17 tosto ch’io usci’ fuor de l’aura morta The sun, which now is rising, will direct you 102 porta di giunchi sovra ’l molle limo; 103 null’ altra pianta che facesse fronda 1.52-3]). Soon as I issued forth from the dead air, And here Calliope somewhat ascend. We have left behind ”dead poetry” — “la morta poesì” of verse 7, the poetry of the dead — and we have come to a place of life and love and light and laughter: “Lo bel pianeto che d’amar conforta / faceva tutto rider l’orïente” (The lovely planet that is patroness / of love made all the eastern heavens laugh [Purg. LA PRIMA; LA SECONDA; LA TERZA 24 non viste mai fuor ch’a la prima gente. Then he replied: “I do not come through my All will eventually, at the Last Judgment, be among the blessed. 77 ché questi vive e Minòs me non lega; [41] As discussed in the Commento on Inferno 4, Virgilio specifically told Dante that those in Limbo are guilty only of not being baptized, through no fault of their own, simply because they lived before the birth of Christ. Then came we down upon the desert shore that he had chosen, there that plant sprang up. [7] To make the dialectical quest of Purgaorio more evidently dialectical, Dante-poet emphasizes the beauty of earthly life in this second canticle, devoted to a realm that is literally situated on the same globe of earth that we live on. [30] In these verses Dante is reminding us that the one previous living human who navigated these waters, Ulysses, was not able to return home after sighting Mount Purgatory. 63 che questa per la quale i’ mi son messo. Purgatorio: Canto I; Purgatorio: Canto II; Purgatorio: Canto III; Purgatorio: Canto IV; Purgatorio: Canto V; Purgatorio: Canto VI 33.88). 109 Così sparì; e io sù mi levai canto 22 purgatorio testo Uncategorized Posted December 9 | 8:11 AM To colour it will I extend my hand. from which the Wain had disappeared by now. [3] Vis-à-vis the relatively uncodified second realm, Dante enjoyed an ideological freedom that offered virtual carte blanche for his inventive and creative genius. 128 ivi mi fece tutto discoverto 79 di Marzia tua, che ’n vista ancor ti priega, PURGATORIO. In this way Dante brings about our first introduction to a scandalous fact, one which upsets all that we thought we knew about Virgilio and his fellow virtuous pagans. Virgilio’s explanation cannot be quite right, because now we see that someone who lived before the birth of Christ can be saved. Georges Güntert. Rielaborazione del 1° canto del Purgatorio della Divina Commedia in occasione del 750° della nascita di Dante Alighieri or who has been your lamp The blow so great, that they despaired of pardon. With a smooth rush, and that thou wash his face, La acción se desarrolla la tarde del 10 de abril de 1300 (Pascua), o según otros comentadores del 27 de marzo del mismo año. but, through his folly, little time was left In other words, he knows enough of Purgatory to know under whose guardianship it is. Ulysses’ unsanctioned quest is doomed to fail, while Dante’s quest — willed by God — succeeds. This one has never his last evening seen, It turns out that, in Dante’s universe, some pagans can be saved. 76 al 151). Arthur Goldhammer for U. of Chicago Press, 1984), Purgatory as a concept was, in Dante’s time, of much more recent vintage than Hell or Paradise, both of which have ancient origins. Where shadow falls, little evaporates. Luego pregunta a su maestro la función de los rezos por los difuntos, un tema que ya había sido afrontado por Virgilio en la Eneida, donde había afirmado que estas no tenían ningún efecto en el más allá. And with his words, and with his hands and signs, so 30 là onde ’l Carro già era sparito. 14 che s’accoglieva nel sereno aspetto Reverent he made in me my knees and brow: Then answered him: ” I came not of myself; He assumes that the travelers are escaped prisoners, damned folk who have come to this place in defiance of the “laws” of Hell: [34] Virgilio’s reply begins “Da me non venni: / donna scese del ciel” (I do not come through my / own self. 51 reverenti mi fé le gambe e ’l ciglio. The phrase “altro polo” appears twice in Purgatorio 1. This is the Law, and for all the beauty of the sapphire sea and limpid air, we cannot but feel its painful consequences. These references to the “altro polo” echo Inferno 26.127, where we learn that Ulysses’ voyage took him to where all the stars of the “other pole” are visible: “Tutte le stelle già de l’altro polo / vedea la notte, e ’l nostro tanto basso, / che non surgëa fuor del marin suolo” (At night I now could see the other pole / and all its stars; the star of ours had fallen / and never rose above the plain of the ocean [Inf. Worthy of so much reverence in his look, I recognised the trembling of the sea. Nicholas James Samra è nato a Paterson, nel New Jersey, il 15 agosto 1944 da George H. … [37] Cato of Utica committed suicide in Utica in 46 BCE rather than submit to the dominion of Caesar. New York, NY: Columbia University Libraries, Purgatorio 18 is a very important canto, particularly to those readers who cherish Dante’s origins as a lyric poet, which Dante-poet here evokes in loving detail. With that he vanished; and without a word, [33] The echo of Inferno 26’s “altro polo” in Purgatorio 1 reminds us of the Greek hero’s unsanctioned quest beyond the pillars of Hercules and prepares us for the spirited challenge that is issued to Dante and Virgilio by the bearded sage who is the guardian of the second realm. El eje del canto es la invectiva dirigida a Italia, la más larga de la Comedia con sus veinticinco tercetos. 50 e con parole e con mani e con cenni may this poem rise again from Hell’s dead realm; This is the place where everyone is working on becoming new again. El canto sexto del Purgatorio de Dante Alighieri se desarrolla en el Antepurgatorio, donde las almas de los negligentes (es decir de quienes descuidaron los deberes espirituales) esperan para comenzar su expiación. before he did—he was so close to it. So doing, he enables us to “forget” that in fact the one absolute boundary in his universe is the one between Hell and Purgatory/Paradise, between damnation and salvation: Within the system of orchestrated tensions that structures the Commedia’s narrative, Dante works to counter the theological pull that unites purgatory to paradise, finding narrative means to link purgatory to hell: both realms share a conical shape (in fact, Dante’s mythography of Inferno 34 institutes an intimate bond between the two, holding that purgatory was formed by the land that was excavated by Lucifer’s fall) and require similar but inverted modes of travel (spirals down and to the left in hell, up and to the right in purgatory); both share the presence of Vergil as guide and father. in which the sky’s serenity was steeped— 49 Lo duca mio allor mi diè di piglio, He not only evokes his lyric origins, but makes clear once more — as he already had in Inferno 5 — that the lyric tradition is ethically challenged in one absolutely fundamental tenet. 42 diss’ el, movendo quelle oneste piume. Along the solitary plain we went Dante abre el canto comparándose con un ganador de zara, el juego de dados, que da una parte de su victoria a la multitud que lo libera para deshacerse de ella, pues él por su parte escucha las oraciones para alejar a sus almas. There he begirt me as the other pleased 88 Or che di là dal mal fiume dimora, 61 Sì com’ io dissi, fui mandato ad esso [9] As we embark on Purgatorio, let us bear in mind the fundamental premise that, although Dante’s afterworld may give the appearance of being infinitely parsed and nuanced, it is ultimately a binary world: all souls are ultimately either saved or damned. “While I was there, within the other world, 22 I’ mi volsi a man destra, e puosi mente Then I turned to the right, setting my mind The laws of the abyss, are they thus broken? I reached and offered him my tear—stained cheeks; 1.13). Of which the miserable magpies felt it is a power descending from above Menu. Thou know’st it; since, for her, to thee not bitter También son frecuentes las personificaciones (Italia, Roma, Florencia) a las cuales se dirigen peticiones o exhortaciones. Como se hizo en el Infierno y se hará en el Paraíso, el canto sexto del Purgatorio está dedicado al tema político. 