The Divine Comedy by Dante Alighieri original. All about Italy

This term has other meanings, see Divine Comedy (meanings). Dante is depicted holding a copy of the Divine Comedy, next to the entrance to Hell, this ... Wikipedia

The Divine Comedy- First page of The Divine Comedy The Divine Comedy (Italian: Commedia, later Divina Commedia) is a poem written by Dante Alighieri between 1308 and 1321. Contents 1 History ... Wikipedia

The Divine Comedy- see Dante... Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron

The Divine Comedy (television play)

Divine Comedy (play)- The Divine Comedy ... Wikipedia

Divine Comedy (film)- Divine Comedy Genre teleplay Director S. Obraztsov Starring Film Company Gosteleradiofond Duration 91 min ... Wikipedia

Divine Comedy (disambiguation)- Divine Comedy: The Divine Comedy is a poem by Dante Alighieri. Divine Comedy (play) performance based on the play by Isidore Stock staged by the State Academic Central Puppet Theater named after. S. V. Obraztsova... ... Wikipedia

Purgatory (Divine Comedy)- This term has other meanings, see Purgatory (meanings). Plan of Mount Purgatory. As with Paradise, its structure is of the form 2+7=9+1=10, and each of the ten regions is different in nature from the other nine... Wikipedia

Dante and his "Divine Comedy" in popular culture- Dante Alighieri and, in particular, his masterpiece “The Divine Comedy” have been sources of inspiration for many artists, poets and philosophers for seven centuries. The most typical examples are given below... Wikipedia

Paradise (Divine Comedy)- Dante and Beatrice speak with the teachers of wisdom Thomas Aquinas, Albertus Magnus, Peter of Lombardy and Siger of Brabant on the Sphere of the Sun (fresco by Philip F ... Wikipedia

Hell (Divine Comedy)- Engravings by Gustave Doré illustrating the Divine Comedy (1861 1868); This is where Dante got lost in Canto 1 of the Inferno... Wikipedia

Books

• Divine Comedy, Dante Alighieri. Translation from Italian by M. Lozinsky. The appendix contains an article by I. N. Golenishchev-Kutuzov about Dante’s “Divine Comedy”. Poem by the great Italian poet Dante Alighieri (1265-1321)... Buy for 1500 RUR
• Divine Comedy, Alighieri Dante. 1998 edition. The condition is excellent. The poem of the great Italian poet Dante Alighieri (1265-1321) “The Divine Comedy” is an immortal monument of the 14th century, which is the greatest…

“The Divine Comedy” is the greatest monument of Italian literature, a real medieval encyclopedia of scientific, political, philosophical, moral, and theological knowledge.

The Divine Comedy (Italian Commedia, later Divina Commedia) is a poem written by Dante Alighieri between 1308 and 1321.

This is an allegorical description of the human soul with its vices, passions, joys and virtues. These are living human images and vivid psychological situations.

For seven centuries now, the immortal work of the great Dante has inspired poets, artists, and composers to create numerous works of art.

According to Catholic beliefs, the afterlife consists of hell, where eternally condemned sinners go, purgatory - the abode of sinners who atone for their sins - and heaven - the abode of the blessed.

Audiobook in Italian

Year of issue: 2006
Dante Alighieri
Executor: Librivox volunteers
Genre: Poem
Publisher: LibriVox
Language: Italian
Type: audiobook
Audio codec: MP3
Audio bitrate: 128 kbps
Size: 588 MV
Description: The Divine Comedy (Italian Commedia, later Divina Commedia) is a poem written by Dante Alighieri between 1307 and 1321.

According to myths and legends in Western countries of the early Middle Ages, the afterlife consists of hell, where eternally condemned sinners go, purgatory - the abode of sinners who atone for their sins - and heaven - the abode of the blessed.

Dante describes with extreme precision the structure of the underworld, recording with graphic certainty all the details of its architectonics. In the introductory song, Dante tells how, having reached the middle of his life, he once got lost in a dense forest and how the poet Virgil, having delivered him from three wild animals that blocked his path, invited Dante to travel through the afterlife. Having learned that Virgil was sent to Beatrice, Dante surrenders to the poet’s leadership without trepidation.

La Divina Commedia, originalmente Commedia, e un poema di Dante Alighieri, capolavoro del poeta fiorentino, considerata la piu importante testimonianza letteraria della civilta medievale e una delle piu grandi opere della letteratura universale.

E diviso in tre parti chiamate cantiche: Inferno, Purgatorio, Paradiso; il poeta immagina di compiervi un viaggio ultraterreno.

Il poema, pur continuando i modi caratteristici della letteratura e dello stile medievali (ispirazione religiosa, fine morale, linguaggio e stile basati sulla percezione visiva e immediata delle cose), tende a una rappresentazione ampia e drammatica della realta, ben lontana dalla spiritualita tipica del Medioevo, tesa a cristallizzare la visione del reale.

Inferno: Canti I-V - Alessia
Inferno: Canti VI-X - Andrea Bellini
Inferno: Canti XI-XV - Anna Maria
Inferno: Canti XVI-XX - Maria Borgoses
Inferno: Canti XXI-XXV - Daniele
Inferno: Canti XXVI-XXX - Francesco
Inferno: Canti XXXI-XXXIV - Alessia
Purgatorio: Canti I-V - Ray Beale
Purgatorio: Canti VI-XI - Martina
Purgatorio: Canti XII-XVI - Maria Borgoses
Purgatorio: Canti XVII-XXI - Martina
Purgatorio: Canti XXII-XXVII - Raphael
Purgatorio: Canti XXVIII-XXXII - Alessia
Paradiso: Canti I-V - Tudats
Paradiso: Canti VI-XI - Martina
Paradiso: Canti XII-XVI - Maria Borgoses
Paradiso: Canti XVII-XXI - Barbara Ruma
Paradiso: Canti XXII-XXVII - Raphael
Paradiso: Canti XXVIII-XXXIII - Alessia
Download
=================
Part 1 (286 MB)
Part 2 (286 MB)
Part 3 (16.2 MB)
=================
Dante Alighieri "The Divine Comedy"

Dante Alighieri
Translation: M.L.Lozinsky
Genre: epic poem
Publisher: Science (Moscow)
Series: Literary monuments
Language: Russian
Format: DjVu
Quality: Scanned pages
Number of pages: 654
Size: 8.2 MV
Description: The poem of the great Italian poet Dante Alighieri (1265-1321) “The Divine Comedy” is an immortal monument of the 14th century, which is the greatest contribution of the Italian people to the treasury of world literature. In it, the author solves theological, historical and scientific problems.
In this edition, Dante's poem is presented in the best of all existing Russian translations - the translation by Mikhail Lozinsky. In 1946, Lozinsky's translation was awarded the State Prize of the first degree. The appendix contains an article by I. N. Golenishchev-Kutuzov. The book contains illustrations by Sandro Botticelli.
Download

Domenico Mequelino "Dante with his book"

Monument to Dante in Florence

"The Divine Comedy"

"The Divine Comedy" is Dante's latest work, which is, at the same time, a masterpiece of poetic art, an encyclopedia on botany, astronomy, social history, a deep philosophical and mystical work.

The numerical harmony of the “Divine Comedy” is striking: it is built on a constant combination of three (divine triad) and ten (perfection).

