martes, 3 de octubre de 2017

Guide to the classics: Dante’s Divine Comedy | MercatorNet |October 3, 2017| MercatorNet |

Guide to the classics: Dante’s Divine Comedy

MercatorNet |October 3, 2017| MercatorNet |

Guide to the classics: Dante’s Divine Comedy

It is a comedy because it begins badly for the protagonist but ends well.
Frances Di Lauro | Oct 3 2017 | comment 


Giotto’s Last Judgment in the Scrovegni Chapel in Padua, inspired by Dante Alighieri’s vision of heaven and hell. Wikimedia
Abandon all hope, ye who enter here!
So warns the inscription on the gates of the inferno, the first realm of Dante Alighieri’s celebrated work, now known as the Divine Comedy. “La Commedia”, as Dante originally named it, is an imaginary journey through the three realms of the afterlife: inferno (hell), purgatorio (purgatory) and paradiso (heaven).
Dante and Beatrice see the Empyrean at the end of their journey to heaven. Gustave Doré & Kalki
It might not sound all that funny, but Dante called his epic poem a comedy because, unlike tragedies that begin on a high note and end tragically, comedies begin badly but end well. The poem indeed ends well, with the protagonist, also named Dante, reaching his desired destination – heaven – a place of beauty and calm, light and ultimate good. Conversely, the inferno is dark, morose and inhabited by irredeemable sinners.
Dante wrote the comedy during his exile from Florence between 1302 and his death in 1321. It is the first significant text written in the Italian vernacular and is written in terza rima, an interlocking three-line rhyme scheme invented by the author.


Dante set the beginning of the story on Holy Thursday, 1300, when he was 35-years-old. He alludes to being “middle aged” in the opening lines of the poem:
Halfway through our life’s journey
I woke to find myself within a dark wood
because I had strayed from the correct path.
Oh how hard it is to describe
how harsh and tough that savage wood was
The very thought of it renews the fear!
To hell, and back again
At the beginning of Inferno, Dante alludes to the apocalyptic vision of the biblical Book of Revelation. In a dark wood, three menacing beasts, a leopard, a lion, and a she-wolf - respectively symbolising lust, pride and greed - prevent Dante from climbing a mountain.
William Blake, Dante running from the three beasts, 1824-1827. Wikimedia
As Dante despairs, the Roman poet Virgil, author of the Aeneid, appears, announcing that he has been sent to guide him. They must first descend into hell, a cone-shaped crater that was caused by the fall of Lucifer.
Before beginning the journey, and in keeping with the classical epic tradition, Dante invokes the goddesses known as muses to inspire him, something he will do at the beginning of the next two books, Purgatorio and Paradiso.
Dante and Virgil must pass through nine circles of hell, in which the punishments increase in severity to match the gravity of the vices being punished. In the first circle are mythological and historical characters who died before Christianity was founded and were therefore not initiated through baptism. Lingering here are noble and virtuous characters – like Plato, Aristotle, GalenAvicenna, Cicero, and Ovid.
Francesca and Paolo, adulterers, Gustave Dore, circa 1860. Wikimedia
In the second circle, Dante is distraught by the cruelty of the punishment he observes. There, he encounters the souls of the lustful, including the legendary Tristan and Isolde and the historical Francesca da Rimini and her lover Paolo. Murdered by Francesca’s husband and Paolo’s brother, Giovanni Malatesta, these two souls drift aimlessly, their bodies fused together as punishment for adultery. They are joined for eternity, inverting the biblical prescription in Matthew that “what God has joined together, let man not separate.”
In the remaining seven circles of hell, Dante and Virgil observe punishments that are so grisly that sinners are reduced to grotesque conditions. These inspired the frescoes depicting the final judgement day that the painter Giotto painted around the walls and ceiling of the Scrovegni Chapel in Padua.
The writer Dante’s friend and compatriot, Giotto was commissioned to paint the inside of the chapel by the son of an infamous usurer that Dante identifies in the seventh circle of hell. There, men with moneybags hanging round their necks flick off flames, just as dogs shoo away insects in summer.
In the next, the circle of the fraudulent, Dante and Virgil encounter popes guilty of simony (or the selling of church services). Having inverted the moral order, they face an eternity buried upside down with their heads in the trenches. Only their legs can be seen from above, waving around frantically.
Ugolino and his sons. Jean-Baptiste Carpeaux, 1865-67. Wikimedia
In the ninth circle, the pilgrims see the Count Ugolino chomping on the skull of Archbishop Ruggieri, the punishment for treachery. In reality Ugolino conspired against his party, the Ghibellines, to bring the opposing Guelfs to power. The Archbishop later betrayed and imprisoned Ugolino with his offspring, gradually starving them to death.
Finally the pilgrims arrive at the centre of the earth, where they must scale the hairy sides of Lucifer to be able to ascend to the surface of the earth to get to purgatory, where they must be cleaned of the stain of hell. At the entrance of purgatory, an angel inscribes the letter “P” on Dante’s forehead seven times with the tip of his sword, saying “Make sure you cleanse these wounds when you are inside”. Each “P” stands for piaghe (wounds) that form from peccati (sins). Dante must work off and cleanse away each of them in the seven terraces of purgatory. As he leaves each terrace repented, the angel brushes his forehead, removing one of the letters.


Renewed and purified, Dante is now disposed to rise to “the stars”. Drawing on the writings of Saint Augustine, a woman called Beatrice, who has taken over from Virgil and guides Dante through heaven, explains that God’s creations, exiled to earth, long to return to their place of origin. Dante and Beatrice ascend through several heavens, the moon, and the planets, to the Empyrean, the heaven of divine peace. Like Inferno and Purgatorio, Paradiso ends with a reference to the stars:
Here high fantasy lost its impulse but my will and desire were already propelled, as a wheel is equally moved by the love that moves the sun and other stars.
Dante through the ages
Early commentators focused on interpreting the work as an allegory for the life of Jesus. In his Life of Dante, Giovanni Boccaccio, author of the Decameron, classified Dante as a prophet and his poem a prophecy. Humanist Cristoforo Landino (1424-98) viewed the poem as a metaphor for the soul’s journey back to God, and Neapolitan political philosopher Giambatista Vico (1668-1744) saw the Divine Comedy as a product of its barbarous time and Dante as the historian of his age, labelling him the Tuscan Homer.
More recently the Divine Comedy has inspired many creative works including art, architecture, literature, music, radio, film, television, comics, animations, digital arts, computer games and even a papal encyclical, Deus caritas est (2006), which, according to Pope Benedict XVI was inspired by the final verse of Paradiso.
It is most often Dante’s Inferno, its graphic imagery and twisted characters, that has inspired litterateurs like Chaucer, Milton, Honoré de Balzac, Marx, Elliot, Forster, Beckett, Primo Levy and Borges.
Few films have incorporated the entire epic tale. The earliest silent films, in 1911 (L’Inferno) and 1924 (Dante’s Inferno), and the first motion picture in 1935 (also Dante’s Inferno) all focused on the creatures and events of the inferno.

Peter Greenaway and Tom Phillips’s multi-award winning 1990 A TV Dante juxtaposes narration by John Gielgud, electronic images and sounds, with asides by experts, such as explanations of the three “beasts” by David Attenborough. A 2010 animation and 2012 documentary focus on the horror of the inferno, while another terrifying 2010 animation is based on a video game and departs considerably from the original.
The ConversationNor must the inferno be the focus to instil fear or terror. The film American Psycho is among 33 films with no connection to the Divine Comedy that contain, collectively, 64 occurrences of the iconic phrase at the gates of the inferno: “Abandon all hope ye who enter here,” a phrase that still inspires dread and terror in the audience almost 700 years later.
Frances Di Lauro, Senior Lecturer, Chair, The Department of Writing Studies, University of SydneyThis article was originally published on The Conversation. Read the original article.
MercatorNet

October 3, 2017

Another mass shooting in the United States. This time, 59 people are dead, plus the deranged killer, who shot himself. There seems to be no legislative will to stiffen America's gun laws. But is ready availability of guns the whole story? What about the rage within the killers? Where does that come from? We explore this issue in today's lead story.

Hey, another thing. From past surveys we've learned that some of our readers can't get enough of MercatorNet and like the daily emails. Some would be content with a weekly selection of the best stories of the week. We've finally organised this. Yay! Just click below if you want to update your preferences.






Michael Cook
Editor
MERCATORNET
‘An act of pure evil’
By Michael Cook
Are rifles or relationships at the bottom of the madness in Las Vegas
Read the full article
 
Guide to the classics: Dante’s Divine Comedy
By Frances Di Lauro
It is a comedy because it begins badly for the protagonist but ends well.
Read the full article
 
The worm that is killing married love
By Carolyn Moynihan
Men and women are attracted to difference, not sameness.
Read the full article
 
China’s regional fertility
By Shannon Roberts
Some regions are suffering more than others.
Read the full article
 
Who were the Vikings?
By Clare Downham
Never the pure-bred master race white supremacists like to portray.
Read the full article
 
Playboy was dedicated to replacing the faithful married man with a rakish figure
By Caroline Farrow
Hugh Hefner can’t be blamed for internet porn, but that doesn’t make his career harmless.
Read the full article
 
Quebec moves slowly toward euthanasia for dementia
By Aubert Martin
A high-profile murder case has sparked a debate about whether people who cannot consent can be killed ethically
Read the full article
 
The future of food production
By Marcus Roberts
Are there alternative protein sources?
Read the full article
 
Confessions of a Millennial mum with a smartphone habit
By Veronika Winkels
What are we teaching children when they see us constantly with our phones?
Read the full article
 
The new scientific silence on child-adult sex and the age of consent
By Mark Regnerus
A disturbing push to rehabilitate sex with minors.
Read the full article
 
MERCATORNET | New Media Foundation
Suite 12A, Level 2, 5 George Street | North Strathfield NSW 2137 | AU | +61 2 8005 8605
Guide to the classics: Dante’s Divine Comedy

No hay comentarios: