The most outstanding, dominant event of Dante's youth was his love for Beatrice. He first saw her when they were both still children: he was nine, she was eight years old. The "young angel", as the poet puts it, appeared before his eyes in an outfit befitting her childhood: Beatrice was in clothes of a "noble" red color, she had a belt, and she, according to Dante, immediately became "the mistress of his spirit" . "She seemed to me," said the poet, "more like a daughter of God than a mere mortal." “From the very moment I saw her, love took possession of my heart to such an extent that I had no strength to resist it and, trembling with excitement, I heard a secret voice: “Here is a deity that is stronger than you and will rule you.”
Allegorical portrait of Dante by Bronzino
Ten years later, Beatrice appears to him again, this time dressed in white. She walks down the street, accompanied by two other women, looks up at him and, thanks to "her inexpressible mercy", bows to him so modestly and charmingly that it seems to him that he has seen "the highest degree of bliss."
Painting by Henry Holliday "Dante and Beatrice"
Intoxicated with delight, the poet runs away from the noise of people, retires to his room to dream of his beloved, falls asleep and has a dream. When he wakes up, he writes it down in verse. This is an allegory in the form of a vision: love with Dante's heart in her hands carries at the same time in her arms "a sleeping and veiled lady." Cupid wakes her up, gives her Dante's heart and then runs away crying. This sonnet by the eighteen-year-old Dante, in which he addresses the poets, asking them to explain his dream, drew the attention of many to him, among other things, Guido Cavalcanti, who heartily congratulated the new poet. Thus began their friendship, which has never wavered since.
In his first poetic works, in sonnets and canzones, surrounding the image of Beatrice with a bright radiance and poetic halo, Dante already surpasses all his contemporaries with the power of poetic talent, the ability to speak the language, as well as sincerity, seriousness and depth of feeling. Although he, too, still adheres to the former conventional forms, the content is new: it has been experienced, it comes from the heart. However, Dante soon abandoned the old forms and manners and took a different path. He contrasted the traditional feeling of worshiping the Madonna of the troubadours with real, but spiritual, holy, pure love. He himself considers the truth and sincerity of his feelings to be the "powerful lever" of his poetry.
The poet's love story is very simple. All events are the most insignificant. Beatrice passes him down the street and bows to him; he meets her unexpectedly at a wedding celebration and comes into such indescribable excitement and embarrassment that those present and even Beatrice herself mock him and a friend must take him away from there. One of Beatrice's friends dies, and Dante composes two sonnets on this occasion; he hears from other women how much Beatrice grieves for the death of her father ... These are the events; but for such a high cult, for such love, which the sensitive heart of a poet of genius was capable of, this is a whole inner story, touching in its purity, sincerity and deep religiosity.
This so pure love is timid, the poet hides it from prying eyes, and his feeling remains a mystery for a long time. In order to prevent other people's eyes from penetrating into the sanctuary of the soul, he pretends to be in love with another, writes poetry to her. Gossip begins, and, apparently, Beatrice is jealous and does not return his bow.
Dante and Beatrice, painting by Marie Stillman
Some biographers, not so long ago, doubted the real existence of Beatrice and wanted to consider her image as just an allegory, in no way connected with a real woman. But now it has been documented that Beatrice, whom Dante loved, glorified, mourned, and in whom he saw the ideal of the highest moral and physical perfection, is undoubtedly a historical figure, the daughter of Folco Portinari, who lived next door to the Alighieri family. She was born in April 1267, married Simon dei Bardi in January 1287, and died on June 9, 1290, at the age of twenty-three, shortly after her father.
Dante himself narrates his love in Vita Nuova (New Life), a collection of prose mixed with poetry, which was dedicated by the poet Guido Cavalcanti. According to Boccaccio, this is Dante's first work - containing the full story of the poet's love for Beatrice until her death and beyond - written by him shortly after the death of his beloved, before he dried his tears for her. He called his collection "Vita Nuova", as some believe, because through this love a "new life" has come for him. His dear - for Dante, the personification of the ideal, something "divine, which appeared from heaven to give the earth a ray of heavenly bliss", "the queen of virtue." Clothed in modesty, says the poet, shining with beauty, she walks among praises, like an angel who descended to earth to show the world the spectacle of her perfections. Her presence gives bliss, pours joy in the hearts. Those who have not seen her cannot understand all the sweetness of her presence." Dante says that, adorned with the grace of love and faith, Beatrice awakens the same virtues in others. The thought of her gives the poet the strength to overcome any bad feeling in himself; her presence and bow reconcile him with the universe and even with enemies; love for her turns the mind away from all evil.
Michael Parkes, portraits of Dante and Betarice
Under the clothes of a scientist, Dante beats a pure, young, sensitive heart, open to all impressions, prone to adoration and despair; he is gifted with a fiery imagination that lifts him high above the earth, into the realm of dreams. His love for Beatrice is distinguished by all the signs of the first youthful love. This is a spiritual, sinless worship of a woman, and not a passionate attraction to her. Beatrice for Dante is more an angel than a woman; she, as if on wings, flies through this world, barely touching it, until she returns to the best, from where she came, and therefore love for her is "the road to goodness, to God." This love of Dante for Beatrice realizes in itself the ideal of Platonic, spiritual love in its highest development. Those who did not understand this feeling, who asked why the poet did not marry Beatrice. Dante did not seek the possession of his beloved; her presence, bow - that's all he wants, which fills him with bliss. Only once, in the poem "Guido, I would like to ...", fantasy captivates him, he dreams of fabulous happiness, of leaving with his sweetheart far from cold people, staying with her in the middle of the sea in a boat, with only a few , dearest, friends. But this beautiful poem, where the mystical veil rises and the sweetheart becomes close, desired, Dante excluded from the collection "Vita Nuova": it would be a dissonance in his general tone.
One might think that Dante, worshiping Beatrice, led an inactive, dreamy life. Not at all - pure, high love only gives new, amazing strength. Thanks to Beatrice, Dante tells us, he ceased to be an ordinary person. He began to write early, and she became the impetus for his writing. "I had no other teacher in poetry," he says in "Vita Nuova", "except myself and the most powerful teacher - love." All the lyrics of "Vita Nuova" are imbued with a tone of deep sincerity and truth, but its true muse is sorrow. Indeed, Dante's brief love story has rare glimpses of clear, contemplative joy; the death of Beatrice's father, her sadness, the premonition of her death and death are all tragic motifs.
The Vision of the Death of Beatrice by Dante Gabriel Rossetti
The premonition of Beatrice's death runs through the entire collection. Already in the first sonnet, in the first vision, Cupid's short joy turns into bitter lamentation, Beatrice is carried to heaven. Then, when her friend is kidnapped by death, the blessed spirits express a desire to see Beatrice in their midst as soon as possible. Her father, Folco Portinari, is dying. In the soul of the poet, the thought is immediately born that she, too, will die. A little time passes - and his premonition comes true: shortly after the death of his father, she follows him to the grave. Dante saw her already dead in a dream, when the women covered her with a veil. Beatrice dies because "this boring life is unworthy of such a beautiful being," says the poet, and, returning to her glory in heaven, she becomes "a spiritual, great beauty," or, as Dante puts it elsewhere, "an intellectual light full of love." ".
When Beatrice died, the poet was 25 years old. Death, dear, was a heavy blow to him. His grief borders on despair: he himself wishes to die and only in death awaits consolation for himself. Life, homeland - everything suddenly turned into a desert for him. Dante is crying about the dead Beatrice like a paradise lost. But his nature was too healthy and strong for him to die of grief.
Painting by Jean-Leon Gerome
From his great grief, the poet seeks solace in science: he studies philosophy, attends philosophical schools, zealously reads Cicero and, most of all, the last representative of the culture of the ancient world, Boethius, who, by his translation and interpretation of Greek philosophical works, especially Aristotle's "Logic", made available to future generations a part of Hellenic thinking and left them with the work "De Consolatione Philosophiae" ["Consolation of Philosophy" (lat.)], so highly valued by the Middle Ages. Boethius wrote this book in prison, shortly before his execution, and tells in it how, at a time when he was languishing under the weight of his position and was about to fall into despair, he was visited by a bright vision: he saw Philosophy, which appeared to console him, remind him about the vanity of all earthly things and to direct the soul to a higher and lasting good. The direct connection of the work with the fate of the author, the fate in which many saw a reflection of their own position, as well as the clarity of its main ideas accessible to everyone and the noble warmth of presentation, brought a special influence to the book of Boethius in the Middle Ages; many have read it and found comfort in it.