The work has three parts - "Hell", "Purgatory", "Paradise" - thirty-three songs each, although "Hell" contains one more additional song, so their total number is 100. Beatrice appears in the work in the 30th song of "Purgatory" (3 and 10), that is, 64 songs from the beginning (6 and 4 in total 10). There are 63 songs before it, and 36 after it.

The poet's journey through three worlds is a symbolic path of humanity in its quest for truth.

Dante's guide in "Hell" and "Purgatory" becomes the poet Virgil - a symbol of ancient wisdom, then he is replaced by Beatrice, who in the poem symbolizes

Divine wisdom. Beatrice guides Dante through the celestial spheres of "Paradise", but when they reach the Empyrean - the tenth, immaterial sky, Beatrice takes his place in the Rose of Paradise, and Bernard of Clairvaux - the spiritual patron of the Templar Order - becomes Dante's last guide. Bernard supports Dante during his mystical ascent. There is no information about Dante's connection with the Templars. However, it can definitely be said that even if he was not a Templar, he was friendly with the order.

The work has three parts - "Hell", "Purgatory", "Paradise" - thirty-three songs each, although "Hell" contains one more additional song, so their total number is 100. Beatrice appears in the work in the 30th song of "Purgatory" (3 and 10), that is, 64 songs from the beginning (6 and 4 in total 10). There are 63 songs before it, and 36 after it.
"Comedy" has several layers: it is the poet's personal drama, and an allegorical description of the history of Florence, and a description of the world: in the first part, Dante talks about inorganic nature, in "Purgatory" - about living nature, and sets out his metaphysical views in "Paradise" .
The poet's journey through three worlds is a symbolic path of humanity in its quest for truth.
Dante describes with extreme precision the structure of the underworld, recording with graphic certainty all the details of its architectonics. In the introductory song, Dante tells how, having reached the middle of his life, he once got lost in a dense forest and how the poet Virgil, having delivered him from three wild animals that blocked his path, invited Dante to travel through the afterlife. Having learned that Virgil was sent to Beatrice, Dante surrenders to the poet’s leadership without trepidation.
Paradise
In the earthly paradise, Virgil is replaced by Beatrice, seated on a chariot drawn by a vulture (an allegory of the triumphant church); she encourages Dante to repentance, and then takes him, enlightened, to heaven. The final part of the poem is dedicated to Dante's wanderings through the heavenly paradise. The latter consists of seven spheres encircling the earth and corresponding to the seven planets (according to the then widespread Ptolemaic system): the spheres of the Moon, Mercury, Venus, etc., followed by the spheres of the fixed stars and the crystal sphere - behind the crystal sphere is the Empyrean - the infinite the region inhabited by the blessed contemplating God is the last sphere that gives life to all things. Flying through the spheres, led by Bernard, Dante sees the Emperor Justinian, introducing him to the history of the Roman Empire, teachers of the faith, martyrs for the faith, whose shining souls form a sparkling cross; ascending higher and higher, Dante sees Christ and the Virgin Mary, angels and, finally, the “heavenly Rose” - the abode of the blessed - is revealed before him. Here Dante partakes of the highest grace, achieving communion with the Creator.
"Comedy" is Dante's last and most mature work. The poet did not realize, of course, that through his lips in “Comedy” “ten silent centuries spoke”, that in his work he summarized the entire development of medieval literature.

In "Hell" the poet plunges into the depths of human vices. Moreover, the sins punished in the highest circles of “Hell” are more likely of a material nature, while those that are a crime against the spirit are punished most heavily. At the very bottom, in the icy lake Cocytus, Dante placed Lucifer, who violated the spiritual union with God and became the cause of all subsequent atrocities. “Light without the warmth of love is the fundamental flaw of Lucifer.”

In "Purgatory" Dante gains hope that all sins can be gotten rid of by starting a long path of ascension. Here they can be cleansed of the same sins that were punished in “Hell”, however, in the circles of Purgatory, sinners are in constant upward movement - they are conscious and moving towards the goal.

The structure of the world and the place of man in it

Dante's idea of ​​the structure of the world goes back to the Neoplatonic movements of medieval philosophy, in particular to the teachings of Dionysius the Areopagite.
For Dante, the beginning of everything is the Empyrean - the immaterial celestial sphere, the tenth heaven, Paradise. It is set in motion by nine angelic ranks. The impulse of movement is transmitted to the Prime Mover - the ninth, crystalline sky, from which it spreads to all creations that lie below. The further the spheres are from the Prime Mover, the more inert they are.
Man, as God's creation, is also endowed with divine power, but he lost his perfection after the Fall, and now his task is to return to God. God gave this chance to humanity by sending his Son to earth.

In Dante we find something new for that time the concept of a person - a free person, capable of choosing his own destiny. Dante distinguishes between two types of events: some are connected by cause-and-effect relationships and do not depend on a person, while others are caused by the free will of a person and depend only on him.
“Redemption, therefore, comes not through sacrificial means, not through repentance and prayer, not through fidelity to church dogmas. Quite the contrary, it is achieved through fearlessness, wisdom and dignity of an individual who has dedicated himself to serving humanity. The poet decided to go the entire path of sinful humanity in order to show people this the path of redemption of the sinful nature of man, which would correspond to the greatness and dignity of man, is the path to God. But it is precisely this that is the philosophical, ethical, aesthetic, poetic, civil, and not just theological justification of the principles of new humanism. God's spell is lifted by earthly means, to a mortal You can reach the heavenly throne, and there are no victories forbidden to the human spirit! And a version in Italian, for gourmets

DANTE ALIGHIERI

La Divina Commedia

La vita di Dante

La struttura della Divina Commedia

I personaggi della Divina Commedia

La Lingua di Dante

DANTE ALIGHIERI

Quali sono le tappe fondamentali della vita? La nascita

Nasce a Firenze nel maggio del 1265. Suo padre è Alighiero, uomo appartenente alla piccola nobilta è di modeste condizioni sociali; sua madre è Donna Bella, che rnuore presto, quando Dante è ancora bambino. II padre si risposa con Donna Lapa, che da a Dante due fratellastri.

L"incontro con Beatrice

A nove anni Dante conosce Beatrice, la rivede solo nove anni dopo e se ne innamora. Ma Beatrice sposa Simone de "Bardi che appartiene ad una ricca famiglia di banchieri. Nonostante questo, la morte di Beatrice a soli 25 anni, causa in Dante un profondo dolore.

II matrimonio

Nel 1285 sposa Gemma Donati, con cui era fidanzato per volontà paterna.

La partecipazione alla vita di Firenze

Dante è molto impegnato nella vita politica di Firenze, città guelfa; per essa combatte in diverse occasioni contro città ghibelline (i guelfi sono i sostenitori del Papa, mentre i Ghibellini i sostenitori degli interessi imperiali).

I guelfi a loro volta sono divisi tra bianchi e neri: i bianchi rappresentano la borghesia e il popolo grasso, i neri rappresentano i proprietari terrieri ed il popolo minuto.

I bianchi sono anche ostili ad ogni intervento del Pontefice negli affari di Firenze; i neri invece favoriscono i suoi interessi.

Dopo alterne vicende, soprattutto dopo l"intervento di Bonifacio VIII, i neri vincono

e prendono il governo della città.

