCATION OF THE CITY OF NEW YORK, PUBLICATIONS SATES OFFICE, 110 LIVINGSTON STREET, BROOKLYN, NEW YORK 11201 ($1.50) EDRS PRICE EDRS PRICE MF-r$0.50 HC NOT AVAILABLE FROM EDRS. DESCRIPTORS AUTHORS, BIOGRAPHIES, CHORAL SPEAKING, CCMPOSITICN SKILLS {_LITERARY), *CURRICULUM GUIDES, FINE ARTS, INSTRUCTIONAL AIDS, INSTRUCTIONAL PROGRAM DIVISIONS, *INTERDISCIPLINARY APPROACH, *ITALIAN, LITERARY ANALYSIS, LITERARY STYLES, LITERATURE, MATHEMATICS, *POETS, READING COMPREHENSION, READING MATERIAL SELECTION, SOCIAL STUDIES, TEACHING GUIDES, VOCABULARY DEVELOPMENT IDENTIFIERS *DANTE ALIGHIERI, *DIVINE COMEDY ABSTRACT A TWOPART CURRICULUM BULLETIN PAYS TRIBUTE TO THE LITE AND WORKS OF DANTE ALIGHIERI DURING THE 700TH ANNIVARSARY OF HIS BIRTE. PART ONE INCLUDES HIS BIOGRAPHY, A DISCUSSION OF HIS MINOR WORKS, A SUMMARY OF "THE DIVINE COMEDY", DANTE'S IMPACT ON OTHER LANDS, AND DANTEAN THOUGHT. SUGGESTIONS FOR TEACHING A RESOURCE UNIT FOR ELEMENTARY AND JUNIOR HIGH SCHOOL GRADES ARE PROVIDED. OTHER LANGUAGE ARTS TOPICS ARE (1) A GUIDED READING LESSON, (2)A COMPOSITION LESSON FOR VOCABULA.RY ENRICHMENT,(3) CHORAL SPEAKING, (4) POETRY APPRECIATICN, AND (5) LITERATURE. MATERIALS RELATED TO DANTE IN SOCIAL STUDIES, MATHEMATICS, ASTRONOMY, MUSIC, THE DANCE, ART, AND GUIDANCE ARE OFFERED ALONG WITH A BIBLIOGRAPHY. AN ORIGINAL PLAY, "DANTE AND BEATRICE", IS FOUND IN THE APPENDIX. (EL) U.S.DEPARIZTOTIFEAiTH.,EDLTIIIiWELFARE THIS DOCUMENT HAS BEEN REPRODUCEDOFFICE OF EDUCATION EXACTLY AS RECEIVED FROM THE !PERSON!STATEDPOSITION elmosizageolowei DOOR OR EDONOT ORGANIZATIONmum NECESSARILY ORIGINATING362,41 REPRESENT IT.
    [Show full text]
  • Vertical Readings in Dante's Comedy
    Vertical Readings in Dante’s Comedy Volume 3 EDITED BY GEORGE CORBETT AND HEATHER WEBB VERTICAL READINGS IN DANTE’S COMEDY Vertical Readings in Dante’s Comedy Volume 3 edited by George Corbett and Heather Webb http://www.openbookpublishers.com © 2017 George Corbett and Heather Webb. Copyright of individual chapters is maintained by the chapter’s author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: George Corbett and Heather Webb (eds.), Vertical Readings in Dante’s ‘Comedy’: Volume 3. Cambridge, UK: Open Book Publishers, 2017. http://dx.doi.org/10.11647/OBP.0119 In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/product/623#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active on 22/11/2017 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. Digital material and resources associated with this volume are available at https://www. openbookpublishers.com/product/623#resources ISBN Paperback: 978-1-78374-358-2 ISBN Hardback: 978-1-78374-359-9 ISBN Digital (PDF): 978-1-78374-360-5 ISBN Digital ebook (epub): 978-1-78374-361-2 ISBN Digital ebook (mobi): 978-1-78374-362-9 DOI: 10.11647/OBP.0119 Cover image: Fra Angelico (circa 1395–1455), The Last Judgement circa 1450, Gemäldegalerie, Berlin.
    [Show full text]
  • The Divine Comedy of Dante Alighieri (1867) Pdf, Epub, Ebook
    THE DIVINE COMEDY OF DANTE ALIGHIERI (1867) PDF, EPUB, EBOOK MR Dante Alighieri | 466 pages | 10 Sep 2010 | Kessinger Publishing | 9781163953426 | English | Whitefish MT, United States The Divine Comedy of Dante Alighieri (1867) PDF Book Repentant souls, even those with great sin, and even if they repent just prior to death, still go to Purgatory, as we learn from Canto V:. George Berkeley. Nothing else will do. My tranced being stared fixed and motionless upon that vision, even more fervent to see in the act of seeing. Each volume features authoritative texts by the world's greatest authors in an exquisitely designed bonded-leather binding, with distinctive gilt edging and a ribbon bookmark. Singleton Translated with a Commentary by. Second Edition, with Corrections. Paradiso II. Overview A landmark of world literature, The Divine Comedy tells of the poet Dante's travels through Hell, Purgatory, and Paradise in search of salvation. Please enter the message. Product Details. Mario Praz. Death could scarce be more bitter than that place! Near Fine with leather lightly scuffed and rubbed, spines sunned. Hacke van Mijnden. The dust jackets show marginal shelf rubbing along the edges and corners, the occasional dot of discoloration, the occasional light scuff, slight hints of toning, otherwise are not price-clipped remaining bright, colorful, and distinct. Very good condition. The name field is required. Your rating has been recorded. Russell, New York, Bergin translator. Here my powers rest from their high fantasy, but already I could feel my being turned - instinct and intellect balanced equally as in a wheel whose motion nothing jars - by the Love that moves the sun and other stars.