"The Anniversary of the Death of Beatrice" by Dante Gabriel Rossetti
Dante’s indefatigable zeal for philosophy, which even temporarily weakened his eyesight, soon revealed to him, in his words, the “sweetness” of this science to such an extent that love for philosophy even eclipsed for a while the ideal that until then had only dominated his soul. And yet another influence struggled in him with the memory of the deceased. In the second half of Vita Nuova, Dante tells how one day, when he was immersed in his sadness, a beautiful woman appeared at the window, looking at him with eyes full of compassion. At first he felt grateful to her, but, seeing her again and again, gradually began to find such pleasure in this spectacle that he was in danger of forgetting the dead Beatrice. However, this new feeling did not give Dante consolation; a strong struggle flared up in his soul. He began to feel low and contemptible to himself, scolding and cursing himself for being able to distract himself, even temporarily, from the thought of Beatrice. The inner struggle of the poet did not last long and ended in the victory of Beatrice, who appeared to him in a vision that greatly excited him. Since then, he again thinks only of her and sings only of her. Later, in his other work, "Convito" ("Feast"), which concludes the most enthusiastic praise of philosophy, Dante gave an allegorical character to the verses dedicated to his second love, which he calls here "Madonna la Filosofia". But there can hardly be any doubt about its real existence, and this little deception of the poet is very excusable.
The feeling that at first seemed to him, under the influence of exaltation, so criminal, in fact, was an extremely innocent and quickly flashed meteor of platonic love, which he later realized himself.
Salute to Beatrice by Dante Gabriel Rossetti
But Dante's other love, for a certain Pietra, about whom he wrote four canzones, has a different character. Who was this Pietra - is unknown, like much in the life of the poet; but the four canzones mentioned were written by him before his exile. They sound the language of still youthful passion, youthful love, this time already sensual. This love was easily combined in those days with mystical exaltation, with the religious cult of the feminine ideal; pure, chaste worship of a woman did not then exclude the so-called "folle amore" [crazy love (It.)]. It is quite possible that, with his passionate temperament, Dante paid tribute to him, and that he, too, had a period of storms and delusions.
A few years after the death of Beatrice - when, in fact, it is not known, but apparently in 1295 - Dante married a certain Gemma di Maneto Donati. Former biographers report that the poet had seven children from her, but according to the latest research, there are only three of them: two sons, Pietro and Jacopo, and a daughter, Antonia.
Dante in Exile, painting by Sir Frederick Leighton
Very little information has been preserved about the poet's wife, Gemma. Apparently she outlived her husband; at least as far back as 1333, her signature appears on one document. According to information reported by Boccaccio, Dante did not see his wife again after his exile from Florence, where she remained with her children. Many years later, at the end of his life, the poet called his sons to him and took care of them. In his writings, Dante nowhere says anything about Gemma. But this was a common occurrence in those days: none of the then poets touched on their family relationships. The wife was destined in that era to play a prosaic role; she remained completely outside the poetic horizon; next to the feeling that was given to her, another could perfectly exist, which was considered higher. Boccaccio and some other biographers claim that Dante's marriage was unhappy. But nothing definite about this is known; it is only true that this marriage was concluded without any romantic lining: it was something like a business arrangement to fulfill a public duty - one of those marriages, of which there are many now /
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Dante and Beatrice. Love story.
If the life of Dante himself is already so little known, then, of course, the history of his ancestors is also lost in a big fog. It is only true that the poet came, if not from a noble and wealthy Florentine family, then nevertheless from a sufficient family, whose past he looked with some pride. The poet erected a monument to one of his ancestors, Kachchagvide, in the Divine Comedy.
It must be assumed that Dante loved drawing and music. His plastic instinct is clear, according to Boccaccio, from the clarity of his images.
Dante found friends of youth in the artistic, musical and literary environment. So, for example, Casella, then a famous singer, was apparently very friendly with Dante, since even in Purgatory, Casella, having met the poet, assures him of his love, and Dante recalls his singing, which “quenched there are all sorts of sorrows in it.” Dante was also friends with the painter Cimabue, with the then famous miniaturist Oderisi, and with Giotto, this reformer of Italian art in the sense of painting. There is a beautiful portrait of the young Dante, copied from him by Giotto, probably in the period of time 1290-1295, and only recently, in 1840,! exposed on the wall of the chapel del Podesta in Florence. Close friends of Dante were the poets Lapo Giani, Chino da Pistoia, and especially Guido Cavalcanti. With Chino da Pistoia, who was five years younger than Dante, a famous lawyer and one of the best lyricists of that time, later a teacher of Petrarch, Dante, apparently, came together later, during his exile.
The most outstanding, pre-eminent event of Dante's youth was his love for Beatrice. He first saw her when both of them were still children: he was 9, she was 8 years old. The “young angel”, as the poet puts it, appeared before his eyes in a dress, nrila-cheegvukschgm for her childhood: Beatrice was dressed in a “noble” red color, she wore a noyas, and she, according to Dante, immediately became “his mistress spirit." “She seemed to me,” says Loet, “more like the daughter of God than a mere mortal,” “From the very minute I saw her, love took possession of my heart to such an extent that I had no strength to resist her and, trembling with excitement , heard a secret voice: Here is a deity that is stronger than you and will own you.
Ten years later, Beatrice appears to him again, this time dressed in white. She walks down the street, accompanied by two other women, raises her eyes to him and, thanks to her “indescribable grace”, bows to him so modestly and charmingly that it seems to him that he has seen the “highest degree of bliss”. Intoxicated with delight, the poet runs away from the noise of people, retires to his room to dream of his beloved, falls asleep and has a dream. When he wakes up, he writes it down in verse. This is an allegory in the form of a vision: love, with Dante's heart in her hands, at the same time carries in her arms "a lady asleep and wrapped in a veil." Cupid wakes her up, gives her Dante's heart and then runs away crying. This sonnet of the 18-year-old Dante, in which he addresses the poets, asking them for an explanation of his dream, drew the attention of many to him, by the way, Guido Cavalcanti, who congratulated the new poet from the bottom of his heart. Thus their friendship, which has never weakened since then, was supposed to be shaken. In his first poetic works, in sonnets and canzones, surrounding the image of Beatrice with bright radiance and a poetic halo, Dante already surpasses all his contemporaries with the power of poetic talent, the ability to speak the language, as well as sincerity, seriousness and depth of feeling. Although he, too, still adheres to the same conventionality of form, the content is new: it is experienced, it comes from the heart. Dante soon abandoned the form and manner that had been handed down to him and took a new path. He contrasted the traditional feeling of worshiping the Madonna of the troubadours with real, but spiritual, holy, pure love. He himself considers the truth and sincerity of his feelings to be the "powerful lever" of his poetry.
The poet's love story is very simple. All events are the smallest. Beatrice passes him down the street and bows to him; he meets her unexpectedly at a wedding celebration and comes into such indescribable excitement and embarrassment that those present, and even Beatrice herself, make fun of him, and his friend must take him away from there. One of Beatrice's friends dies, and Dante composes two sonnets on this occasion; he hears from other women how much Beatrice grieves for the death of her father ... These are the events; but for such a high cult, for such love, which the sensitive heart of a poet of genius was capable of, this is a whole inner story, touching in its purity, sincerity and deep religiosity.,
This so pure love is timid, the poet hides it from prying eyes, and his feeling remains a mystery for a long time. In order to prevent other people's eyes from penetrating into the sanctuary of the soul, he pretends to be in love with another, writes poetry to her. Gossip begins, and, apparently, Beatrice is jealous and does not return his bow.