Dante, che è bianco viene condannato all "esilio.

L"esilio

Comincia cosi per Dante un lungo periodo durante il quale viene costretto a girovagare per l"Italia ospitato presso le principali corti nobiliari dell"epoca.

"- a Verona (1304-1306) presso i Signori della Scala

- in Lunigiana (1306-1307) presso i marchesi Malaspina

- nel Casentino (1307-1308) presso i conti Guidi

- a Lucca, Verona e infme Ravenna (1313-1321) presso i Da Polenta. A Ravenna Dante chiama intorno a sè figli e nipoti e questo gli rende più sopportabile il soggiorno nella città.

La morte

Muore a Ravenna nel 1321 in seguito ad una febbre di origine malarica.

Secondo una leggenda, gli ultimi 13 canti del Paradiso, appena ultimati, non vengono

divulgati e non vengono trovati. E" Dante stesso che appare in sogno ai suoi figli e

indica loro il luogo dove sono conservati.

Qual è la sua opera principale?
L'opera più famosa di Dante è la DIVINA COMMEDIA.
Cos"è la Divina Commedia.
Poema di 1233 versi endecasillabi disposti in terzine. L'opera and scrittainvolgare perchè destinata ad un pubblico vasto e non ai soli intellettuali; mescola livelli stilistici differenti, adegua il linguaggio alla varietà degli aspetti e dei caratteri umani che rappresenta.
E" intitolata Comniedia perchè dopo un inizio pauroso (Inferno) si conclude felicemente (Paradiso);. nella sua biografia dantesca Boccaccio la definirà "divina" aggettivo aggiunto al titolo a partire dal "500. 1
Il poema è diviso in tre cantiche: Inferno, Purgatorio e Paradiso di 33 canti ciascuna con un canto d"introduzione all"opera inserito all"inizio dell"Infemo, per un totale di 100 canti.
Seguendo la tradizione medievale Dante assegna un particolare significato ai numeri:1 e 3 sono i simboli della Trinità; 9 è quadrato di 3; 10 (7+3) è numero perfetto, di cui 100 è multiplo; 7 sono i giomi della Creazione. Questi numeri tornano in tutta l"opera.
Il poema descrive il viaggio immaginario di Dante nel mondo ultraterreno (Inferno:regno della dannazione; Purgatorio: regno dell "espiazione; Paradiso: regno della beatitudine), affinchè la sua narrazione aiuti gli uomini a redimersi dal peccato e a riconquistare lo stato di purezza.
L"insegnamento di Dante è volto dunque a risvegliare la coscienza dell"uomo che, attraverso la luce della ragione si allontanerà dal male.
II viaggio inizia la notte del Venerdl Santo dell "8 April 1300 e dura 7 giorni.
Dante immagina di trovarsi in una selva oscura (simbolo della condizione di errore e di peccato) dalla quale cerca diallontanarsi. Il cammino è impedito da tre fiere 2 : una lonza (invidia o lussuria), un leone (superbia), una lupa (cupidigia); in aiuto di Dante si presenta il poeta latino Virgilio che gli si offre come guida (ragione) e gli rivela che il viaggio è voluto da Dio. Virgilio poiche è pagano, lo accompagnerà solo attraverso l"Inferno ed il Purgatorio; da qui Beatrice (teologia-rivelazione) sarà la sua guida fino all"Empireo, dove sarà affidato a San Bernardo che lo accompagnerà alla visione di Dio.
Significati dell'opera
Dante dichiara che la sua opera racchiude più sensi:
-il senso letterale, cioè la pura e semplice narrazione dei fatti, cosi come sono immaginati dall "autore, cioè un viaggio ultraterreno attraverso luoghi misteriosi, ora terribili ora affascinanti, durante il quale i poeta incontra anime di defunti, mostri infernali personaggi mitologici, angeli e santi.
-il significato allegorico: il viaggio nel suo complesso simboleggia I"itinerario dell"anima umana verso la salvezza.
-il significato morale: attraverso gli insegnamenti morali che emergono dalla lettura, indica agli uomini l"importanza di una vita virtuosa, ispirata a grani ideali.
II viaggio di Dante e la struttura dell" Uiiiverso dantesco

_________________________________

1 Boccaccio è un altro grande scrittore dell"epoca, la cui opera piu famosa è il Decameron.
2 Belva o animale selvaggio

Il percorso di Dante
Dante dapprima scende nell "Inferno, accompagnato da Virgilio. Egli descrive l"ambiente, i dannati che incontra e le pene eterne che vengono inflitte, soffermandosi spesso a parlare con alcuni di essi.
Dal fondo dell"Inferno, attraverso un cammino oscuro, egli giunge nell"emisfero opposto, dove s"innalza la montagna del Purgatorio. Virgilio lo accompagna tra i peccatori di questo regno, che scontano una pena temporanea, con la prospettiva di essere ammessi al cospetto di Dio.
Nel Paradiso terrestre, sulla vetta della collina del Purgatorio, Dante incontra Beatrice, che rappresenta la Grazia Divina e che sarà la sua guida nell "ultima parte del suo viaggio attraverso i cieli del Paradiso. Dopo molti colloqui con le anime beate, Dante giunge alla visione della Trinità Divina.
La terra
Dante, come i suoi contemporanei, pensava che la terra fosse immobile al centrodell"universo.
Era divisa in 2 emisferi:
-l "emisfero boreale o delle terre emerse che ha al centro Gerusalemme.
-l "emisfero australe o delle acque, in cui, nel punto opposto a Gerusalemme, si innalza la montagna del purgatorio, in cui ha in cima il Paradiso Terrestre.
L"Inferno
E" un" immensa voragine dalla forma di cono rovesciato, formato dalla caduta di Lucifero che, dopo la ribellione a Dio, precipitò flno al centro della Terra dove si conficcò. Il terreno della cavità fuoriusci nell "emisfero australe, formando la montagna del Purgatorio.
L"Inferno è diviso in 9 cerchi, ciascuno dei quali ospita una particolare categoria di dannati. Esso è circondato dal fiume Acheronte, attraverso il quale vengono traghettate le anime dei dannati. Il settimo, l"ottavo e il nono cerchio sono a loro volta suddivisi in gironi o bolge.
Nell"Inferno le anime sono punite secondo la legge del "contrappasso", cioè una pena che corrisponde, per somiglianza o per contrasto, al peccato commesso in vita. Cosi, ad esempio, i golosi che in vita hanno cercato i piaceri della gola e la vita lussuosa sono condannati a essere sferzati da una violentissima pioggia nera mista a grandine e a neve, con i piedi immersi in un fango freddo, mentre Cerbero, un mostro mitologico a forma di cane con tre teste, latra contro di loro.

Il Purgatorio

Dopo essere misteriosamente uscito dall"Inferno attraverso un "cammino oscuro", Dante, sempre accompagnato da Virgilio, giunge su una spiaggia dove vede in lontananza un"alta collina: è il monte del Purgatorio.

Dante immagina un"isola, unico punto fermo nell"immensità dell"oceano disabitato che copre tutta la metà meridionale della sfera terrestre, una montagna a forma di cono con la punta smussata. La parte inferiore del monte e la spiaggia costituiscono l" Antipurgatorio, nel quale stanno coloro che si pentirono dei loro peccati all"ultimo nomento e che debbono attendere un tempo più o meno lungo prima di essere ammessi al Purgatorio. In cima c"è il Paradiso Terrestre dove le anime potranno accedere solo dopo aver espiato i loro peccati.

