#Cosi e la vita imobile full#

20-21), remarking that вЂњAfter Petrarch reasserts the absolute superiority of Latin over the volgare, Dante's vernacular echoes of classical auctores are regarded as a diminution of their status.вЂќ In a related and similar vein, see Martin McLaughlin ( Literary Imitation in the Italian Renaissance: The Theory and Practice of Literary Imitation in Italy from Dante to Bembo, pp. XIX.32), and the bellies afflicted with pain for eating of the tree (Purg. And the first ten of Dante's uses of the word (8 in Inferno, 2 in Purgatorio) are all negatively charged, since the term is associated with Cerberus (Inf. XXI.84 and XXIII.104), some of Dante's readers find this a lowering of diction unbefitting such a lofty subject.

#Cosi e la vita imobile full#

This is the end of the first part of the prayer: вЂњHail, Mary, full of grace, / blessed are you among women.вЂќ Nonetheless, and as we have observed (see the notes to Par. 1-21), pointing out that Dante may have deliberately been echoing вЂњet benedictus fructus ventris tui, JesusвЂќ (blessed is the fruit of your womb, Jesus ). XXXIII.104) was perhaps not intended to be controversial. V.1).Дante's use of the word ventre (here and once earlier for Mary's womb at Par. This marks the thirteenth time that a canto has begun with a speaker's words (see the note to Par. Ledda also reports other medieval formulae that are similar to Dante's paradoxical expressions. Invenzione e visione nella вЂњDivina CommediaвЂќ, p.

Nota sul canto XXXIII del Paradiso,вЂќ in his L'imago al cerchio. 308n.), citing the previous notice by Angelo Jacomuzzi (вЂњ'L'imago al cerchio'. We first hear the Latin of Venantius, then a Latin вЂњtranslationвЂќ of David's Hebrew, and finally Bernard's Italian, the three main languages that provide the basic materials for Dante's own literary making.ДЇor both elements of this verse as dependent on formulations found in the fifth book of Alain de Lille's Anticlaudianus, see Giuseppe Ledda ( La guerra della lingua, p. We may also speculate on the presence of another linguistic program here. This opening line thus presents us, first with a completed pattern and then, on further consideration, with a broken pattern: We expect Latin here, but do not find it.

Bernard, but he does not use his customary Latin tongue (apparently no writing of Bernard in French survives), but the vernacular. Here we have another poetic voice, that of St. 505): вЂњNo Christian poet had ever been so daring.вЂќДЇor the beginnings of the last cantos of the first two cantiche, see the note to Purgatorio XXXIII.1-3, which points out that each of the previous opening lines was in another poetic voice, first that of Venantius Fortunatus and second that of David, both of them speaking Latin. Georges GГјntert and Michelangelo Picone, p. Reacting to the entire canto, GГјntert has said (вЂњCanto XXXIII,вЂќ in Lectura Dantis Turicensis: Paradiso, ed. The only answer to impossibility is miracle. This overriding of the logic of impossibility will culminate in the final simile of the poem, the geometer attempting to square the circle. вЂњVirginвЂќ and вЂњmotherвЂќ cannot logically be the shared properties of any woman nor can any woman be the daughter of her son. This verse establishes the basic modality of the entire canto, making two references to what will be a common theme of so many verses in it: harmonious resolution of impossibly related contraries. The tone of intimacy found in this prayer is emphasized by its extraordinary number of second-person-singular pronouns (tu, te, ti) and adjectives (tuo, tua), 17 of them in 39 verses (and that figure does not include second-person-singular endings of verbs). Gian Carlo Alessio, in a lecture he presented at Princeton University during the autumn semester of 1981, broke down the rhetorical divisions of Bernard's prayer as follows: And for the large extent to which Dante has borrowed from Bernard's own writings for the words of this prayer, see Mario Aversano ( Dante daccapo, copia d'eccezione, sent by the author on 11 September 2001), pp. This is not to suggest that it is in any way incongruous in its context (quite the opposite is true), only that it could be published (as surely it has been) in an anthology of devotional lyrics and be one of the most moving and commanding of the collection.ДЇor a study of this passage, see Erich Auerbach (вЂњDante's Prayer to the Virgin and Earlier Eulogies,вЂќ Romance Philology 3 : 1-26), who aligns it with examples of classical and Christian praise. This much (and justly) celebrated passage, Bernard's prayer to the Virgin, has the authority and unity of a separate poem.