Some biographers not so long ago doubted the real existence of Beatrice and tried to consider her just an allegory, without real content. But now it is documented that Beatrice, whom Dante loved, glorified, mourned and exalted as the ideal of the highest moral and physical perfection, is undoubtedly a historical figure, the daughter of Folco Portinari, who lived in the neighborhood of the Alighieri family and was born in April 1267, In January 1287, she married Sismon di Bardi, and on June 9, 1290, she died at the age of 23, shortly after her father.
Dante himself tells about his love in Vita nuova (New Life), a collection of prose mixed with poems, which was dedicated by the poet Guido Cavalcanti.
Under the clothes of a scientist, Dante beats a pure, young, sensitive heart, open to all impressions, easily inclined to adoration and despair; he is gifted with a fiery imagination that takes him high above the earth, into the realm of dreams. His love for Beatrice is distinguished by all the signs of the first youthful love. This is a spiritual, holy worship of a woman, and not a passionate love for her. Beatrice is for Dante a whiter angel than a woman; she, as if on wings, flies through this world, barely touching it, until she returns to the best one from where she came, and therefore love for her is “the road to goodness, to God.” This love of Dante for Beatrice realizes in itself the ideal of Platonic, spiritual love in its highest development. Those who asked why the poet did not marry Beatrice did not understand this feeling. Dante did not seek the possession of his beloved; her presence, bowing to i - that's all he wants, which fills him with bliss. Only once, in the verse-creation "Guido, I would like ...", fantasy captivates him, he dreams of fabulous happiness, of leaving with his sweetheart far from cold people, staying with her in the middle of the sea in a boat, only with a few, dearest friends. But this beautiful poem, where the mystical veil rises and the sweetheart becomes close, desired, Dante excluded from the collection Vita nuova: it would be a dissonance in his general tone.
One might think that Dante, worshiping Beatrice, led an inactive, dreamy life. Not at all - pure, high love only gives a new, amazing strength. Thanks to Beatrice, Dante tells us, he stepped out of the ranks of ordinary people. He began to write early, and she was the impetus for his writing. “I had no other teacher in poetry,” he says in Vita nuova, “except myself and the most powerful teacher - love.” All the lyrics of "Vita nuova" are imbued with a tone of deep sincerity and truth, but its true muse is grief. Indeed, Dante's brief love story has rare glimpses of clear, contemplative joy; the death of Beatrice's father, her sadness, the premonition of her death and her death - all these are tragic motives. The premonition of Beatrice's death runs through the entire collection. Already in the first sonnet, in the first vision, Cupid's short joy turns into bitter lamentation, Beatrice is carried to heaven. Then, when Death abducts Beatrice's friend, the blessed spirits express the desire to have her sooner in their midst.
When Beatrice died, the poet was 25 years old. Death, dear, was a heavy blow to him. His grief borders on despair - he himself wishes to die, and only in death does he seek consolation. Life, homeland - everything suddenly turned into a desert for him. Dante is crying about the dead Beatrice like a paradise lost. But his nature was too healthy and strong for him to die of grief. From his great sorrow, the poet seeks solace in the pursuit of science.
As a rule, the ideas of great poetic works do not appear suddenly and are not immediately realized; the thought of them lurks before that for a long time in the soul of the poet, develops little by little, takes root deeper and deeper, expands and transforms, until, finally, the mature product of a long, invisible inner work comes into the light of God. So it was with the Divine Comedy. The first thought about his great poem was born, apparently, in the mind of Dante very early. Already the "New Life" serves as a prelude to the "Divine Comedy".
The name "Comedy" was given to his poem by Dante himself, and the epithet "Divine" was added by admiring posterity later, in the 16th century, not because of the content of the poem, but as a designation of the highest degree of perfection of Dante's great work. 1 The Divine Comedy does not belong to any particular kind of poetry: it is a completely peculiar, unique mixture of all the elements of various kinds of poetry.
The continuation of the story of Dante's love for Beatrice in the Divine Comedy, and there this love takes on a new level - love-immortality.
Dante and Virgil
Meeting with Beatrice after death
Dante and Beatrice in Paradise
In continuation, I want to bring to your attention a few sonnets written in honor of this beautiful love.
In her eyes she keeps Love;
Blessed is everything she looks at;
She goes - everyone hurries to her;
Will he greet - his heart will tremble.
So, all confused, he bows down his face
And he sighs about his sinfulness.
Haughtiness and anger melt before her.
O donnas, who will not praise her?
All the sweetness and all the humility of thoughts
Knows the one who hears her word.
Blessed is he who is destined to meet her.
The way she smiles
Speech does not speak and the mind does not remember:
So this miracle is blissful and new.
So noble, so modest
Madonna, answering the bow,
That near her the language is silent, embarrassed,
And the eye does not dare to rise to it.
She goes, does not heed the enthusiasm,
And become her humility clothed,
And it seems: brought down from the sky
This ghost to us, but a miracle here is.
She brings such delight to her eyes,
That when you meet her, you find joy,
Which the ignorant will not understand,
And as if from her mouth comes
Love spirit pouring sweetness into the heart,
Firmly to the soul: "Breathe ..." - and sigh
Whose spirit is captivated, whose heart is full of light,
To all those before whom my sonnet appears,
Who will reveal to me the meaning of his deaf,
In the name of the Lady of Love, - hello to them!
Already a third of the hours when it is given to the planets
Shine stronger, making your way,
When love appeared before me
Such that it is terrible for me to remember this:
In fun was Love; and in the palm of your hand
My heart was holding; but in the hands
She carried the Madonna, sleeping humbly;
And, having awakened, gave the Madonna a taste
From the heart, - and she ate in confusion.
Then Love disappeared, all in tears.
You laughed at me among your friends,
But did you know, Madonna, why
You can't recognize my face
When I stand before your beauty?
Oh, if you knew - with the usual kindness
You could not contain your feelings:
After all, Love, captivating me all,
Tyrannizing with such cruelty,
That, reigning among my timid feelings,
Executing others, sending others into exile,
She alone has her eyes on you.
That's why my unusual appearance!
But even then their exiles
So clearly I hear grief.
I heard how I woke up in my heart
The loving spirit that slumbered there;
Then in the distance I saw love
So happy that I doubted her.
She said: "Time to bow
You are in front of me ... ”- and laughter sounded in the speech.
But only the mistress I heeded,
Her dear gaze fixed on mine.
And monna Vannu with monna Bice I
I saw those going to these lands -
Behind a marvelous miracle, a miracle without an example;
And, as is stored in my memory,
Love said: "This is Primavera,
And that one is Love, we are so similar to it.
Lesson layout.
The topic of the lesson is written on the board and portraits of Dante, Michelangelo, Petrarch, Ronsard, Shakespeare are placed, the words “sonnet” and “sonata”, composition and rhyming schemes of the classical sonnet and Shakespeare’s sonnet are written.
A handout has been prepared for each student: Shakespeare's unfinished sonnet No. 65 and Petrarch's 13th sonnet.
During the classes
Sounds like a fragment from the "Pathetic" sonata
Beethoven
- Why do you think the lesson on the sonnet - one of the poetic forms - we started with the Beethoven sonata? Is there anything in common between a sonata and a sonnet?
- Yes, you are absolutely right, the words “sonnet” and “sonata” are of the same root and originated from the Latin word “SONARE”, which means “to sound”, “to ring” In poetry, this peculiar poetic form of 14 lines originated in Sicily in 13th century. As a canonical form, the sonnet reached its perfection in the Renaissance in the works of Dante and especially Petrarch. Michelangelo also wrote wonderful sonnets. From Italy, the sonnet came to France, where it established itself as a classical form of verse in the poetry of Ronsard in the 12th century. Almost at the same time, Shakespeare was writing sonnets in England.
Now we will hear several sonnets of the poets we have named. Let's start with the sonnet of Dante Alighieri, who is called the last poet of the Middle Ages and the first poet of the Renaissance. He dedicated most of his sonnets to Beatrice Portinari, for whom Dante began to love when he was a nine-year-old boy and lasted all his life. It was love from afar. Deeply concealed, she ate only rare chance meetings, a fleeting glance of her beloved, her cursory bow. And after the death of Beatrice (she died very young in 1290), love becomes a tragedy. AAAAAAAAAAAAAAAAAAAAAAAAAAA
(Student reads Dante's 15th sonnet)
No less beautiful image of the beloved Laura is created in his sonnets by Francesco Petrarch. Twenty-three-year-old Petrarch met twenty-year-old Laura in the spring of 1327. She was married to another man. Twenty-one years after this meeting, the poet sang Laura in his sonnets and canzones. He divided the poems in which the poet sang of his passion for Laura into 2 cycles: the first cycle “On the Life of the Madonna Laura”, the second “On the Death of the Madonna Laura”. In the image of this woman, for Petrarch, all beauty, all perfection, all the wisdom of the world merged. She is both the woman whom the poet selflessly loves, and the symbol of glory that he dreams of, and the highest expression of poetry, which he serves. In the poems of Petrarch, a Renaissance understanding of love is born - a powerful force capable of revealing all the riches of the individual, filling all life, bringing joy and torment. Such is it - the love of a new era. Sensual and spiritual, formidable and merciful, giving light and bringing suffering, different for everyone, each time unique, individual, but always triumphant.
(The student reads the 13th sonnet of Petrarch, then the students are given his text)
Blessed is the year, and the day, and the hour,
And that time, and time, and moment,
And that beautiful land, and that village,
Where was I taken in full of two sweet eyes;
Blessed is the secret excitement,
When the voice of love overtook me,
And the arrow that pierced my heart
And this wound burning languor.
Tirelessly calling the name of Donna,
And sighs, and sorrows, and desires;
Blessed are all my writings
To her glory, and the thought that adamantly
He tells me about her - about her alone!
- Let's try, based on the text of Petrarch's sonnet, to determine the features of the composition and rhyming of the classic Italian sonnet.
So, the sonnet consists of 14 lines, divided into 2 quatrains (quatrain) and 2 tercet (tercet). The verse is most often eleven-syllable (less often ten-syllable). Quatrains are built on two quadruples of rhyme, usually located like this: abba / abba. Tercetes are most often built on three pairs of rhymes with the following scheme: vvg / dgd
Moreover, if a is a feminine rhyme, then b is masculine, c is masculine, d is feminine, e is masculine. If a is male, then vice versa.
Thus, an impeccable and thoughtful structure of the sonnet is created. In quatrains, with inclusive rhyming, the same rhymes either approach or diverge, giving a harmonious play of “expectations”. In tercetes, the structure changes, which creates diversity. The unity of rhyme in quatrains emphasizes the unity of the theme, which should be set in the first quatrain, developed in the second, so that in the first tercet a “contradiction” is given, and in the second “resolution”, a synthesis of a thought or image, crowned with a final formula, the last line, the "lock" of the sonnet.
Shakespeare modified the classic sonnet somewhat. Keeping in general the internal sonnet composition, he wrote sonnets from three quatrains and completed them with one couplet containing the main idea. Their rhyming scheme is also different. Having written 154 sonnets, Shakespeare seemed to be in competition with the great masters of lyrics. He strove not so much to catch up with them, but to distinguish himself from them by the novelty and originality of situations and images. Written over a period of years, apparently between the ages of twenty-eight and thirty-four, the Sonnets are heterogeneous. Many of them, especially the initial ones dedicated to a friend, bear the stamp of obvious idealization, while the later ones amaze with the same force of psychological truth that is characteristic of Shakespeare's best dramas. But with all the internal differences between the individual groups of sonnets, they are united by the commonality of the poetic principle. Having gained complete control over the form of these little lyrical poems, Shakespeare boldly introduces into them images and comparisons drawn from all spheres of life, including prose everyday life. Shakespeare intensified the drama of sonnet poetry and, more than his predecessors, brought the lyrics closer to the real feelings of people.
(Prepared students read several of Shakespeare's sonnets: 90, 91, 130.)
- Well, now that we have got acquainted with the basic principles of constructing a sonnet, we will test our creative possibilities - we will add an unfinished sonnet by Shakespeare, we will create a “castle” of the sonnet, the final two lines that should contain the main idea of the poem.
(The children are given sheets with Shakespeare's unfinished sonnet (No. 65) and they work on its completion)
If copper, granite, land and sea
They won't stand when their time comes
How can it survive, arguing with death,
Is your beauty a helpless flower?
When the siege is hard times
Unshakable crushes the rocks
And destroys the bronze statues and columns?
Oh bitter thought! Where, what
Find a refuge for beauty?
How, stopping the pendulum with your hand,
Color time from time to save?
Conclusion
In the work, we considered the topic "Studying lyrics at school on the examples of Shakespeare's sonnets".
The analysis of a lyrical text at school is a complex problem, since the study of lyrics, a kind of highly conventional, subtle literature, unfortunately, is often only superficial.
In the worst case, a lyrical poem is retelling at a literature lesson, at best, they analyze the composition and figurative and expressive means of the language of the lyrical text, often without thinking about their functional purpose. But the student will only reach the depths of the perception of lyrics when he understands its generic specificity.
6. Dante's poetic debuts
“Over the years, a love fire flared up so that nothing else gave him pleasure, satisfaction, or consolation: only the contemplation of her. As a result, forgetting about all matters, all in agitation, he went to where he hoped to meet her. from her face and from her eyes every good and spiritual joy should have descended on him. Oh, the unreasonable consideration of lovers! Who, except them, will think that if you throw brushwood into the fire, the flame will become weaker?"
This, of course, is again from the Boccaccean biography of Dante, and again the story of the novelist does not in the least contradict the confessions of the New Life, although they are shrouded in allegory and mystical fog. It is time, therefore, to address the question of who Beatrice was. Was Boccaccio right in calling her the daughter of Folco Portinari, or did he take a romantic liberties that distorted the facts? Not so long ago there were heated discussions about this. Now everything has been clarified, everything has been verified, nothing causes any doubts or disputes. We just need to collect the facts.
Around 1360, about 35 years after Dante's death, his son, Pietro Alighieri, a judge of Verona, compiled a Latin commentary on his father's poem. In the notes to the second song of "Hell" he wrote: "Since Beatrice is first mentioned here, which is spoken of so extensively much lower, in the third song of "Paradise", it should be forewarned that a lady named Beatrice, very distinguished by her lifestyle and beauty, really lived at the time of the writer in the city of Florence and came from a family of certain citizens of Portinari.While she was alive, Dante was her admirer, in love with her, and wrote many poems to praise her, and when she died, to glorify her name, he wished to bring her out in this poem of his under allegory and in the personification of theology. The authenticity of Pietro Alighieri's commentary now raises no doubts. It should be noted that his information and Boccaccio's somewhat later information do not depend on each other: two different sources converge in establishing the identity of Beatrice. Searches in the archives of Florence helped to find out everything about herself and her family.
The will of Folco Portinari, father of Beatrice, drawn up on January 15, 1288, was found, in which he lists all his children. He had five sons: Manetto, Rikovero, Pigello, Gerardo, Jacopo, of which the last three are minors; four unmarried daughters: Vana, Fia, Margherita, Kastoria - and two married: Madonna Bice, for Bard, and Madonna Ravignana, already dead, who was for Falconieri. Folco died, according to the inscription on his tomb, on December 31, 1289. These dry data are supplemented by others who, under these naked names, discover living people.
Portinari were originally nobles and Ghibellines. They engaged in trade in Florence, became rich and became Popolans and Guelphs. This has happened to many. Folco was such a prominent citizen that he was among the fourteen members of the mixed college created by Cardinal Latino, and in the priors of the first year. He was one of those Guelphs who, descended from feudal lords and mindful of the former Ghibelline traditions of the family, were tolerant of the Ghibellines and later became "white". No wonder Folco was a close friend and companion of Vieri dei Cerchi. But in order to maintain the tendencies of civil peace, Folco, like others, tried to create friendly relations with members of other groups through marriages. The marriage of both his daughters pursued these goals. Bice was married off to Simone dei Bardi, a member of a wealthy banking family, although descended from the feudal nobility, but implacable in her Guelphism: in the future, the Bardi joined the "blacks". Ravignana married Bandino Falconieri, a pureblood popolan, one of the future leaders of the "whites". Folko was a very humane person. He spent a significant part of his fortune on charitable causes. By the way, he founded the monastery-hospital of Santa Maria Nova, later - the arena of the best artistic achievements of Andrea del Castagno.
Little is known about his daughter, apart from what Dante said about her. In 1288 she was married. From what year - we do not know. Perhaps the marriage, like many political marriages, was concluded when the bride and groom were in childhood. Her husband, Messer Simone da Geri dei Bardi, went through a rather ordinary career. Beatrice died on June 19, 1290, as Dante testifies. Since she was only a few months younger than Dante, by this time she was about twenty-five years old.
In 1283 - the year of the "white squad", when Beatrice, also all in white, bowed to Dante "in her indescribable mercy", he wrote his first sonnet and became a poet. In 1290, when she died, Dante, already the leader of the whole direction, composed a series of poems mourning the deceased. Then he collected together poems dedicated to Beatrice, which he considered worthy of her memory, and provided them with explanations. Thus was born a book of poetry and prose, called Dante Vita Nuova - "New Life". These eight or nine years - the period of Dante's youth - the time of his love, the time of his debuts as a citizen, the years of his poetic ups and downs.
The "New Life" contains 24 sonnets, 5 canzones and 1 ballad. Each poem is accompanied by explanations, and they are all connected by a thread of memories. This is Dante's poetic love story, the first autobiography of a jubilant and suffering soul in modern literature.
The first verses of Novaya Zhizn are entirely saturated with philosophy. Dante joined the new school, borrowing its most typical features from two leaders: from Guido Gvinicelli - a sublime mystical plan, from Guido Cavalcanti - the sophistication of contemplation and the depth of feeling. But gradually he learned to put into his poetry something that his predecessors did not have: the truth of experience, the ability to artistically reveal real, uncontrived passion, mastery of the word, plasticity of images. He himself told the story of the "sweet new style" in one terza.
For Guido, the new Guido reached the highest honor in the word; maybe born And the one who from the nest will frighten them together. ("Purgatory", XI)
It is no coincidence that this tercina follows immediately after another in the poem, which says that in painting Cimabue was the leader at first, and then Giotto took the primacy from him. The parallel is complete and much broader than the parsimonious laconism of the Comedy revealed. Painting and poetry in Italy were born, starting from foreign samples: painting - from Byzantine, poetry - from Provencal. And before coming to Florence, both had an intermediate stage: painting - in Rome (Piero Cavallini), poetry - in Bologna (Guido Gvinicelli). And in Florence, before a decisive take-off, there was still a step: in painting - Cimabue, in poetry - Guido Cavalcanti. Then - the two-headed pinnacle of art: Giotto and Dante. They became friends, although the public qualifications of the art each represented was different. Painting was considered a craft, and the painter was a craftsman. He earned his livelihood with a palette and paint, painting churches and palaces, depicting biblical and New Church saints. The poet did not get anything by his poems. He received income as a merchant, as a banker, as a landowner, as a notary, as a judge. Painting was art for bread, poetry was art for itself and for the elect. Either rich merchants or rich corporations paid for the frescoes, and everyone admired the paintings. No one paid for poetry, and few understood them. Dante could consider only Giotto equal to himself, and even then because he himself was a great artist, capable of appreciating the genius of the founder of new painting.
Dante, when he felt the need to create, began to write in the spirit of both Guido. His first poems were clumsy, pretentious, dark, but with such a genuine spark that everyone was on their guard: some joyfully, some grumblingly anxious.
In his first sonnet, Dante told about the dream that he had after an affectionate bow to Beatrice.
Whose spirit is captivated, whose heart is full of light, To all those whose eyes will see my sonnet, Who will reveal to me the meaning of its deaf, In the name of Lady Love - hello to them. Already a third of the hours, when it is given to the planets to Shine more strongly, have made their lot, - When Love appeared before me Such that it is terrible for me to remember it. Love walked in joy, and in My palm she held a heart, and in her hands She carried the Madonna, who slept humbly. And, awakening, she gave the Madonna a taste From the heart - and she ate in dismay. Then Love disappeared, all in tears.
This sonnet is very typical of Dante's first poems included in the New Life: after all, there were quite a few that did not make it into it. They sing of unearthly love. It evokes not carnal attraction, but a thrill of mysterious joy. It is not a healthy instinct that speaks in it, but an abstruse invention. Its nature is best revealed in mysterious dreams and allegorical images.
The sonnet was sent to three poets asking them to answer it and interpret the vision. These were Dante da Maiano, Guido Cavalcanti and Terrino da Castelfiorentino. Contrary to previous opinion, Chino da Pistoia was not among those who received it - at that time he was thirteen years old. Terrino replied that he did not understand anything. Dante da Maiano burst into a rude sonnet in which he advised the young namesake to clear his stomach and drive away the winds that made him delirious. The elder Dante was a poet of the Gwitton school and mocked the young representative of a new trend in poetry; later he will calm down. Guido, trying to understand the allegory, joyfully greeted the young man as a brother not only in art, but also in talent. Dante was delighted with the sonnet of Guido, who was dearly revered by him, and became his devoted friend. “Among those who answered,” he says, “was the one whom I call the first of my friends. He then composed a sonnet that begins:“ You saw all the value ... ”And he became the beginning of friendship between him and me when he became It is known that I sent him the poems. This was the first result of Dante's "learning by himself the art of saying words in rhyme."
Age of Dante. Turn of XII-XIII centuries. (so-called ducento, trecento). End Srv, the beginning of the Renaissance. The figure of Dante marks this transition. stage. Some researchers attribute it to the Srv authors, some to the authors of the Renaissance. Dante sought to look beyond the other side of being, which is character. for SRV consciousness. But Dante gave impetus to many ideas that were developed during the Renaissance. Not everything in Dante's work is clear, as in his biography. Dante's poetry was based on certain traditions. He used the discoveries of poets of a new sweet style (dolce stil nuovo) in his creative work: at the end of the 13th century. this new literature emerges. direction. The poets of this direction, in turn, developed the discoveries and finds of courtesans. provencal lyrics: themes of earthly love, helping to comprehend heavenly love; some genre forms, although they also created their own genre form - the sonnet. The origin of the new sweet style is determined in different ways. Either Bologna or Sicily. For the new is sweet. style is characteristic: 1) love is a means of comprehending the environment. peace and gaining nobility (i.e., love ennobles a person); 2) interpretation of the image of an earthly woman as the embodiment of the Madonna, a reflection of the Mother of God; 3) the chanting of the highest pleasure that love gives, but not of sensual pleasure, but of love that fills a person. life with higher meaning. Love for the beautiful Lady makes the poet forget himself, the poet dissolves in love and through this, paradoxically, he comes to know himself. The most famous sweet style poets (in everyday life, most of them are lawyers, poetry is for relaxation) are Guido Gvinicelli, Guido Cavalcanti. Guido Guinicelli (1230 or 1240 - 1276). Little is known about him, but his poems have come down. Dante considered him his poetic. teacher. Guido Cavalcanti (1255-1300) - Dante's friend. Sang the perfect feeling. Favorite genres of sweet style poets: canzone, sonnet, ballad. Canzone - song, 5 stanzas, there may be a different number of lines. The main rule: each stanza is a stanza, it is something complete. In the stanzas of one canzone, there is an identical rhyme. The stanzas should be musical, they should develop the thought and change the mood. Sonnet (a new form, the invention of sweet style poets, from sonetto - a sounding song). The history of the sonnet is not entirely clear. It is generally accepted that the author of the 1st sonnet is Jacopo de Lentino (no earlier sonnets have been preserved, although they could well have existed). Jacopo de Lentino lived in Sicily, at that time it was a very developed region of Italy, one of the largest cities in Sicily - Palermo, where Jacopo de Lentino lived (senior representative. new sweetness. style), was famous. The authors of the sonnets worked very carefully on the form of the sonnet. Sonnet represented. 2 quatrains + 2 terts. In quatrains, the rhyme is abab abab, and in terts - cdc dcd or cde cde. There could have been other rhyming options, but there was one undoubted rule: 14 lines, 154 syllables. The sonnet is the main form of lyrics in ep. Revival, as if the world in miniature. The poetics of the authors of the sweet style is conditional and allegorical. character. Let's take Dante. poetic the language, philosophy and genres of the poets are sweet. style.
Dante Alighieri (1265-1321). The dates of life are known exactly, the rest of the facts of life are not always known. Belonged to the impoverished aristocratic. genus Durante (hence - Dante). Orphaned early, conflicted with his father. It is assumed that Dante studied at the university, but it is not known which one. He had extensive knowledge, one can say that he knew everything that Srv mankind knew. Most likely he was a lawyer, because. lived in Florence and was elected one of the priors. Enrolled in the guild of pharmacists, because. all the intellectuals of that time signed up there. He was married to Gemma Donatti and had 2 sons and a daughter. Italy was a country of cities, the most developed city was Florence (80 thousand people). It was a city of manufactories and banks, the most common coin in Europe was the florin. Hence, early happened socially. stratification of the population (skinny people and fat people). The nominal ruler of Florence and other cities in northern Italy was the Holy Roman Emperor. Even in the XII century. Emperor Frederick I of Hohenstaufen (Barbarossa) subjugated the pope and received nominal power over northern Italy (Frederick was frail and small, but had a strong will, was a talented diplomat, did not persecute the Gentiles, was an inquisitive person). Since the time of the Italian Campaigns of Barbarossa Society of Italy section. into 2 parties: the Guelphs, supporters of papal authority, and the Ghibellines, supporters of the emperor. In the time of Dante, the emperor. power weakened, but the struggle of the parties acquired even greater tension. The hostility of the parties negatively affected many destinies, including the fate of Dante. By the end of the XIII century. the Ghibellines were expelled from Florence without the right to return, and then a split occurred in the victorious party of the Guelphs. They were divided into Blacks and Whites. The Blacks were for a close alliance with the papal curia, while the Whites, to whom Dante belonged, were closer to the Ghibellines and defended the independence of Florence. After the Blacks were defeated by the Whites, Pope Boniface VIII and the French intervened in their struggle. Prince Charles of Valois, who entered the city in 1301. and committed reprisals against the supporters of the Whites. Dante was accused of bribery, sentenced to a large fine and exile, from which he never returned to his homeland. For Dante, it was a tragedy. He dreamed of returning to Florence. But when in 1316. the government of Florence announced that all exiles could return, subject to public repentance, Dante considered this humiliating. He found shelter in Ravenna, at the court of the ruler of Ravenna, Prince Guido da Polenta, the nephew of Francesca da Rimini, sung by him in the Divine Comedy. He died there in 1321. and buried. Several times Florence claimed its rights to the ashes of Dante, but Ravenna does not give it back, like it's their own fault.
New life. Dante's work begins with his book "New Life", this is his confession and the first autobiography of the poet in one bottle. "New Life" is written in prose and in verse. The book includes 25 sonnets (the sonnet spread throughout Europe thanks to Dante), 4 canzones and 1 ballad. The most important, the most valuable thing in the book is the poetic. texts. In prose, Dante tells the story of meetings with Beatrice, and also gives comments on sonnets and canzones, explains what he meant in each part of the sonnet. Dante began writing the New Life in 1292 or 1294. The book is spiritual in nature, the events that are described in it have a deep meaning. In the "New Life" we are talking about spiritual. renewal of man, the beginning of this renewal is Dante's love for Beatrice Portinari. Beatrice is a real person, but her image is rethought in a sacred sense. Beatrice = bestower of bliss. Perhaps the name served as the starting point for Dante's thought. In the New Life, Dante meets Beatrice three times (actually more), and each meeting is a spiritual insight. Its image is complemented by an abundance of symbols. Beatrice is the same age as Dante (she is a few months younger than him). For the first time, Dante meets her when she is 9 years old, when she meets her, she wears a red dress (9 is a multiple of three, red is the color of passion). The second time he meets her, when she is 18 years old, she is in a white dress (a symbol of purity, purity) and bows to Dante. For the 3rd time, Dante looked too intently at Beatrice, and she lowered her eyes, was unhappy. A screen lady also appears in the story, Dante covers up unearthly love with an earthly feeling. In a dream, Dante sees the death of Beatrice, and she really dies on June 8, 1290. This is the greatest. grief and spirituality. poet's test. But Dante acts boldly enough: he declares Beatrice a saint (as a poet, he canonizes her for himself). His whole life is the service of Beatrice. In connection with the "canonization" of Beatrice, commentators consider Beatrice an image-symbol of wisdom, nobility, beauty, justice and the church itself. Summary. So, Dante first met Beatrice when she was 9 years old and he was almost 10. She was wearing a scarlet dress. Dante says that he later learned how many wonderful qualities Beatrice possesses. After that, all events for 9 years were skipped. After 9 years, Dante meets Beatrice (the Most Noble) again, accompanied by 2 ladies, she is dressed in a white dress and politely bows to him. Dante retired to his house, began to think about Beatrice, dozed off and had a dream: a husband stood in a cloud of fiery light, looking scary, but cheerful (this is Love, Dante and the poets of his circle portrayed her like that). He was saying something to Dante, but he didn't understand much. In his hand, a naked creature, covered with a scarlet cloth, was sleeping - it was Beatrice. In his other hand, he held something flaming (Dante's heart, cf. the biography of Guillaume de Cabestan), woke Beatrice and let her eat this something. Then he wept and ascended with Beatrice to heaven. Dante thought a lot about this dream, and then decided in sonnet I to turn to other poets for clarification. But the meaning of the sonnet was not guessed by anyone. Dante yearns, languishes with love, and his friends ask about the subject of his passion, but he is silent. One day Dante was sitting in a church where Beatrice was. But between him and Beatrice sat a certain donna, who thought that the fiery glances that Dante threw at Beatrice were intended for her. Then Dante decided to make this noble donna a cover for his love for Beatrice (screen lady). But Dante does not reveal the name of this donna to us. When the lady was supposed to leave, Dante even felt some sadness, because. lost a reliable cover, and then he composed Sonnet II. after the lady's departure, Dante witnessed the funeral of one of Beatrice's friends. Saddened by her, he composed sonnets III and IV. A few days after the death of this girl, Dante had to go to where the screen lady was. On the way, he sees a strange vision: Love in the costume of a wanderer tells him that now he will show imaginary love to another lady. Returning to Florence, he is looking for that other one, which serves as a pretext for all kinds of slander, after which Beatrice refuses to bow to Dante. Further, Dante talks about how he always waits for Beatrice's bow, and that his bliss lies in her bow. Dante was upset that he was denied bliss, fell asleep in tears, had a dream: a young man in white robes (Love again) was sitting in Dante’s dwelling, looked at Dante, then spoke to him (he said that it was time to stop hiding behind fictitious love), and then cried. Dante asked why he was crying, but he answered very confusingly and refused to give an explanation. Dante discusses with him that Beatrice refused to bow to him, and the youth advises to compose a few verses about Dante's love for Beatrice. Upon awakening, Dante writes a ballad. After that, 4 thoughts begin to overcome him: 1) Love is good; 2) Love is not good, people suffer because of it; 3) the name of Love is sweet to hear, and therefore its action is sweet; 4) Beatrice is not like other donnas, she is not so easily "touched by the heart." When Dante tried to bring these thoughts to a common denominator, he did not succeed. In desperation, he wrote Sonnet VI. Soon, Dante's friend invited him to serve the donnas at the meal (the custom was this: the 1st meal after marriage with the newlywed is shared by her friends). Among them was Beatrice. When Dante saw his Lady, he was dumbfounded, and all the donnas, including Beatrice, laughed at him. A friend took Dante away, but he, crying, said that if Beatrice had known about his suffering, she would not have laughed. Dante composes Sonnet VII. Dante is tormented by the thought: if he is so ridiculous when he sees Beatrice, then why does he strive to see her. He understands that if he had not lost the power of speech from love, he would have expressed everything to Beatrice. Then he composes sonnet VIII to justify himself before Beatrice. Then he writes Sonnet IX. Many people are beginning to understand who Dante is in love with. Then some donnas ask him what is the meaning of his love, since he is so lost in the presence of Beatrice. Dante replies that he is seeking her bow, for in him is the highest bliss, he explains why. Then the donnas advise him to praise his mistress in sonnets, and not write about his torments. For a long time he did not dare to take on this lofty subject, and then he wrote canzone I. A certain friend, having heard this canzone, asks Dante to explain to him what Love is. Dante composed Sonnet X, in which he speaks of the power of Love. Then he composed another sonnet in praise of the Most Noble (Sonnet XI). Beatrice's father soon died. Beatrice was sad, wept, and hearing about this sadness from others, Dante also wept, he was noticed by the donnas who spoke about Beatrice, and noted that he was sad, as if he himself had seen Beatrice's grief. Then Dante writes 2 sonnets (XII and XIII), in the first he asks questions about the lady, and in the second he seems to receive an answer. A few days later, Dante fell ill, and seeing how weak the body was, he began to lament that Beatrice would die. Then he began to become delirious, and in his delirium it seemed to him that some donnas were telling him that he, too, would die. And then he dreamed that a friend came to him and informed him of the death of Beatrice. It was as if Dante began to cry, looked at the sky and saw angels, and then he saw Beatrice dead in delirium and began to call on Death. Then the donnas attending him woke him up, interrupted his delirium, and, fortunately, he did not have time to name Beatrice. Dante tells them about his vision, then writes Canzone II. Again, Dante has visions of Love, he composes another sonnet (XIV), and then he talks about love for a long time with various ancient authors. Then he tells how beautiful Beatrice is (all the people ran to see her) and writes 2 more sonnets (XV and XVI), praising the nobility and humility of Beatrice. But then he saw that he had not written about his feelings, and composed another stanza of the canzone. While Dante was composing this canzone, Beatrice died. Dante mentions the number 9: it occupied a lot of space in the narrative, and he reflects on why this number is friendly to Beatrice. She died from 8 to 9 June, but in Syria. June is the 9th month. The reason for the friendliness of the number 9 to Beatrice, he considers that, according to Plolomey, there are 9 heavens. But also because 3 is the root of 9, and Beatrice is a miracle, whose root is in the Trinity. Dante suffers, then composes Canzone III. Then brother Beatrice comes to Dante (most likely, we are talking about Manetto Prtinari, a friend of Dante and Guido Cavalcanti). He spoke with Dante about Beatrice, and Dante decided to compose a sonnet (XVII) and give it to Manetto, and then he composes 2 stanzas of the canzone (IV), one for Manetto, the other for himself. When a year had passed since the death of Beatrice, Dante sat and drew an angel, remembering her, and decided to write a sonnet (XVIII) in memory of her. This sonnet has 2 beginnings, and depending on the beginning, Dante divides the sonnet into 3 and 2 parts. Then Dante sees in the window a certain beautiful donna, who looked pitifully at Dante. He wrote her Sonnet XIX. Then he realized that the color of her face reminded him of Beatrice, that she was composing Sonnet XX. Soon Dante begins to be too happy that he sees this donna, considers himself vile, because. does not cry for Beatrice, but should mourn her to death (sonnet XXI). But all the same, he thinks about this donna and is tormented: his heart says that she was revealed to console him, but his mind resists. Struggling with himself, he composes Sonnet XXII. Then, in a vision, Dante again saw Beatrice, as young as in their first meeting and in the same scarlet outfit. Then he expelled from his heart the thought of another donna and wrote Sonnet XXIII. Then Dante sees in the city pilgrims going to Rome to worship the miraculous image of Christ. Regrets that they do not know anything about Beatrice, regrets that he cannot tell them about her in order to make them cry, and writes Sonnet XXIV. Then some donnas ask him to send them this sonnet, he writes another one, XXV, and sends it along with the others. After that, he sees a certain vision and decides not to talk about Beatrice until he can talk about her more worthily.
The Divine Comedy. After the New Life, Dante writes The Feast, a moral-philosophical one. treatise, consisting of 14 allegorical canzone and unfinished prose. comments to them. In addition, he writes a treatise "On Folk Speech" (the creator of the literary Italian language wanted to defend Italian before Latin), a treatise "On the Monarchy" (an exposition of political views). But his main product is "Comedy". It is believed that Boccaccio called it the "Divine Comedy", and it was assigned to the work of Dante. But most likely, Boccaccio simply recorded what existed on its own, in the oral tradition. Divina commedia is a multi-valued title: a work about the relationship between man and God, and on the other hand, a work worthy of admiration. The genre terms of modernity and Svv do not always coincide, although they have something in common. According to Dante himself, comedy is “every poetic. a work with a terrifying beginning and well. end, written in folk. language” (tragedy is “any poetic work written in a high style, with a joyful beginning and a frightening end”). That. Dante regarded Homer's poems as comedies and the Aeneid as tragedy. The Divine Comedy is a brilliant work that combines the features and characteristics of various genres. A work in the genre of descent into another world, a story about a journey to the afterlife, popular in Serbia. world (not only in literature, but also in painting). At the same time, some believe that the Divine Comedy is also a utopia, the realization of ideas about eternal life. In addition, in the clerical lit-re was a common genre of visions. Dante has a vision as an insight, he foresees events and foresees the fate of human souls. That. The Divine Comedy is a work of a universal genre. Dante is at the turn of 2 epochs, and this affects all of his creativity: he sums up, as it were, the entire system of genres, but he also gives the first sketch of works characteristic of the new time, because vision, descent, comedy - from Srv, and lyro-epic. a poem that combines travel, pictures of the world with lyric. the beginning is from the new time. Dante is constantly amazed at what he sees, falls unconscious. Those. Dante is more emotional than the creators of the epic. production, the image of Dante is one of the most striking images of the poem. "The Divine Comedy" is a prototype of the genre of lyro-epic. poems. “The single plan of Hell is already the fruit of a great genius” (ASP). The Divine Comedy is very clearly thought out, built rationally - this is a reflection of the properties of the culture of the Renaissance: faith + rationality. The Divine Comedy has 3 parts: Hell, Purgatory, Paradise. The structure of the poem, respectively. 3 states human. souls. Each part consists of 33 cantik (songs), each part ends with the word stella (star). The Divine Comedy is written in terzines: aba bab. There are 10 or 11 syllables in a line (endecasyllab - 6-foot or 5-foot iambic in Russian). Dante gives a special meaning to the number 3 (3 parts, terts of 3 lines, in each part there are 33 songs, only in Hell 34, 9 circles of Hell - a symbolic reflection of the idea of trinity). There are 100 songs in total, which is no coincidence either. 100 - a symbol of integrity, completeness, a significant set. Thanks to Dante, tercina entered world poetry, although they are rare. The Divine Comedy has several meanings. 1 - literal, the image of the afterlife. life. 2 - allegorical. Being in an abstract form. 3 - moral. From evil to good, from error to truth. And morally. the meaning then becomes. chief in the worlds. literature 4 - mystical, purification of the soul. => the difficulty of perceiving the "Divine Comedy", it is hardly possible to comprehend it to the end. Content with comments. The Divine Comedy begins when Dante turns 35. It can be concluded that Dante begins to write the Divine Comedy at the turn of the century, but most likely this is not so, then the idea probably appeared, and he began to write it in exile, in 1302 or 1304 and worked on the product until end of life, albeit with long interruptions. The last 10 years have been especially intensive. That. Dante resorts to a little poetry. tricks: pushes the action into the past, which allows him to seem to predict events that have actually already happened. Dante finds himself in the Dark Forest, which symbolizes the chaos of being, man. delusion, the sinfulness of man, and also, to some extent, political. situational in Italy. Dante appears here in several guises: 1 - a specific person, 2 - a poet, 3 - a representative of humanity. 