    [Show full text]
  • 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
    [Show full text]
  • Roxana Preda
    GOLD AND/OR HUMANENESS: POUND’S VISION OF CIVILIZATION IN CANTO XCVII Roxana Preda “abbreviare” (XCVII/697) PREAMBLE When Pound published Canto XCVII in the Hudson Review in the fall of 1956, well in advance of the rest of Thrones, he may have done so because he regarded it self-sufficient. Its reliance on Alexander Del Mar’s History of Monetary Systems (HMS) and the nickname it acquired over time, as the “Del Mar Canto,” were neither reflections on the complete canto nor the ripe fruit of a love at first sight. Pound read the HMS around 1948 but did not pay enough attention to it to start mining it for new cantos.1 If in 1951 Pound was writing to Olivia Rossetti Agresti (ORA) that Del Mar is no stylist save at moments, (ICNTY 68) in July 1955, he reproached himself for this lack of initial attention: Del Mar’s Hist Monetary SYSTEMS, really tremendous, I didn’t get the full power of it when I first read it, done in 1895 when he had been over a lot of ground, and corrects minor errors in earlier work and ends with TREMENDOUS summary, which I was either too tired or distracted to read {get force of} 7 years ago. Alzo correlated with Paul the Deacon on Habdimelich, and SATANICE stimulatus/ ie. his lucidity.” (ICNTY 197)2 1 See H. Carpenter, A Serious Character for a different point of view (798). 2 To readers today, a word of caution about the various editions of the HMS is in order. Early commentators such as Daniel Pearlman, Steven Helmling or Mohammad Y.
    [Show full text]
  • Dante Alighieri's Divine Comedy – Purgatorio
    DIVINE COMEDY -PURGATORIO 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 7 Canto 3 14 Canto 4 20 Canto 5 27 Canto 6 35 Canto 7 41 Canto 8 49 Canto 9 55 Canto 10 63 Canto 11 69 Canto 12 75 Canto 13 82 Canto 14 90 Canto 15 97 Canto 16 103 Canto 17 111 Canto 18 116 Canto 19 123 Canto 20 130 Canto 21 138 Canto 22 143 Canto 23 149 Canto 24 156 Canto 25 163 Canto 26 171 Canto 27 177 Canto 28 183 Canto 29 189 Canto 30 197 Canto 31 204 Canto 32 211 Canto 33 219 Dante Alighieri 227 Henry Wadsworth Longfellow 233 Paul Gustave Dor´e 239 Some rights reserved c 2008 Josef Nygrin http://www.paskvil.com/ Purgatorio Figure 1: The beauteous planet, that to love incites, was making all the orient to laugh..
    [Show full text]
  • Teaching Dante
    Teaching Teaching Dante • Christopher Metress Teaching Dante Edited by Christopher Metress Printed Edition of the Special Issue Published in Religions www.mdpi.com/journal/religions Teaching Dante Teaching Dante Special Issue Editor Christopher Metress MDPI • Basel • Beijing • Wuhan • Barcelona • Belgrade • Manchester • Tokyo • Cluj • Tianjin Special Issue Editor Christopher Metress Samford University USA Editorial Office MDPI St. Alban-Anlage 66 4052 Basel, Switzerland This is a reprint of articles from the Special Issue published online in the open access journal Religions (ISSN 2077-1444) (available at: https://www.mdpi.com/journal/religions/special issues/Dante). For citation purposes, cite each article independently as indicated on the article page online and as indicated below: LastName, A.A.; LastName, B.B.; LastName, C.C. Article Title. Journal Name Year, Article Number, Page Range. ISBN 978-3-03928-472-6 (Pbk) ISBN 978-3-03928-473-3 (PDF) Cover image courtesy of Christopher Metress. c 2020 by the authors. Articles in this book are Open Access and distributed under the Creative Commons Attribution (CC BY) license, which allows users to download, copy and build upon published articles, as long as the author and publisher are properly credited, which ensures maximum dissemination and a wider impact of our publications. The book as a whole is distributed by MDPI under the terms and conditions of the Creative Commons license CC BY-NC-ND. Contents List of Contributors ............................................ vii About the Special Issue Editor ...................................... ix Preface to “TCIT Series” .......................................... xi Christopher Metress Introduction: Teaching Dante Reprinted from: Religions 2020, 11, 82, doi:10.3390/rel11020082 .................... 1 Albert Russell Ascoli Starring Dante Reprinted from: Religions 2019, 10, 319, doi:10.3390/rel10050319 ..................
    [Show full text]
  • Active Rest in Dante's "Purgatory"
    University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2001 Active rest in Dante's "Purgatory" Ellie I. Pojarska The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Pojarska, Ellie I., "Active rest in Dante's "Purgatory"" (2001). Graduate Student Theses, Dissertations, & Professional Papers. 1474. https://scholarworks.umt.edu/etd/1474 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. Maureen and Mike MANSFIELD LIBRARY The University of Montana Permission is granted by the author to reproduce this material in its entirety, provided that this material is used for scholarly purposes and is properly cited in published works and reports. '*Please check "Yes" or "No" and provide signature** Yes, I grant permission No, I do not grant permission Author's Signature:. 7^ Date / Any copying for commercial purposes or financial gain may be undertaken only with the author's explicit consent. 8/98 Active Rest in Dante's Purgatory By EUie Pojarska B.A., University of Montana, 1999 presented in partial fulfillment of the requirements for the degree of Master of Arts The University of Montana 2001 Approved by; Chairperson Dean, Graduate School 12-10 -01 Date UMI Number; EP36056 All rights resen/ed INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted.
    [Show full text]