Il Purgatorio è diviso in 7 cornici, enormi gradini in ciascuno dei quali si espia uno del sette vizi capitali in ordine decrescente di gravità. I vizi sono suddivisi in tre zone: nella prima espiano coloro che vollero il male del prossimo (superbi, invidiosi iracondi); nella seconda si espia l"accidia, cioè l"insufficiente intensità di amore verso Dio; nella terza zona sono puniti gli avari e i prodighi, i golosi e i lussuriosi.

Il Paradiso

Il Paradiso and strutturato in 9 cieli. Essi corrispondono a nove sfere che ruotano intorno alla Terra secondo un movimento provocato dalle intelligenze angeliche. Le sfere trascinano con sè anche gli astri che vi si trovano: Luna, Mercurio, Venere, Sole, Marte, Giove, Satumo, Cielo delle Stelle Fisse (le dodici costellazioni dello zodiaco), Cristallino e Primo Mobile. Al di là dei nove cieli si estende 1"Empireo: cielo immobile, infinito dove risiedono Dio e i beati, disposti in una Candida Rosa.

STYLE ED EREDITÀ

L"opera di Dante è 1"espressione della cultura e del gusto medievali. Infatti il ​​poeta rappresenta lo stretto e costante rapporto di Dio con gli uomini, la missione terrena affidata all "umanità, che ha come scopo finale la patria celeste.

Tipicamente medievale è anche la convinzione che il messaggio di un"opera letteraria comprende, oltre all"esplicito senso letterale, altri significati profondi. I suoi testi quindi per mezzo di allegorie, ossia di rappresentazioni di concetti attraverso immagini e fatti concreti, svelano gli intenti didattici e filosofici dell "autore.

Florence was once the center of the universe. This is surprising and natural at the same time. The heiress of the Roman state, developing not only in the agricultural sphere, but also in the economic sphere - trade, relying on information and spiritual technologies and, as a result, received the crown of cultural and scientific superiority, relegating the need for military art to the background. What sons did Florence give birth to? In the world pantheon of gods of art and science, there are more of her children than anyone else. What's the matter? "I got up early"
It's really early. Dante lives and writes in the 13th-14th centuries, the rest wake up much later. Dante will surprise you with his knowledge of astrology, anatomy, architecture, political science, theology, and psychology. 13-14th century... Only he didn’t have an iPhone.

Only the heir of ancient and Christian cultures could afford such a journey as Dante. What a guide! Virgil, who wrote the famous Aeneid. It is thanks to him that Dante's work bears such a name. Comedy! With the horror of hell at the beginning, the peace of heaven at the end. No, not at the end, at infinity. With Virgil it's the other way around. He has a tragedy where everything is good at the beginning and bad at the end. It is more realistic, like the world of antiquity it represents. Two worldviews will fight in Comedy. Two Dantes will fight. Dante is an ancient philosopher and Dante is a Christian philosopher. They will argue among themselves, not forgetting about the score. So who won? Nobody... The meaning is not in the truth, the meaning is in the search. And faith. Into the truth. Ancient Christianity according to Dante.

You can have as much money as you like, but not every trip you can afford. Dante is full of courage and understanding. But how did it happen that a mortal could not only penetrate other worlds, but be there as an inviolable spiritual unit with a respected guide with the right of return? It's all about the woman. Or in the feminine. Or the beneficial intercession of the holy virgin. Or just love. This is how anyone likes it. Beatrice is like that. It is she, filled with pity for her beloved, mourning her bodily death, who blesses his journey, because Dante deserves a different understanding of things. Not worldly. Dukhovny. This is what their love was like. And it doesn’t matter that the enlightened are unlucky in the world of living people, to which he will have to return.

I won’t tell you better about the places and attractions that Dante visited. Let me just say that it’s good that books don’t smell. The descriptions of hell can make you choke. Purgatory is a tribute to antiquity in Christianity (Catholicism). A chance of salvation for ancient heroes. At the cost of prayer. After all, ancient heroes did not pray. They negotiated with the gods. Paradise... This is wisdom and peace.

Let me just say that the inhabitants of all three levels are Italians of all times. From ancient heroes to intriguers and saints of Tuscany, Pisa, Venice and other cities. Dante's acquaintances, his enemies and friends. Michelangelo, Dante's fellow countryman, who worked a little later, also in his Last Judgment, endowed sinners with the faces of his ill-wishers. What are the faces... Sinners are fried, steamed, and this is the most harmless thing. And Michelangelo himself is a saint everywhere. Bartholomew.

I will only say that you need to know your sins in person. What is the use of denying the fact of their existence? This is pride... Dante looks at sins very subjectively. About some song after song, with arguments from the defense and the prosecution. I thought for a long time... About others in passing. It is not difficult to guess what sins Dante suffered. But what about Dante? It's better to look after yourself. It’s more difficult for us; not all of us have a guide, Virgil, and an inspirer and protector, Beatrice.

Pride? Well, what can you do, you can’t live without her, and you won’t achieve anything... Envy? The trouble is that envious people do not understand that happiness and good luck are allocated to everyone; only those who look at the things of others deprive themselves of happiness. Anger? These are the machinations of dark forces; people are born without anger. Dejection? There is little love in a person for the world and even for himself; if there is despondency, he himself is wrong in his feelings for the world. Selfishness? Oh, the punishment is not hard for them, these creatures punish themselves all their lives. Their life is already hell. In Purgatory they will simply feel sorry for them. And voluptuousness - according to Dante, these are sodomites. And all those who were unlucky enough to meet Beatrice in childhood.

Do you know where it is, Seventh Heaven? In Paradise. But this place is not for all the abodes of Paradise. Only for enlightened sages who lived every hour remembering their sins. Those asking higher powers for help in overcoming animal impulses to sin. Not arguing, not rebelling, not seeking. I'm very curious if Dante himself got there? After all, he argued, rebelled, searched. Is there a place for an ancient Christian there? But be that as it may, and wherever it may be, he will be glad to have a place next to Beatrice, from whose beauty he was exhausted. This is his Seventh Heaven of Paradise.

The author of these lines is often asked the question: “Has the text of the Divine Comedy been somehow adapted to the modern version of the Italian language, or did Dante write it that way, letter for letter?” The question is very important, and it is impossible to give a short and comprehensive answer to it. But let's try to outline the main points and understand which direction we should look in order to get closer to this answer. So…

1) Dante’s language is structurally disproportionately closer to modern literary Italian ( italiano standard, formed on the basis of the folk language of Florence and subjected to a long and complex process of normalization) than, for example, the Old Russian language of the 14th century to modern Russian or the Old French of courtly novels to modern French. The main difference between medieval Tuscan (as, indeed, any other Italian volgare that era) from modern italiano standard– a high level of internal variability: this is highly natural, given that the codification of the standard of the literary language had just begun and scientific discussions (the so-called questione della lingua) this issue will continue to be debated for a long time.

2) During the 20th century, a very strong scientific school of textual criticism was formed in Italy, which is still considered one of the best in the world (if not the best). This means that Italians have a very developed respect for the historical features of any literary monuments, and adapting medieval texts to the modern language - at least in the understanding that we put into this term - is not accepted even in school textbooks (and the relative structural The proximity of Old Italian to the modern language favors this).