45 che sempre nera fa la valle inferna? We made our way across the lonely plain, Then did my Leader lay his grasp upon me, with sun and, under sea winds, in the shade, Indeed, they must be willfully and programmatically set aside. becoming worthy of ascent to Heaven. The choice of the adjective ”esperto” in verse 132 is profound and calculated: Ulysses states in Inferno 26 that he burned with desire to become “del mondo esperto” (expert of the world [Inf. 37 Li raggi de le quattro luci sante [27] The connection between Ulysses and the shore of Purgatory that he does not reach is very strong here, since “l’altro polo” occurs in the Commedia only three times: once in Inferno 26, when Ulysses refers to his sighting of the other pole, and twice at the beginning of Purgatorio 1. 21.41-2]). Below there, yonder, where the billow beats it, Purgatorio 22, a canto that is saturated in classical textuality and culture, ends by reaffirming biblical teachings. But Cato harshly sweeps aside Virgilio’s very human attempts at establishing ties of friendship and solidarity as so much flattery: “lusinghe” (Purg. as I had left behind the air of death he said, moving those venerable plumes. 59 ma per la sua follia le fu sì presso, Per me si va ne la citta dolente, per me si va ne l'etterno dolore, per me si va tra la perduta gente. 58 al 75), Mensaje de Dante a Italia (vv. The little vessel of my genius now, Universidad de Zürich. 59]) and Virgilio was sent to save him: “per lui campare” (for his deliverance [Purg. Daybreak was vanquishing the dark’s last hour, As one who unto the lost road returns, Indeed, the identity of the guardian of Purgatory creates shock waves that persist long after Purgatorio 1. “Who are you? [23] Dante goes further at the end of Inferno 34, accounting not only for the creation of Hell and Hell’s location but also for “the birth of Purgatory” and Purgatory’s location. which never yet had seen its waters coursed Virtue descendeth from on high that aids me Their youth — literally their “new age” or “newness” — makes them innocent: “Innocenti facea l’età novella” (Inf. by way of words and hands and other signs, While I was on the other side,”then said he, Because it yieldeth not unto the shocks. Dante is thus the only living human who has ever been privileged to arrive on (and therefore “see”) this shore. These features work to override the forces that should compel us to link purgatory and paradise to the exclusion of hell; they belong to the Commedia’s system of narrative stresses, a system of checks and balances intended to create a structure of balanced tensions. “Marcia so pleasing was unto mine eyes The exception is the ending constituted by Inferno 34 and the beginning constituted by Purgatorio 1, an ending and beginning that correspond to the only absolute difference in this world: the difference between damnation and salvation. But all the souls in Antepurgatory, without exception, will eventually pass this way, so that what we have is another instance of Dante’s art of gradation: to create his newest new beginning, his newest “dritto inizio,” the poet must institute difference, must draw a line between what was and what is to come — the new. The humble plant, such it sprang up again. In Inferno 4, Virgilio is very clear that the souls in Limbo did not sin: “ch’ei non peccaro; e s’elli hanno mercedi, / non basta, perché non ebber battesmo” (they did not sin; and yet, though they have merits, / that’s not enough, because they lacked baptism [Inf. Sin embargo, en esta ocasión afirma que abrevian la duración de la pena de las almas. Angel, who is of those of Paradise. Marcia so pleased my eyes,” he then replied, e canterò di quel secondo regno dove l’umano spirito si purga e di salire al ciel diventa degno. upon the other pole, and saw four stars The wonder is that Dante’s art of transition makes us believe in so many other differences along the way. Which, when I issued forth from there, was made. That was upgathered in the cloudless aspect [42] Nor is the difference between damned Virgilio and saved Cato presented in a subtle way. For ’twere not fitting that the eye o’ercast [6] These adjectives, vedovo and privato, signal the theme of loss and privation that will haunt the beautiful music of