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Dante poet and judge – Il Sole 24 ORE

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A little less than a hundred years ago, in the horrible year of the Wall Street crash, 1929, two slender volumes were released that would have revolutionized Dante’s studies all over the world well beyond the fixed point marked (in 1921) by Dante’s poetry by Benedetto Croce: one, in English, the Dante by the poet TS Eliot; the other, in German, Dante as a poet of the earthly world (Dante poet of the earthly world) of the novel philologist Erich Auerbach.

He adds the “judge” to the “poet”

It is inspired by the latter that the Roman novel philologist, Roberto Antonelli, now publishes his, also not voluminous, Dante’s book. Following an intuition coming fromAesthetics of Hegel, however, adds the “judge” to the “poet”, with immediate consequences on the structural and narrative perspective of the poem, starting from the setting of the character-poet binomial launched by Gianfranco Contini, which now includes not only the “dialogue with himself », but also the Reader.

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Antonelli’s book, with these premises, presents itself as the most original so far that I have seen in this year of centenary celebrations. There are, in it, an admirable one vis dispositive and an inexorable link: in the choice of the “surveys” that are carried out and the themes that are explored. A chapter dedicated to the question How did Dante write the Divine Comedy?, is followed by another on self-positioning in the canon, the famous “sixth between cotanto senno” by Inferno IV with which Dante is the only modern among the classical poets: Homer, Virgil, Horace, Ovid, Lucan.

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Antonelli, reading the Comedy through i the wonderful of common, fruitfully associates the last three with the salvation, l’love and the virtue preached in the Latin treatise of high poetry, while Homer and Virgil rise above every rule to form, together with Stazio and Dante, the “new quatern” of the sublime poetry of the end of Purgatory he was born in Paradiso.

Classifications

In Dante, however, these classifications are never an end in themselves, but actively functional to the poetic composition itself. The next sequence in Dante poet-judge it consists of two very famous episodes, that of Francesca and that of Farinata, in which the role of Virgil is otherwise decisive. They are two jewels of Antonelli’s interpretation, the first passionate and subtle, the second finely modulated on the emergence of the shadow of Guido Cavalcanti behind those of his father Cavalcante and his father-in-law Farinata. Perhaps the most memorable phrases in the volume occur right here: «Era necessary, not so much for the “quality” of the characters but for theeconomy and the strategy of Comedy, that Francesca and her lover, Paolo, died in the way that still offends them and were forever fixed in the destiny of a journey eternally repeated and cyclical: as opposed to the “fatal go”, of that “war yes of the journey and yes of pity” which instead characterizes Dante’s linear and ascensional destiny. Dante has really composed the poem according to an iron script, from the very beginning ».

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