3) Minimal adaptation of the language of medieval monuments does occur: it is present in any serious critical publication, and this is one of the characteristics that distinguishes it from diplomatic transcription. The changes that the publisher makes relate primarily to spelling (for example, in Old Italian and other Romance texts the letters are not distinguished U And V, I And J, and modern critical editions normalize their use in accordance with modern rules and stipulate this in the appropriate place in the commentary to the edition), dividing the text into words (in medieval sources it followed slightly different patterns, and critical editions adapt the material of manuscripts, applying modern rules and making thus, the text is more convenient for reading) and punctuation (in handwritten texts of that era, the placement of punctuation marks had nothing in common with the modern one, and sometimes there was no punctuation at all). As you may have noticed, all these manipulations are purely formal and, strictly speaking, do not change the text itself in any way (exceptions may only apply to those cases in which the publisher is faced with the problem of choosing between several options for interpreting the source).

4) Unfortunately, not a single autograph of Dante has reached us. This is the norm for texts of that era, although exceptions also occur (for example, Petrarch’s original manuscripts have reached us). Thus, we do not know exactly how Dante wrote “letter by letter,” and we know his texts exclusively from lists, the number of which is so huge that textual scholars continue to write scientific works on them and make discoveries to this day. The high number of lists testifies to the stunning popularity of the “Comedy” almost immediately after its writing, but from the point of view of reconstructing the original text, this circumstance has both pros and cons. Be that as it may, the methodological achievements of Italian textual criticism allow us, if not to accurately reconstruct the original text (this is a utopia that no critical publication claims), then at least to get close enough to it. The most authoritative edition, a kind of “Vulgate” of Dante’s poem, is considered to be the edition of Giorgio Petrocchi: Giorgio Petrocchi (a cura di, per la Società Dantesca Italiana), Dante, La commedia secondo l'antica Vulgata, Milano, Mondadori, 1966-67) - but, of course, this does not mean that this text cannot be improved.

La Divina Commedia di Alfonso d'Aragona.
Londra, British Library, Ms. Yates Thompson 36

The fate of Dante's "Comedy" clearly illustrates the fact that the history of a literary work does not end at the moment of its writing. The history of a text is always also the history of its interpretations. In the case of Dante, his medieval scribes, publishers of the Renaissance and Modern times, and translators of different eras become interpreters. And also actors reading Dante’s lines from the stage or in front of the camera, and you and I - readers and spectators. Italiano ConTesti offers to your attention four modern interpretations of the V canto of the Inferno (the one where Dante meets with and her lover), four very different examples of artistic reading - Vittorio Gassman, Carmelo Bene *, Roberto Benigni and Michele Placido (and the text of the V canto in two languages can be read). Which of the four versions do you prefer? Leave us a comment about your impressions here or on one of our social media pages.

* « Carmelo Bene was an enemy of interpretation and representation, which he called teatro con il testo a monte. Interpretation or representation is when you have the main text, which the actor only needs to convey “correctly” with expression ( referire) to the viewer. Not so for Carmelo Bene. For him the main thing is not detto(“what is said”, which according to Ben is always dead), and dire(the act of speech itself, the sound, which he defined by the Greek term phonè). He also called it lettura come oblio. Reading as oblivion, paradoxically, oblivion of the text and oneself ( io). Always, even when he remembered the text by heart, he still read from the sheet. It was necessary to exclude the act of remembering, returning to the text. At that moment he became speech, sound, dire, phonè. He rejected the very belonging to the same profession with his “competitors” in this post. “C’e’ un’abisso uncolmabile fra di noi,” he said to Gassman” (Yuri Mininberg).

Calling his poem a “comedy,” Dante uses medieval terminology: comedy, as he explains in a letter to Cangrande, is any poetic work of the middle style with a terrifying beginning and a happy ending, written in the popular language (in this case, the Tuscan dialect of Italian); tragedy- any poetic work of high style with a delightful and calm beginning and a terrible end, written in Latin. The word “divine” does not belong to Dante; this is what Giovanni Boccaccio later called the poem. “The Divine Comedy” is the fruit of the entire second half of Dante’s life and work. This work most fully reflected the poet’s worldview. Dante appears here as the last great poet of the Middle Ages, a poet who continues the line of development of medieval literature.

A similar plot of a “tour through hell” was present in ancient Slavic literature several centuries earlier - in the Walk of the Virgin Mary through the torments. However, the story of the night journey and ascension of the Prophet (isra i miraj) really had a direct influence on the creation of the poem, its plot and structure. The similarity of the description of the mirage with the Comedy and the enormous influence it had on the poem was first studied by the Arabist from Spain Miguel Asin-Palacios in 1919. This description spread from the Muslim-conquered part of Spain throughout Europe, being translated into Romance languages, and then subjected to the careful study of the poet. Today, this version of Dante’s fruitful acquaintance with this Muslim tradition is recognized by the majority of Dante scholars.

Manuscripts

About eight hundred manuscripts are known today. Nowadays, it is difficult to establish with complete certainty the connections between various manuscripts, in particular due to the fact that some Romance languages ​​were used when writing them by many educated people outside their actual areas of distribution; Therefore, we can say: from a philological point of view, in this context, the case of the “Comedy” is one of the most difficult in the world. In the second half of the 20th century, there was an extensive discussion on this topic in the scientific world; studied stemma codicum in various manuscript traditions of regions and cities of Italy and the role of stemma codicum in accurately determining the time and place of composition of manuscripts. Many codicologists have spoken on this topic.

Renaissance editions

First editions

The very first edition of the Divine Comedy was printed in Foligno on April 5-6, 1472 by Johannes Numeister, a master from Mainz, and the local native Evangelista May (as the text in the colophon suggests). However, the inscription “Evangelista May” can be identified with Foligno’s patron Emiliano Orfini or with the typographer Evangelista Angelini. By the way, the Foligno edition is the first book ever printed in Italian. In the same year, two more editions of the “Divine Comedy” were published: in Jesi (or in Venice, this has not been definitively established), the printer was Federigo de Conti from Verona; and in Mantua, printed by the Germans Georg and Paul Butzbach under the direction of the humanist Colombino Veronese.

Publications from the Quattrocento era

From the middle of the 16th century to 1500, 15 incunabula editions of the Divine Comedy were published. They can be divided into two groups: the first - those obtained as a result of the reproduction of the Foligno edition (four editions), the second - derivatives from the Mantuan edition (eleven editions); the second group also includes the most popular version of its time, which was destined to have many reprints and great success even in subsequent centuries, especially in the 16th century: we are talking about an edition edited by the Florentine humanist Christopher Landino (Florence, 1481).

Editions from the Cinquecento era

The era of the Cinquecento opens with the famous and prestigious edition of the poem, which is destined to establish itself as an ideal example and become the basis for all editions of the Divine Comedy in subsequent centuries, up to the 19th century. This is the so-called le Terze Rome (Terza rima) edited by Pietro Bembo, published in the then prestigious printing house of Aldo Manuzio (Venice, 1502); its new edition was published in 1515. Over the course of a century, there have been 30 editions of the Comedy (twice as many as in the previous century), most of which were printed in Venice. Among them, the most famous are: the edition of Lodovico Dolce, printed in Venice by Gabriel Giolito de Ferrari in 1555; this edition was the first to use the title “Divine Comedy”, and not just “Comedy”; edition by Antonio Manetti (Florence, after 1506); edition with commentary by Alessandro Vellutello (Venice, Francesco Marcolini, 1544); and finally an edition under the direction of the Accademia della Crusca (Florence, 1595).

Translations into Russian

• A. S. Norov, “Excerpt from the 3rd song of the poem Hell” (“Son of the Fatherland”, 1823, No. 30);
• F. Fan-Dim, “Hell”, translation from Italian (St. Petersburg, 1842-48; prose);
• D. E. Min “Hell”, translation in the size of the original (Moscow, 1856);
• D. E. Min, “The First Song of Purgatory” (“Russian Vest.”, 1865, 9);
• V. A. Petrova, “The Divine Comedy” (translated with Italian terzas, St. Petersburg, 1871, 3rd edition 1872; translated only “Hell”);
• D. Minaev, “The Divine Comedy” (LPts. and St. Petersburg. 1874, 1875, 1876, 1879, translated not from the original, in terzas); reissue - M., 2006
• P. I. Weinberg, “Hell”, canto 3, “Vestn. Heb., 1875, No. 5);
• V. V. Chuiko, “The Divine Comedy”, prose translation, three parts published as separate books, St. Petersburg, 1894;
• M. A. Gorbov, Divine Comedy part two: With explanation. and note. M., 1898. (“Purgatory”);
• Golovanov N. N., “The Divine Comedy” (1899-1902);
• Chumina O. N., “The Divine Comedy”. St. Petersburg, 1900 (reprint - M., 2007). Half Pushkin Prize (1901)
• M. L. Lozinsky, “The Divine Comedy” (Stalin Prize);
• B.K. Zaitsev, “The Divine Comedy. Hell", interlinear translation (1913-1943, first publication of individual songs in 1928 and 1931, first complete publication in 1961);
• A. A. Ilyushin (created in the 1980s, first partial publication in 1988, full publication in 1995);
• V. S. Lemport, “The Divine Comedy” (1996-1997);
• V. G. Marantsman, (St. Petersburg, 2006)

Time of action

In the 5th ditch of the 8th circle of hell (21 cantos), Dante and Virgil meet a group of demons. Their leader Khvostach says that there is no further road - the bridge has collapsed:

To go out anyway, if you wish,
Follow this shaft, where the trail is,
And with the nearest ridge you will come out freely.

Twelve hundred and sixty-six years
Yesterday, five hours late, we managed
Leak since there is no road here. (translated by M. Lozinsky)

Using the last terza, you can calculate when the conversation between Dante and Tailtail took place. The first terzine of “Hell” says: Dante found himself in a dark forest, “halfway through his earthly life.” This means that the events in the poem take place in 1300 AD: they believed that life lasts 70 years, but Dante was born in 1265. If we subtract the 1266 years indicated here from 1300, it turns out that the bridge collapsed at the end of Christ’s earthly life. According to the Gospel, at the time of his death there was a strong earthquake - because of it the bridge collapsed. Evangelist Luke indicated that Jesus Christ died at noon; you can count five hours ago, and now it is clear that the conversation about the bridge takes place at 7 am on March 26 (April 9) 1300 (according to Dante, the death of Christ occurred on March 25, 34, according to the official church version - April 8, 34).

According to the rest of the temporal indications of the poem (changes of day and night, the location of the stars), Dante’s entire journey lasted from March 25 to March 31 (April 8 to April 14), 1300.

The year 1300 is a significant church date. In this year, declared a jubilee year, a pilgrimage to Rome, to the graves of the apostles Peter and Paul, was equated to complete remission of sins. Dante could well have visited Rome in the spring of 1300 - this is evidenced by his description in canto 18 of real events that took place in this city -

So the Romans, to the influx of crowds,
In the year of the anniversary, did not lead to congestion,
They separated the bridge into two paths,

And one by one the people go to the cathedral,
Turning your gaze to the castle wall,
And on the other they go towards, uphill. (translated by M. Lozinsky)

and in this holy place make your wonderful journey in the world of souls. In addition, the day of the beginning of Dante’s wanderings carries a spiritual and renovationist meaning: March 25 is the day God created the world, the day of the conception of Christ, the actual beginning of spring, and, among the Florentines of that time, the beginning of the New Year.

Structure

The Divine Comedy is constructed extremely symmetrically. It breaks up into three parts - edges: “Hell”, “Purgatory” and “Paradise”; each of them includes 33 songs, which in total with the introductory song gives the figure 100. Each part is divided into 9 sections plus an additional tenth; the entire poem consists of terzas - stanzas consisting of three lines, and all its parts end with the word “stars” (“stelle”). It is interesting how Dante, in accordance with the symbolism of the “ideal numbers” - “three”, “nine” and “ten”, used by him in the “New Life”, places in the “Comedy” a part of the poem that is very personally significant for him - the vision of Beatrice in the thirtieth song "Purgatory".

• Firstly, the poet dates it precisely to the thirtieth song (a multiple of three and ten);
• Secondly, he places Beatrice's words in the very middle of the song (from the seventy-third verse; there are only one hundred and forty-five verses in the song);
• Thirdly, before this place in the poem there are sixty-three songs, and after it - another thirty-six, and these numbers consist of the numbers 3 and 6 and the sum of the numbers in both cases gives 9 (Dante was the first to meet Beatrice at the age of 9).

This example reveals Dante’s amazing compositional talent, which is truly amazing.
This penchant for certain numbers is explained by the fact that Dante gave them a mystical interpretation - so the number 3 is associated with the Christian idea of ​​the Trinity, the number 9 is 3 squared, the number 33 should recall the years of the earthly life of Jesus Christ, the number 100, that is 10 multiplied by itself is a symbol of perfection, etc.

Plot

According to Catholic tradition, the afterlife consists of hell, where eternally condemned sinners go, purgatory- the location of sinners atoning for their sins, and Raya- abode of the blessed.

Dante details this idea and describes the structure of the underworld, recording with graphic certainty all the details of its architectonics.

Introductory part

In the introductory song, Dante tells how, having reached the middle of his life, he once got lost in a dense forest and how the poet Virgil, having delivered him from three wild animals that blocked his path, invited Dante to travel through the afterlife. What seems particularly interesting here is who sent Virgil to help Dante. Here's how Virgil talks about it in 2 cantos:

...Three blessed wives
You have found words of protection in heaven
And a wondrous path is foreshadowed for you. (translated by M. Lozinsky)

So, Dante, having learned that Virgil was sent by his love Beatrice, not without trepidation, surrenders to the guidance of the poet.

