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Dante’s Poem of Light: Conversing with Dante in Dream {1} is the beginning part of a fictional narrative trilogy in the tercet stanza. It unfolds an imaginary conversation between two characters in a dream: a sincere heathen dreamer and the spirit of his revered poet, Dante (1265- 1321), the author of The Divine Comedy. The Divine Comedy of Dante inspired the present work to follow its form and substance as much as it is possible by a novice. The dreamer’s Tale One consists of thirteen episodes, each called Song (similar to Dante’s Canto): Song 1: Dante and a Dreamer Song 2: Conception of the Divine Comedy Song 3: Poetic Transfiguration Song 4: The Aeneid of Vergil: Book Six Song 5: On the Nature of Things by Lucretius Song 6: The Myth of Er in The Republic of Plato Song 7: The Epic of Astral Messenger Er-Dante Song 8: Enigma of the Limbo Song 9: Invention of Religions by Theocracies Song 10: Beholding God as a Simple Light Song 11: With Beatrice in the Paradise Song 12: Farewell between Beatrice and Dante Song 13: Confession of the Dreamer
Dante Alighieri (1265-1321) is one of the greatest European writers, whose untrammelled imaginative capacity was matched by a huge base in embracing the science of his era. His texts also paint compelling visual images. In Visions of Heaven, renowned scholar Martin Kemp investigates Dante's supreme vision of divine light and its implications for the visual artists who were the inheritors of Dante's vision. The whole book may be regarded as a new Paragone (comparison), the debate that began in the Renaissance about which of the arts is superior. Dante's ravishing accounts of divine light set painters the severest challenge, which took them centuries to meet. A major theme running through Dante's Divine Comedy, particularly in its third book, the Paradiso, centres on Dante's acts of seeing (conducted according to optical rules with respect to the kind of visual experience that can be accomplished on earth) and the overwhelming of Dante's earthly senses by heavenly light, which does not obey his rules of earthly optics. The repeated blinding of Dante by excessive light sets the tone for artists' portrayal of unseeable brightness.
'Happiness beyond all words! A life of peace and love, entire and whole!' A collection of cantos from Paradiso, the most original and experimental part of the Divina Commedia. One of 46 new books in the bestselling Little Black Classics series, to celebrate the first ever Penguin Classic in 1946. Each book gives readers a taste of the Classics' huge range and diversity, with works from around the world and across the centuries - including fables, decadence, heartbreak, tall tales, satire, ghosts, battles and elephants.
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Dante Alighieri was early in recognizing that our age has a problem. His hometown, Florence, was at the epicenter of the move from the medieval world to the modern. He realized that awareness of divine reality was shifting, and that if it were lost, dire consequences would follow. The Divine Comedy was born in a time of troubling transition, which is why it still speaks today. Dante's masterpiece presents a cosmic vision of reality, which he invites his readers to traverse with him. In this narrative retelling and guide, from the gates of hell, up the mountain of purgatory, to the empyrean of paradise, Mark Vernon offers a vivid introduction and interpretation of a book that, 700 years on, continues to open minds and change lives.
For every day from Advent Sunday to Christmas Day and beyond, the bestselling poet Malcolm Guite chooses a favourite poem from across the Christian spiritual and English literary traditions and offers incisive seasonal reflections on it. A scholar of poetry as well as a renowned poet himself, his knowledge is deep and wide and he offers readers a soul-food feast for Advent. Among the classic writers he includes are: George Herbert, John Donne, Milton, Tennyson,and Christina Rossetti,as well as contemporary poets like Scott Cairns, Luci Shaw, and Grevel Lindop. He also includes a selection of his own highly praised work.
Accepting Dante's prophetic truth claims on their own terms, Teodolinda Barolini proposes a "detheologized" reading as a global new approach to the Divine Comedy. Not aimed at excising theological concerns from Dante, this approach instead attempts to break out of the hermeneutic guidelines that Dante structured into his poem and that have resulted in theologized readings whose outcomes have been overdetermined by the poet. By detheologizing, the reader can emerge from this poet's hall of mirrors and discover the narrative techniques that enabled Dante to forge a true fiction. Foregrounding the formal exigencies that Dante masked as ideology, Barolini moves from the problems of beginning to those of closure, focusing always on the narrative journey. Her investigation--which treats such topics as the visionary and the poet, the One and the many, narrative and time--reveals some of the transgressive paths trodden by a master of mimesis, some of the ways in which Dante's poetic adventuring is indeed, according to his own lights, Ulyssean.
Spanning religious, historical, and political themes, a new collection from the award-winning poet I think now more than half Of life is death but I can’t die Enough for all the life I see In Sometimes I Never Suffered, his seventh collection of poems, Shane McCrae remains “a shrewd composer of American stories” (Dan Chiasson, The New Yorker). Here, an angel, hastily thrown together by his fellow residents of Heaven, plummets to Earth in his first moments of consciousness. Jim Limber, the adopted mixed-race son of Jefferson Davis, wanders through the afterlife, reckoning with the nuances of America’s racial history, as well as his own. Sometimes I Never Suffered is a search for purpose and atonement, freedom and forgiveness, imagining eternity not as an escape from the past or present, but as a reverberating record and as the culmination of time’s manifold potential to mend.
In Dante's Commedia: Theology as Poetry, an international group of theologians and Dante scholars provide a uniquely rich set of perspectives focused on the relationship between theology and poetry in the Commedia. Examining Dante's treatment of questions of language, personhood, and the body; his engagement with the theological tradition he inherited; and the implications of his work for contemporary theology, the contributors argue for the close intersection of theology and poetry in the text as well as the importance of theology for Dante studies. Through discussion of issues ranging from Dante's use of imagery of the Church to the significance of the smile for his poetic project, the essayists offer convincing evidence that his theology is not what underlies his narrative poem, nor what is contained within it: it is instead fully integrated with its poetic and narrative texture. As the essays demonstrate, the Commedia is firmly rooted in the medieval tradition of reflection on the nature of theological language, while simultaneously presenting its readers with unprecedented, sustained poetic experimentation. Understood in this way, Dante emerges as one of the most original theological voices of the Middle Ages. Contributors: Piero Boitani, Oliver Davies, Theresa Federici, David F. Ford, Peter S. Hawkins, Douglas Hedley, Robin Kirkpatrick, Christian Moevs, Vittorio Montemaggi, Paola Nasti, John Took, Matthew Treherne, and Denys Turner.
Arguing that the consecrated body in the Eucharist is one of the central metaphors structuring The Divine Comedy, this book is the first comprehensive exploration of the theme of transubstantiation across Dante's epic poem. Drawing attention first to the historical and theological tensions inherent in ideas of transubstantiation that rippled through Western culture up to the early fourteenth century, Sheila Nayar engages in a Eucharistic reading of both the "flesh" allusions and "metamorphosis" motifs that thread through the entirety of Dante's poem. From the cannibalistic resonances of the Ugolino episode in the Inferno to the Corpus Christi-like procession seminal to Purgatory, Nayar demonstrates how these sacrifice- and Host-related metaphors, allusions, and tropes lead directly and intentionally to the Comedy's final vision, that of the Eucharist itself. Arguing that the final revelation in Paradise is analogically "the Bread of Life," Nayar brings to the fore Christ's centrality (as sacrament) to The Divine Comedy-a reading that is certain to alter current-day thinking about Dante's poem.