Dante’s Purgatorio. That done, do not return by this same pass; As, in Inferno 26, it is the “night” that sees the stars of the other pole, here in Purgatorio 1 it is the “deserted shore” (“lito diserto” [Purg. 1.132]). It appears first in Purgatorio 1.22-23 — “e puosi mente / a l’altro polo, e vidi quattro stelle” (I set my mind / upon the other pole, and saw four stars) — and then it appears again a few verses later, where Dante specifies that “he turns a little toward the other pole”: “un poco me volgendo a l’altro polo” [Purg. 1.62]). [22] When Adam and Eve were new, they looked upon the stars that Dante sees now, the stars that are only visible in the uninhabited southern hemisphere. 125 soavemente ’l mio maestro pose: PURGATORIO. That displaced earth rose up on the other side of the globe from Jerusalem, exactly opposite to Jerusalem, and became Mount Purgatory. En su entorno pagano, por el contrario, no tenían efecto al estar determinado el destino por el fatum y no por la Providencia. Where he plucked the humble plant El discurso termina con Florencia como objeto. [21] Let us remember what Dante-narrator says of Ugolino’s children. Let us turn back. (The Undivine Comedy, p. 162). 82 Lasciane andar per li tuoi sette regni; Issuu company logo. ‘Which fled before it, so that from afar 112 El cominciò: «Figliuol, segui i miei passi: of flattery; it is enough, indeed. 38 fregiavan sì la sua faccia di lume, Virgilio identifies the old man as Catone, who instructs Dante to clean himself before he can ascend Mount Purgatory. the hellish valley dark, you were set free? “Who are you—who, against the hidden river, not seen before except by the first people. And he began: “Son, follow in my steps; 1 2 3. They come from the mouth of the river Tiber at Ostia, near the Vatican in Rome, as we will learn in the next canto. To take the mount by easier ascent.”. 93 bastisi ben che per lei mi richegge. 135 l’umile pianta, cotal si rinacque. Se levanta exclamando que es su conciudadano. my master gently placed both of his hands— Giustizia mosse il mio alto fattore . Dante writes that the shore “never yet had seen its waters coursed / by any man who journeyed back again”: “[il] lito diserto, / che mai non vide navicar sue acque / omo, che di tornar sia poscia esperto” (Purg. Which never yet saw navigate its waters El poeta interpela incluso a Cristo, preguntándole si su mirada no se encuentra tal vez dirigida a otro lugar. The narrator makes the point that the “northern hemisphere” is “widowed” (“vedovo”), having been “deprived” (“privato”) of the sight of those stars: “oh settentrïonal vedovo sito, / poi che privato se’ di mirar quelle!” (o northern hemisphere, because you were / denied that sight, you are a widower! Marcia pleased him once — in the passato remoto — and at that time, when he was alive, he did whatever she wanted: [44] But now — in the present tense — Marcia dwells on the other side of the evil river Acheron and therefore has no more power to move him, by the law established when he left Limbo: [45] That was the Then of Damnation; this is the Now of Salvation. By any mist should go before the first 43 «Chi v’ha guidati, o che vi fu lucerna, this hillside can be climbed more easily.”. [20] Those who journey to the top of Mount Purgatory are engaged in a quest to purge themselves of sin. To tell you how I led him would take long; Jun 8, 2018 - Explore Ofelia Trejo's board "El Purgatorio", followed by 176 people on Pinterest. Balanced tension is achieved by excluding each of the three realms from a system that embraces the other two, so that each realm is the “different” realm in one of three basic systems. Scribd es red social de lectura y publicación más importante del mundo. Testo del canto 10 (X) del Purgatorio di Dante. There where the Wain had disappeared already. “Purgatorio Varias metáforas connotan a Italia, se presentan varias exclamaciones, y son notables las anáforas de los versos 106, 109, 112, 115 y 130, 133. Purgatorio - Contents . [18] Dante refers to Adam and Eve with the periphrasis the “la prima gente” (Purg. Moreover, the path to salvation required Virgilio to lead Dante through Hell and now through Purgatory, where he intends to show Dante the souls who purge themselves under the governance of this patriarch: “e ora intendo mostrar quelli spirti / che purgan sé sotto la tua balìa” (now I intend to show to him those spirits / who, in your care, are bent on expiation [Purg. Eternal edicts are not broken for us; 26.98]). This is the description of the earth and its contours that emerges from the cosmological narrative related at the end of Inferno 34 and elaborated in Purgatorio 1. 131 che mai non vide navicar sue acque 16 a li occhi miei ricominciò diletto, He preserves suspense and creates the bombshell of this encounter, where we — the readers who by now love Virgilio as we did not in Inferno 4 — are forced to absorb the information that pagans can be saved. This man had yet to see his final evening; “That every grace she wished of me I granted; Now that she dwells beyond the evil river, 126 ond’ io, che fui accorto di sua arte. 1.24). so forcefully that they despaired of pardon. Was making all the orient to laugh, [14] In line 3 we see Dante’s countervailing narrative strategy for binding Hell and Purgatory. 57 esser non puote il mio che a te si nieghi. and on my cheeks, he totally revealed 71 libertà va cercando, ch’è sì cara, my will cannot withhold what you request. 7.39]). 116 che fuggia innanzi, sì che di lontano 134 oh maraviglia! But here, since I am yours, o holy Muses, Did so adorn his countenance with light, [11] Here is the chart that I devised to illustrate the three narrative systems that Dante uses to create the balanced tensions of his narrative: [12] In line 1 we see that Hell is different from the other two realms in that it is the singular place of damnation. ye who, counter the blind river, Both realms are situated in or on earth. El canto sexto del Purgatorio de Dante Alighieri se desarrolla en el Antepurgatorio, donde las almas de los negligentes (es decir de quienes descuidaron los deberes espirituales) esperan para comenzar su expiación.La acción se desarrolla la tarde del 10 de abril de 1300 (), o según otros comentadores del 27 de marzo del mismo año. for freedom was not bitter, when you left his face, to wash away all of Hell’s stains; for it would not be seemly to approach La respuesta de Virgilio comienza "Mantua", y es suficiente para que el alma salga de su actitud de severa distancia. 1.26-7]). 1 Per correr miglior acque alza le vele 6 Ordinamento: Per percorrere acque migliori, la navicella del mio ingegno alza le vele, lasciando dietro a sé un mare così crudele; Parafrasi: Dante narra l'uscita dall'Inferno, 1. Although the third of these three narrative systems is, conceptually, the most tenuous, from a narrative perspective it is extremely effective, to the point that I think most naive readers naturally link the first two realms. To lead him to behold thee and to hear thee. one sees Antigone, Deiphyle, It does not seem that yet had made thee faithful 11acceso di virtù, sempre altro accese, and Plautus, where is Varius, if you know; Ed elli a lui: «Tu prima m’invïasti 22.77–78)”. that had afflicted both my sight and breast. The gradations thus expressed should not be hardened into absolute moral categories; for in fact they exist less by virtue of the moral order than by virtue of the needs of the narrative, itself a kind of macro-terza rima that conjoins (almost) every new beginning with the ending/beginning that precedes it. In gentle manner did my Master place; Of which a double list fell on his breast. [35] As verses 65-6 show, Virgilio knows the identity of the soul to whom he is speaking. Falta la autoridad del emperador, pues Alberto I de Habsburgo y su padre Rodolfo se han visto envueltos en luchas en Alemania, descuidando el jardín del imperio. the sun, which rises now, will show you how El canto trata sobre política, una temática que … A Lady from Heaven descended, at whose prayers Ne’er seen before save by the primal people. And, in fact, the cantos that mark the end of Antepurgatory — the end of the beginning of the purgatorial journey — demonstrate with peculiar clarity Dante’s art of highlighting, institutionalizing, and exploiting transition: while Purgatorio 8 marks the end of Antepurgatory, Purgatorio 9 embodies transition to Purgatory, and Purgatorio 10 provides the new beginning of Purgatory proper. turning a little toward the other pole, Both of his hands upon the grass outspread 127 porsi ver’ lui le guance lacrimose; The gentle hue of oriental sapphire Of the pure air, as far as the first circle. 4 5 6. veiling the Pisces in the train she led. 76-151) El inesperado abrazo entre Sordello y Virgilio, que se debe a la conciencia de saberse coterráneos, suscita en el poeta un enérgico y amargo discurso sobre la Italia de su tiempo, a la que llama sierva definitiva, lugar de dolor, barco sin timonel, burdel. 95 d’un giunco schietto e che li lavi ’l viso, leaving behind herself a sea so cruel; and what I sing will be that second kingdom, In his exact literal phrasing, Dante writes that the experience of becoming esperto of the journey home was not vouchsafed to him: Ulysses did not become “omo, che di tornar sia poscia esperto” (a man, who had expertise of the return [Purg. its very base, there where the breakers pound, Than this to which I have myself betaken. Unto mine eyes did recommence delight 1. The solitary and unplaceable figure of Sordello (scholars have debated whether he should be grouped with those who died violently or with the princes in the Valley) is emblematic of the ambiguities raised by this liminal space. And till he finds it seems to go in vain. The Sapphire Sea.” Commento Baroliniano, Digital Dante. her pleas led me to help and guide this man. 115 L’alba vinceva l’ora mattutina 1.29]). They are the “first people”, the first inhabitants of earth: [19] The firstness of Adam and Eve — their existential newness — speaks to an important purgatorial theme. I’ve shown him all the people of perdition 4.34-5]). This is Dante’s point and it brings us back to the fundamental binary that structures his universe. The very idea of Purgatory as a mountain is Dante’s own invention, let alone all the rules and regulations that Dante invents to structure the experience of those dwelling on his Mount Purgatory. And now those spirits I intend to show CANTO 11 Purgatorio CHIARA COLALE' & ALICE LOMBARDO INTRODUZIONE - canto legato alla storia di Dante - inizio: solenne preghiera universale (Pater Noster) cantata, con un andamento lento, dalle anime schiacciate dai macigni => FIDUCIOSO ABBANDONO + PROFONDA STANCHEZZA - tema VERSI While the stars of the other pole are “viste” — seen — by Adam and Eve in Purgatorio 1, technically Ulysses does not say “I saw the stars of the other pole” but “the night saw the stars of the other pole”: “Tutte le stelle già de l’altro polo / vedea la notte” (Inf. La invectiva contra Italia (y el Papa, el Emperador, Florencia) debe su fuerza a la composición estética mediante varias figuras de estilo. 87 «che quante grazie volse da me, fei. 26.128. 35 portava, a’ suoi capelli simigliante, And so Cato of Utica’s decision to give up his life rather than to live un-free is a decision that resonates with the quest of the second realm, where souls work to become free of the vices that blind us morally and hamper us politically. Or is there changed in heaven some council new, near me—his aspect worthy of such reverence But of that circle I, where are the chaste. The second realm offers saved souls the opportunity to work toward freedom: the freedom that Virgilio posits as the goal of Dante’s quest when he says “libertà va cercando” (he seeks freedom) in verse 71 of this canto. 119 com’ om che torna a la perduta strada, Go then; but first [29] At the end of Purgatorio 1 there is a confirming allusion to Ulysses that again uses the verb vedere to differentiate between who sees what — or, better, between who is allowed to see what. The beauteous planet, that to love incites, 31 vidi presso di me un veglio solo, “each kindness she required, I satisfied. were able to escape the eternal prison?” Then we arrived at the deserted shore, 41 fuggita avete la pregione etterna?», For reasons that I discuss in the Introduction to Paradiso 21, I place the beginning of the end of the Commedia in the heaven of Saturn, the seventh heaven.
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