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Abstract
Dante’s Commedia and Goethe’s Faust, two classics of World literature seem worlds apart. One is a medieval work with deep religious connotations and an obsolete poetics, while the other is a modern epic that deals with the predicament of the individual at the dawn of a new technological and capitalist era. Yet, these differences are essentially historical and do not affect the way in which both works communicate as poetic representations. At this level, in fact, they are very much comparable, as I will try to show. These two works have in common not only the fundamental theme of the “quest for knowledge”, but they also share what is necessarily and inevitably the representational mode of any great poetic work: the mode of allegory.
Abstract
Die Studie ist ein Versuch auf dem Gebiet der musikalischen Quellenforschung; zwei Facetten der Genese von Liszts Klavierzyklus Années de pèlerinage werden darin behandelt. Zuerst werden vier handschriftliche Quellen der Dante-Sonate dargestellt, die bisher in die Untersuchungen zur Entstehungsgeschichte des Stückes nicht einbezogen bzw. falsch interpretiert wurden. Anhand dieser Quellen werden einige wichtige Unterschiede zwischen der Frühfassung bzw. der Fassung letzter Hand von Après un lecture du Dante nachgewiesen. Dann wird eine neue Lesart des Planes für den Italien-Band vom sogenannten Ce qu'on entend-Skizzenbuch geboten. Aufgrund dieses Planes wird die bisher unbekannte Beziehung der Genese der symphonischen Dichtung Tasso und des Klavierzyklus Années de pèlerinage dargestellt.
Both Franz Liszt and Augusta Holmès wrote symphonic-choral works inspired by Dante; they composed them, however, in different periods. In this study we wish to associate the two composers not only for their respect and friendship that lasted several years, but because they have both offered an interpretation of Dante’s work, the Divina Commedia, that proved to be a significant source of inspiration for nineteenth-century musicians. What we find particularly important is not so much the substantial difference in their choice and interpretation of the text — that one could say was inspired by the spiritual component in the case of Liszt and by a patriotic political intent in the case of Holmès — but their common relationship with the municipality of Florence, in primis with Count Angelo de Gubernatis, organizer of a women’s exhibition in Florence in 1890. He first had relations with Liszt a few years before, later with Augusta Holmès. It was De Gubernatis who asked Holmès to compose the work Inno alla Pace in order to try to reconcile France and Italy. For this reason in Holmès’ work Beatrice became a symbol of peace among the people.
music but also in painting and poetry. Somehow, this foreshadowed one central aspect of his later reception, especially in relation to the performance of the Dante Symphony , which centred around the unification of the three arts of poetry, painting
In this article the Author provides a new interpretation of sin and free will in Dante's Comedy. She analyses first of all the „veglio” of Crethe, the speech of Marco Lombardo and the vision of the „femina balba”, showing the new motives in the encounter of Dante with a new situation. In the Paradise on Earth every tension is absent: peace replaces the „war” of proceeding and piety.
Az Egyetemi Könyvtár Dante-kódexének (Cod. Ital. 1.) eredeti kötéséről
Henszlmann Imre kiadatlan feljegyzése
On the original binding of the Dante Manuscript (Cod. Ital. 1) kept in the University Library. An unpublished note by Imre Henszlmann. The Dante Manuscript, which currently is to be found in the possession of the Library of the Eötvös Loránd University in Budapest with the label Cod. Ital. 1. (La Divina Commedia) has been brought there in 1877, when Sultan II. Abdulhamid sent back 35 ancient manuscripts to Hungary. All of them were in uniformly bound in leather, in the style of the Turkish trend of the era. These codexes have been studied in 1862 by Ipolyi Arnold and Henszlmann Imre in Istambul, in their original binding. We know many of them from the notes – taken in situ and published only in 2006 – of Ipolyi, but the original leather binding of the Dante-codex is known to us only from the sketch of Henszlmann published here for the first time.
Abstract
Shelley Berc's A Girl's Guide to The Divine Comedyis a reimagining of Dante Alighieri's Commedia as a late20th-century American play that makes telling points about contemporary culture. In part 1 a female Dante descends into hell not to learn the nature of sin as her medieval counterpart does but to realize the depth of the female artist's exile from the political and artistic life of the dominant, androcratic, culture. Part 2's satire inverts the medieval purgatorial ascent with real-estate-agent Virgil and porn-star Beatrice trying to persuade Dante, now a male, to accept the culture's money-based, celebrity-oriented values. Part 3 of each work culminates in a vision. One difference, however, is that whereas the medieval vision is empyreal, the contemporary vision is terrestrial. A second difference is that the contemporary Dante, a girl again, relates in a narrative the vision of community for which she was put to death. Understanding the penalty exacted for a minority perception, she voluntarily returns to the underworld to give voice to other exiles.
Abstract
In his interpretation of the Comedy, the author wants to demonstrate that Dante, besides the four senses of meaning, applied an other hermeneutic method, typology, as well. The poet describes every important historical, natural or human event as a result of God/man/nature relationship, i.e. the periodic intervention of God in human history, renewed with salvation. In the inherent terminology, referring to the period before Christ, figure, prefiguration and fulfilment are the operative concepts and words, while in the Christian period these are repetition, exemplarity and renovation. Concerning the language, the different poetical constructions (letters, word forms, stress, hendecasyllabus, rhymes), the insertions in Latin, have an independent significance. These consequently recurring elements and citations from the other works of the poet reinforce Dante's consciousness in this aspect of medieval hermeneutics.
Estratto
L’articolo cerca di rispondere alla domanda sollevata dalla recente pubblicazione in fac-simile di un’edizione della Commedia di Dante Alighieri, prima non conosciuta. Il codice, di provenienza veneta, e che contiene anche delle illustrazione del “poema sacro”, risale agli anni intorno al 1340. Perché la Commedia si trova tra le primissime opere in ogni lista di canone, quando la metafisica medievale, il mondo di valori e il modo di pensare di Dante sono talmente lontani, molto più dell’antichità greco-romana, dall’uomo odierno? