Ugolino and narrative as an instrument of revenge online pdf
File Name: ugolino and narrative as an instrument of revenge online .zip
- Publications available online
- Chaucer and his English Contemporaries
- The Historical, Political, and Diplomatic Writings, vol. 3
Edited by Helene E.
Walter W. Skeat 2nd ed. Oxford: Clarendon Press, Every effort has been taken to translate the unique features of the printed book into the HTML medium.
Publications available online
Ascoli, Zygmunt G. Gilson, Giorgio Inglese, Ronald L. Martinez, Lino Pertile, Jeffrey T. Ogni contri- buto ricevuto per la pubblicazione viene sottoposto, in forma rigorosamente anonima, alla let- tura e valutazione di due esperti internazionali, esterni alla direzione della rivista.
Tematiche teologiche nelle opere e nei primi commenti Filippo Fabbricatore Rec. These contain four categories of traitors and, in the final section Judecca, Lucifer himself. Fifteen sinners are introduced over the course of the canto, the great majority taken from contemporary Italy.
But as well as questions of betrayal and political factionalism, the canto also sees Dante offer a rich meditation on the negative limits of humanity and of linguistic signi- fication — a theme to which I shall pay close attention in the present reading. Cocytus represents a watershed for pilgrim and poet alike. While the pilgrim will confront horrors here that surpass everything previously encountered, the poet will face unprecedented representational challenges.
The opening prologue, com- prising the first twelve lines of the canto, draws a line between Cocytus and every- thing that has preceded it and reflects upon the formidable task of composing these closing three cantos. This allusion both supplements the images of hard- ness and stoniness that proliferate in this canto and foreshadows the references both to the Theban enemies Tydeus and Melanippus Inf.
Bosco and G. Reggio, Florence, Le Monnier, , p. XXXII, 3. Cocytus specifically stands in counterpoint to the Empyrean. While the ethereal dwelling place of the blessed is first perceived as a dynamic, circular river of light Par.
XXX, 39 , this frozen lake, a place of spiritually inert matter, is the furthest place in the cosmos from God: the source of all light and all meaning4. The sheer materiality of this place is strongly foregrounded. The opening lines feature several images of weight, gravity, and hardness. Here more than anywhere else in the Com- media Dante foregrounds the hardness and materiality of his poetic language.
These cantos can merely provide an approximation of the re- ality of Cocytus, whose full horror is beyond the reach of even the harshest and most uncompromising verses.
The Paradiso, of course, is also prefaced by a dec- laration of linguistic inadequacy. Jacoff, Cambridge, Cambridge University Press, , pp. XXX, 48 reflect the contrast between hate and love that these places encapsulate. See also R. I, The entire text of the Paradiso by necessity condescends to the intellect of a reader who has not yet soared to that realm where the human word, partial and fragmented, is replaced by the divine Word of unqualified meaning7.
In Inferno XXXII, the inadequacy of language is of a diametrically opposed sort — it pertains not to the transhuman but to the subhuman.
Sono parole libere, create e usate da uomini liberi che vivevano, go- dendo e soffrendo, nelle loro case. According to Augustine and Aquinas, evil is to be understood not as a substantial entity that competes with good, but merely as the negation and absence of the good that is rejected privatio boni. Emphasis mine. Kay, M. McLaughlin and M. Zaccarello, Oxford, Legenda, , pp. VII, 2. IV, XVII, and the impossibility of the task. Dante must push language to its negative limits 11 See W.
Durling and R. Martinez, Oxford, Oxford University Press, , p. Dante must, in short, express through the intellectual medium of language that which would more fit- tingly be conveyed through discordant, sub-linguistic noise; he must confer order and meaning onto meaninglessness, subumanar significar per verba. This notion had been at the heart of the De vulgari, in which Dante had described how high, medium, and low registers should correspond to different protagonists and poetic materiae Dve II.
The rhetorical objective of the canto — and indeed the poem — is the closest possible correspondence of form and con- tent, language and reality, as Dante draws upon the broadest possible linguistic spectrum to articulate as faithfully as possible the fullness of what he claims to have experienced.
His linguistic choices are no longer informed by the norms of rhetoric, which might compromise the expressive capacity of his poem, but by the reality — the fatto — he describes.
While Dante now departs from the more restrictive rhetorical approach asso- ciated with the De vulgari, another phase of his authorial development is resur- rected. See for example Z. KAY, Corbett and H. Webb, Cambridge, Open Book, , pp.
Malato and A. Mazzucchi, Rome, Salerno Editrice, , pp. Commentators have identified numerous echoes of the petrose in the poetry of Cocytus, especially in the present canto It also introduces the theme of subhumanity that plays a key role in this canto, whose sinners often take on animal traits As Dante and Virgil proceed, the pilgrim is warned by an unidentified voice to watch his step, so that he does not kick the heads of the souls that protrude from 16 See, for example, L.
Picone, Florence, Cesati, , pp. Invernizzi, Genoa-Milan, Marietti, , pp. We learn more about the sinners below in due course, but Dante first offers a more general description of his surroundings. Dante conveys its crystalline hardness by comparing it to the frozen rivers Danube in Austria and Don in Russia. Unlike the Italian rivers evoked earlier in the Inferno, these are places of near proverbial or legendary resonance in his imag- ination.
The last of these, describing the creaking of the ice under pres- sure, is a salient example of the onomatopoeic language that Dante deploys in Cocytus. Having described the frozen lake, Dante turns his attention to the traitors. Treachery is a wilful sin that acts in opposition not only to the natural love that unites all humans but also the trust upon which a functioning and prosperous human society depends Inf.
XI, As first noted by the fourteenth-century commentator Guido da Pisa, the gravity of each particular kind of treachery is determined by how freely the love betrayed was granted to the traitor.
Hence, the betrayal of a benefactor, who offers his love most freely, is the most serious form of treachery, while betrayal of a blood relative is the least, since familial bonds of trust are more naturally and less freely established. Each sinner in Cocytus is fixed in the ice, while the depth to which he is submerged, from neck-high to fully immersed, reflects the gravity of his treachery.
Ice is doubtless chosen by Dante as the dominant feature of this final circle since it is antithetical to fire, the element associated metaphorically with charity. Ice and in particular the notion of a frozen or petrified heart also carry a strong association with sin in medieval Christianity For instance, Ezekiel Ez. It seems significant in this regard that Cocytus is popu- lated exclusively by male sinners. A cardiocentric 19 H. In stark contrast with Francesca da Rimini, the seduc- tive female sinner with whom our journey through Hell began, possessor of a heart so open to the snares of beauty and desire that it lacked the filter of moral discre- tion, the souls of Cocytus embody a kind of sealed and impenetrable masculinity.
These stone-hearted monads, human forms drained of all human qualities, embody sin stripped of all allure. The first region of Cocytus is Caina, named of course after the biblical Cain, containing those souls who betrayed their kindred.
Dante begins his description of this group with two animal similes. Details of these and other sinners against kindred are provided by Camicione dei Pazzi, believed to have killed his cousin in order to arrogate his castles. Beltrami, P. Squillacioti and S. Vatte- roni, Torino, Einaudi, Mandelbaum, A. Oldcorn and C. Ross, Berkeley, University of California Press, , pp. Before disclosing his own identity, Camicione identifies Napoleone and Alessandro.
These counts of Mangona, Tuscany, killed one another in the s, reputedly in the very same instant, in a dispute over their family inheritance. Camicione describes in lines some other iconic traitors against family. With the exception of Mordred ll. Focaccia l. Sassol Mascheroni ll. XIII, 33 in the forest of the suicides. The interaction of Dante 25 On the proliferation of canine images in Cocytus see G.
Chaucer and his English Contemporaries
Restricted access to the most recent articles in subscription journals was reinstated on January 12, More informations. Much has been written about the relationship between these two poets, but few have wondered — how compatible were they in reality, when their poetry, ethics, philosophy of life, and even politics, were so radically different? In this new essay Peter Cochran tries to take an unsentimental view of how Byron and Shelley related, in both social and literary terms. What did each really think of the other? Were they friends to the end?
How to publish with Brill. Fonts, Scripts and Unicode. Brill MyBook. Ordering from Brill. Author Newsletter. How to Manage your Online Holdings. Sales Managers and Sales Contacts.
This volume contains papers and letters from his time as a diplomat. Detmold Boston, J. Osgood and company, Christian Detmold. Every effort has been taken to translate the unique features of the printed book into the HTML medium. EBook PDF.
Narrative as an Instrument of Revenge. William Franke kEyWORDS Ugolino, Dante, poetry, poetics, Inferno, narrative, metaphor, revenge.
Within the movement, individual subjectivity and, in particular, extremes of emotion were given free expression in reaction to the perceived constraints of rationalism imposed by the Enlightenment and associated aesthetic movements. The period is named for Friedrich Maximilian Klinger 's play of the same name , which was first performed by Abel Seyler 's famed theatrical company in
The Historical, Political, and Diplomatic Writings, vol. 3
The self-deceptions manifest in the souls Dante encounters take on violent and then fraudulent forms in the seventh and eighth circles respectively. By his interpretive acts as poet, Dante actually participates in this violence and fraud. He makes himself complicit in what he condemns. He is not merely an observer from on high but descends into his own sinful self through acts that involve the author and, behind him, the reader too as interpreters. Dante constantly highlights how it is we ourselves who are secretly at risk in the sins we interpret as readers, for the sins punished in hell are presented as fundamentally sins of self-interpretation. If you have personal access to this content, log in with your username and password here:.
It embraces human individuality and happiness in a way which suggests the beginning of the Renaissance. This edition contains the English translation only. The Divine Comedy of Dante Alighieri. English version. Langdon trans.
Table of contents
Philosophy of Religion. Varieties and Valences of Unsayability in Literature. Poetry, Prophecy, and Theological Revelation. Religion and Representation: 2. Religious Belief and the Cultural Limits of Representation. Philosophical and Theological Interpretations of Literature. On Classical and Biblical Literature.
His choice of Dante's story of Francesca and Paolo is inspired, enabling him to illustrate his methodological and substantive points with a literary masterpiece. If anyone doubts that literature is ethical or that ethics can benefit from literature, this book will prove him wrong. I see here the beginnings of a new and promising humanistic discipline - narrative ethics.