3 beasts come out to meet Dante: a lion (lust for power, pride, tyranny, imperial power), a she-wolf (greed, greed, selfishness, voluptuousness, deceit), a panther (or lynx; lies, betrayal). Here, for the first time, sins are indicated for which Dante will punish in his Hell. Dante's sins, their severity is not entirely consistent. church canons and 7 deadly sins. The measure of sin is determined by Dante, and according to this, he assigns punishment to his characters. Those. acts as a judge of mankind. Moreover, it punishes, often giving a literal meaning to the metaphor: a whirlwind of passions, a lump in the throat from anger, mired in gluttony, etc. At the very beginning of the poem, 2 poets meet: Dante and Virgil (Virgil saves Dante from the animals and must fulfill Beatrice's order: to lead Dante through Hell, thereby contributing to his moral purification). There is a deep meaning in this: the meeting of Srv and ant-ti. Virgil also appears in various guises: a poet, the embodiment of the earthly mind, the bearer of the world man. experience, messenger Beatrice. Dante is in Hell for 24 hours. Hell, 3rd song, entrance to Hell. The architecture of Hell corresponds to the ideas of that time: it is a funnel-shaped abyss, which, narrowing, reaches the center of the Earth, where Lucifer torments Judas in the center of the icy lake Cocytus. The slopes of the abyss are surrounded by concentric. ledges - circles of hell. The entrance to Hell is blocked by the gates, over which the inscription "Abandon hope, everyone who enters here." Behind the gates of Hell, but even before crossing into Hell itself, there are insignificant people who have not committed either good or evil deeds, which neither Hell nor Paradise accepts, as well as angels who remained neutral during the rebellion of Lucifer. The naked, worthless are stung by horseflies and wasps, and the blood and tears flowing from their faces are swallowed by worms under their feet. The line that souls cross to get to Hell is the Acheron River. In Dante's Hell, the rivers of the ancient underworld flow, and in fact it is one stream, formed from the tears of the Cretan Elder and penetrating into the bowels of the earth. First, it is the river of sorrow Acheron, which encircles the 1st circle of Hell and flows down, forming the Stygian swamps and the Styx, washing the walls of the city of Dita. Even lower, the stream becomes Phlegeton (a ring-shaped river of boiling blood), then, in the form of a bloody stream, it crosses the forest of suicides and the desert with fiery rain, from where it falls down to the bottom of the abyss in a waterfall to turn into an icy lake Cocytus (from Greek lamentation). Dante places Leta in the Earthly Paradise, from where her waters also flow into Hell, taking with them the memory of sins. Crowds of sinners go to Acheron, where Charon's boat is waiting for them (by the way, Charon does not want to transport the living, i.e. Dante, to which Virgil tells him a phrase that at many levels of Hell will serve as a pass for them: “They want what they want - where to fulfill they have power over what they want. And stop talking.). 4th song, 1st circle of Hell - Limbo. Here are the unbaptized (and pagans), those who lived before the birth of Christ. Here, before the atoning sacrifice of Jesus, there were the biblical righteous, whom Jesus took with him to Paradise. The unbaptized are tormented by painless grief. Dante brings to the story a lot of details that are not in the official. doctrine. There is a special area in Limbo where pundits, poets, philosophers, heroes live. Dante does not distinguish between real historical and mythological. characters, between the living and the dead (he places many of the living in Hell during his lifetime). A special area of Limba is illuminated by certain rays, there stands a high castle behind seven walls, around the walls there is a spring, behind the walls there is a garden. Before the castle, Dante is met by Homer, Horace, Ovid, Lucan. In the castle he sees Electra, Hector, Aeneas, Caesar, Socrates, Plato and others. 5th song, 2nd circle of Hell. It is guarded by Minos, who here is turned into a demon, but retains the functions of an underground judge: he assigns the circle of Hell to their souls, wrapping his tail around them as many times as they need to go down steps. In the 2nd circle, voluptuaries are tormented, they are whirled by a whirlwind of passions. There Dante sees Paris and Helen, Dido, Semiramis, Cleopatra, Tristan, as well as Francesca and Paolo. At Dante's request, the whirlwind releases Francesca and she tells her story. But in Dante it is expounded. very briefly, we learn it more fully from Boccaccio's comments on the Divine Comedy (a whole short story; Bocaccio commented on Dante, but made comments only on a few 1st songs). Francesca da Rimini, nee da Polenta, is a real character from Ravenna. The Malatesta clan (to which the city of Rimini belongs) and da Polenta were at enmity, and in order to reconcile, they decided to marry the children: Francesca and Gianciotto. Because Gianciotto was scary, Paolo was sent to woo, so as not to frighten the bride. Francesca fell in love with Paolo, but had to marry Gianciotto. Their love was platonic for a long time, until, while reading a novel about Lancelot, they crossed the cherished line. Gianciotto, having learned about this, killed Francesca and Paolo. Dante sympathized with the lovers, even fell unconscious. But he placed them all the same in Hell, because. sympathy is one thing, but sin must be punished. This is the nature of his worldview, but as a pre-Renaissance man. era of Dante, of course, cannot but sympathize with love, because love is the content of all the literature of the Renaissance. 3rd circle. Guarded by Cerberus, gluttons are kept there. Cerberus is terrible: purple eyes, a swollen belly, fat in a black beard, hands with claws, three-headed. In the 3rd circle of Hell, there is eternal freezing rain, hail, snow, pus is pouring, the earth stinks - a terrible swamp is formed. Cerberus skins the souls of gluttons, and the souls lie in the mud. In the 3rd circle, Dante is talking to the glutton Cacco from Florence, who is also mentioned by Boccaccio in the Decameron. Chacko tells Dante about the fate of the souls of many noble Florentines, both Guelphs and Ghibellines (they are even deeper). He asks people to be reminded of his existence. Dante asks Virgil what will happen to these souls after the Last Judgment, whether their suffering will end. Virgil replies that these souls will suffer even more, because. will unite with the body and in the body they will undergo the same torments. 4th circle. Guarded by Plutus. The misers and spendthrifts live here, they are always fighting. Some shout: "What to save?" These are the wasters. Dante depicts them as bald, because. there is an Italian the saying "Swept to the last hair." Others shout: "What to throw?" These are misers, for the most part they are clerics. From Dante's point of view, the combination of misers and spenders in the same circle is quite logical. Dante continues ant. tradition, according to which the measure is the way to harmony, and everything excessive is the destruction of harmony. 5th circle. Dante and Virgil cross the crimson-black stream, descend to the Stygian swamp, in which the angry and proud languish. The angry ones fight with each other, striving to gnaw each other to shreds, and the arrogant and those who harbored anger and anger in their souls got mud in their mouths, they choke, blow bubbles. Phlegius swims through the swamps in a boat and beats sinners on the heads so that they do not protrude. On the other side of the Stygian swamp is the fiery city of Dit, which separates the upper Hell from the lower. From the shore of the swamp, on which Dante and Virgil are located, they give a sign with two lights about the arrival of two souls. After a return signal from the towers of Ditus, Phlegius swims up to the poets, and they cross the swamp in his canoe. Along the way, Dante sees the Florentine soul arriving in the swamps. knight Filippo degli Adimari, better known as Argenti (shod a horse with silver). There is a version that there was a personal enmity between him and Dante. In order to get beyond the walls of the city of Dita, the poets have to overcome a number of obstacles: escape from 3 furies (Tisiphon, Megara and Alecto) and the Gorgon Medusa. So. that if not for Virgil, Dante would not have passed. They descend into the lower Hell. 6th circle. In this circle are heretics and heresiarchs, lying in open graves, where after the Last Judgment they will be closed forever. Dante considers Epicureanism the most terrible heresy. Here Dante has several dialogues with heretics. The main dialogue is with Farinata degli Uberti, a politician. Dante's antagonist. After the victory of the Guelphs, the Farinata family was expelled from Florence without the right to return, and he himself was posthumously condemned by the Inquisition as a heretic and an Epicurean (he was an atheist, professed views close to Epicureanism). However, Dante is fair in relation to. to the enemies. He draws Farinata proud and majestic. Although Farinata reminds Dante of how the Ghibellines defeated the Guelphs several times, Dante is grateful to him that when the Ghibellines captured Florence, it was proposed to wipe the city from the face of the earth, and Farinata was the only one who opposed this decision. Those. Dante, as it were, repays Farinata degli Uberti for this good deed. Here Dante meets Emperor Frederick II, the tombs of many popes and cardinals. Then Dante and Virgil slowly descend and move into the 7th circle. Here the infernal river becomes Phlegeton, a fiery river, the centaurs meet the poets at the river: Chiron, Ness and Phol - and Ness, at the behest of Chiron, transports poets through it. The 7th circle is divided into 3 tiers. In 1m Dante places