Hell

Hell looks like a colossal funnel consisting of concentric circles, the narrow end of which rests on the center of the earth. Having passed the threshold of hell, inhabited by the souls of insignificant, indecisive people, they enter the first circle of hell, the so-called limbo (A., IV, 25-151), where the souls of virtuous pagans reside, who have not known the true God, but have approached this knowledge and then freed from hellish torment. Here Dante sees outstanding representatives of ancient culture - Aristotle, Euripides, Homer, etc. In general, hell is characterized by a large presence of ancient subjects: there is a Minotaur, centaurs, harpies - their semi-animal nature seems to outwardly reflect the sins and vices of people; on the map of hell the mythical rivers Acheron, Styx and Phlegethon, guardians of the circles of hell - the carrier of the souls of the dead through the Styx Charon, guarding the gates of hell Cerberus, the god of wealth Plutos, Phlegius (son of Ares) - the carrier of souls through the Stygian swamp, the furies (Tisiphone, Megaera and Alecto ), the judge of hell is the king of Crete Minos. The “antiquity” of hell is intended to emphasize the fact that ancient culture is not marked by the sign of Christ, it is pagan and, as a result, carries within itself a charge of sinfulness.
The next circle is filled with the souls of people who once indulged in unbridled passion. Among those carried by a wild whirlwind, Dante sees Francesca da Rimini and her lover Paolo, fallen victims of forbidden love for each other. As Dante, accompanied by Virgil, descends lower and lower, he witnesses the torment of gluttons forced to suffer from rain and hail, misers and spendthrifts tirelessly rolling huge stones, angry ones getting bogged down in the swamp. They are followed by heretics and heresiarchs engulfed in eternal flames (among them Emperor Frederick II, Pope Anastasius II), tyrants and murderers floating in streams of boiling blood, suicides turned into plants, blasphemers and rapists burned by falling flames, deceivers of all kinds, torment which are very diverse. Finally, Dante enters the final, 9th circle of hell, reserved for the most terrible criminals. Here is the abode of traitors and traitors, the greatest of them - Judas Iscariot, Brutus and Cassius - they are gnawing with his three mouths by Lucifer, the angel who once rebelled against God, the king of evil, doomed to imprisonment in the center of the earth. The last song of the first part of the poem ends with a description of the terrible appearance of Lucifer.

Purgatory

Having passed the narrow corridor connecting the center of the earth with the second hemisphere, Dante and Virgil emerge on the surface of the earth. There, in the middle of an island surrounded by the ocean, a mountain rises in the form of a truncated cone - purgatory, like hell, consisting of a number of circles that narrow as they approach the top of the mountain. The angel guarding the entrance to purgatory allows Dante into the first circle of purgatory, having previously drawn seven Ps (Peccatum - sin) on his forehead with a sword, that is, a symbol of the seven deadly sins. As Dante rises higher and higher, passing one circle after another, these letters disappear, so that when Dante, having reached the top of the mountain, enters the “earthly paradise” located at the top of the latter, he is already free from the signs inscribed by the guardian of purgatory. The circles of the latter are inhabited by the souls of sinners atoning for their sins. Here the proud are purified, forced to bend under the burden of weights pressing on their backs, the envious, the angry, the careless, the greedy, etc. Virgil brings Dante to the gates of heaven, where he, as someone who has not known baptism, has no access.

Paradise

In the earthly paradise, Virgil is replaced by Beatrice, seated on a chariot drawn by a vulture (an allegory of the triumphant church); she encourages Dante to repentance, and then takes him, enlightened, to heaven. The final part of the poem is dedicated to Dante's wanderings through the heavenly paradise. The latter consists of seven spheres encircling the earth and corresponding to the seven planets (according to the then widespread Ptolemaic system): the spheres of the Moon, Mercury, Venus, etc., followed by the spheres of the fixed stars and the crystal sphere, - behind the crystal sphere is the Empyrean, - the infinite the region inhabited by the blessed contemplating God is the last sphere that gives life to all things. Flying through the spheres, led by Bernard, Dante sees the Emperor Justinian, introducing him to the history of the Roman Empire, teachers of the faith, martyrs for the faith, whose shining souls form a sparkling cross; ascending higher and higher, Dante sees Christ and the Virgin Mary, angels and, finally, the “heavenly Rose” - the abode of the blessed - is revealed before him. Here Dante partakes of the highest grace, achieving communion with the Creator.

"Comedy" is Dante's last and most mature work.

Analysis of the work

The concept of Hell in The Divine Comedy

In front of the entrance are pitiful souls who did neither good nor evil during their lives, including “a bad flock of angels” who were neither with the devil nor with God.

• 1st circle (Limbo). Unbaptized Infants and Virtuous Non-Christians.
• 2nd circle. Voluptuaries (fornicators and adulterers).
• 3rd circle. Gluttons, gluttons.
• 4th circle. Misers and spendthrifts (love of excessive spending).
• 5th circle (Stygian swamp). Angry and lazy.
• 6th circle (city of Dit). Heretics and false teachers.
• 7th circle.
  • 1st belt. Violent people against their neighbors and their property (tyrants and robbers).
  • 2nd belt. Rapists against themselves (suicides) and against their property (gamblers and spendthrifts, that is, senseless destroyers of their property).
  • 3rd belt. Rapists against deity (blasphemers), against nature (sodomites) and art (extortion).
• 8th circle. Those who deceived those who did not trust. It consists of ten ditches (Zlopazukhi, or Evil Crevices), which are separated from each other by ramparts (rifts). Toward the center, the area of ​​the Evil Crevices slopes, so that each subsequent ditch and each subsequent rampart are located slightly lower than the previous ones, and the outer, concave slope of each ditch is higher than the inner, curved slope ( Hell , XXIV, 37-40). The first shaft is adjacent to the circular wall. In the center yawns the depth of a wide and dark well, at the bottom of which lies the last, ninth, circle of Hell. From the foot of the stone heights (v. 16), that is, from the circular wall, stone ridges run in radii, like the spokes of a wheel, to this well, crossing ditches and ramparts, and above the ditches they bend in the form of bridges or vaults. In Evil Crevices, deceivers are punished who deceived people who are not connected with them by special bonds of trust.
  • 1st ditch Pimps and Seducers.
  • 2nd ditch Flatterers.
  • 3rd ditch Holy merchants, high-ranking clergy who traded in church positions.
  • 4th ditch Soothsayers, fortune tellers, astrologers, witches.
  • 5th ditch Bribe takers, bribe takers.
  • 6th ditch Hypocrites.
  • 7th ditch The thieves .
  • 8th ditch Crafty advisors.
  • 9th ditch Instigators of discord (Mohammed, Ali, Dolcino and others).
  • 10th ditch Alchemists, false witnesses, counterfeiters.
• 9th circle. Those who deceived those who trusted. Ice Lake Cocytus.
  • Belt of Cain. Traitors to relatives.
  • Antenor's belt. Traitors to the motherland and like-minded people.
  • Tolomei's Belt. Traitors to friends and table mates.
  • Giudecca Belt. Traitors of benefactors, Divine and human majesty.
  • In the middle, in the center of the universe, frozen into an ice floe (Satan) torments in his three mouths the traitors to the majesty of the earthly and heavenly (Judas, Brutus and Cassius).

Building a model of Hell ( Hell , XI, 16-66), Dante follows Aristotle, who in his “Ethics” (Book VII, Chapter 1) classifies the sins of intemperance (incontinenza) into the 1st category, and the sins of violence (“violent bestiality" or matta bestialitade), to the 3rd - sins of deception ("malice" or malizia). Dante has the 2nd-5th circles for intemperance (mostly these are mortal sins), the 7th circle for rapists, the 8th-9th for deceivers (the 8th is simply for deceivers, the 9th is for traitors). Thus, the more material the sin, the more forgivable it is.

Heretics - apostates from the faith and deniers of God - are specially singled out from the host of sinners filling the upper and lower circles into the sixth circle. In the abyss of lower Hell (A., VIII, 75), with three ledges, like three steps, there are three circles - from the seventh to the ninth. In these circles, anger that uses either force (violence) or deception is punished.

The concept of Purgatory in the Divine Comedy

The three holy virtues - the so-called "theological" ones - are faith, hope and love. The rest are the four “basic” or “natural” (see note Ch., I, 23-27).

Dante depicts it as a huge mountain rising in the southern hemisphere in the middle of the Ocean. It looks like a truncated cone. The coastal strip and the lower part of the mountain form the Pre-Purgatory, and the upper part is surrounded by seven ledges (seven circles of Purgatory itself). On the flat mountain top lies the desolate forest of the Earthly Paradise, where Dante reunites with his lover Beatrice before his pilgrimage to Paradise.

Virgil expounds the doctrine of love as the source of all good and evil and explains the gradation of the circles of Purgatory: circles I, II, III - love for “other people's evil,” that is, malevolence (pride, envy, anger); circle IV - insufficient love for true good (despondency); circles V, VI, VII - excessive love for false benefits (greed, gluttony, voluptuousness). The circles correspond to the biblical mortal sins.

• Prepurgatory
  • The foot of Mount Purgatory. Here the newly arrived souls of the dead await access to Purgatory. Those who died under church excommunication, but repented of their sins before death, wait for a period thirty times longer than the time they spent in “discord with the church.”
  • First ledge. Negligent, who delayed repentance until the hour of death.
  • Second ledge. Negligent people who died a violent death.
• Valley of the Earthly Rulers (not related to Purgatory)
• 1st circle. Proud people.
• 2nd circle. Envious people.
• 3rd circle. Angry.
• 4th circle. Lazy.
• 5th circle. Misers and spendthrifts.
• 6th circle. Gluttonies.
• 7th circle. Voluptuous people.
• Earthly paradise.

The concept of Heaven in the Divine Comedy

(in brackets are examples of personalities given by Dante)

• 1 sky(Moon) - the abode of those who observe duty (Jephthah, Agamemnon, Constance of Norman).
• 2 sky(Mercury) is the abode of reformers (Justinian) and innocent victims (Iphigenia).
• 3 sky(Venus) - the abode of lovers (Charles Martell, Cunizza, Folco de Marseilles, Dido, the “Rhodopean woman”, Raava).
• 4 heaven(Sun) is the abode of sages and great scientists. They form two circles (“round dance”).
  • 1st circle: Thomas Aquinas, Albert von Bolstedt, Francesco Gratiano, Peter Lombardy, Dionysius the Areopagite, Paul Orosius, Boethius, Isidore of Seville, Bede the Venerable, Ricard, Siger of Brabant .
  • 2nd circle: Bonaventure, Franciscans Augustine and Illuminati, Hugon, Peter the Eater, Peter of Spain, John Chrysostom, Anselm, Aelius Donatus, Rabanus the Maurus, Joachim.
• 5 sky(Mars) is the abode of warriors for the faith (Joshua, Judas Maccabee, Roland, Godfrey of Bouillon, Robert Guiscard).
• 6 sky(Jupiter) is the abode of just rulers (biblical kings David and Hezekiah, Emperor Trajan, King Guglielmo II the Good and the hero of the Aeneid, Ripheus).
• 7 heaven(Saturn) - the abode of theologians and monks (Benedict of Nursia, Peter Damiani).
• 8 sky(sphere of stars).
• 9 sky(Prime Mover, crystal sky). Dante describes the structure of the heavenly inhabitants (see Ranks of angels).
• 10 sky(Empyrean) - Flaming Rose and Radiant River (the core of the rose and the arena of the heavenly amphitheater) - the abode of the Deity. Blessed souls sit on the banks of the river (the steps of the amphitheater, which is divided into 2 more semicircles - the Old Testament and the New Testament). Mary (Mother of God) is at the head, below her are Adam and Peter, Moses, Rachel and Beatrice, Sarah, Rebecca, Judith, Ruth, etc. John is sitting opposite, below him are Saint Lucia, Francis, Benedict, Augustine, etc.

Science and technology in The Divine Comedy

In the poem, Dante makes quite a few references to the science and technology of his era. For example, issues considered within the framework of physics are touched upon: gravity (Hell - Canto Thirty, lines 73-74 and Hell - Canto Thirty-four, lines 110-111); anticipation of the equinoxes (Hell - Song Thirty-First, lines 78-84); the origin of earthquakes (Hell - Canto three, lines 130-135 and Purgatory - Canto twenty-one, line 57); large landslides (Hell - Twelfth Song, lines 1-10); the formation of cyclones (Hell - Canto Nine, lines 67-72); Southern Cross (Purgatory - Canto One, lines 22-27); rainbow (Purgatory - Canto Twenty-Fifth, lines 91-93); the water cycle (Purgatory - Fifth Canto, lines 109-111 and Purgatory - Twentieth Canto, lines 121-123); relativity of motion (Hell - Song thirty-one, lines 136-141 and Paradise - Song twenty-one, lines 25-27); the spread of light (Purgatory - Canto Two, lines 99-107); two speeds of rotation (Purgatory - Canto Eight, lines 85-87); lead mirrors (Hell - Song Twenty-Three, lines 25-27); reflection of light (Purgatory - Canto fifteen, lines 16-24). There are indications of military devices (Hell - Canto Eight, lines 85-87); combustion as a result of friction of tinder and flint (Hell - Canto fourteen, lines 34-42), mimetism (Paradise - Canto three, lines 12-17). Looking at the technology sector, one notices the presence of references to shipbuilding (Hell - Canto Twenty-one, lines 7-19); dams of the Dutch (Hell - Canto fifteen, lines 4-9). There are also references to mills (Hell - The Singing of the Wind, lines 46-49); glasses (Hell - Song Thirty-Third, lines 99-101); clock (Paradise - Tenth Song, lines 139-146 and Paradise - Twenty-fourth Song, lines 13-15), as well as a magnetic compass (Paradise - Twelfth Song, lines 29-31).

Reflection in culture

The Divine Comedy has been a source of inspiration for many artists, poets and philosophers for seven centuries. Its structure, plots, ideas were very often borrowed and used by many later creators of art, receiving a unique and often different interpretation in their works. The influence exerted by Dante's work on all human culture in general and its individual types in particular is enormous and in many ways invaluable.

Literature

West

The author of a number of translations and adaptations of Dante, Geoffrey Chaucer makes direct reference to Dante's works in his works. John Milton, who was very familiar with his works, repeatedly quoted and used references to Dante’s work in his works. Milton sees Dante's point of view as the separation of temporal and spiritual power, but in relation to the period of the Reformation, similar to the political situation analyzed by the poet in Canto XIX of the Inferno. The moment of Beatrice’s condemning speech in relation to the corruption and corruption of confessors (“Paradise”, XXIX) is adapted in the poem “Lucidas”, where the author condemns the corruption of the clergy.

T. S. Eliot used the lines from "Hell" (XXVII, 61-66) as the epigraph to "The Love Song of J. Alfred Prufrock" (1915). Moreover, the poet heavily refers to Dante in (1917), Ara vus prec(1920) and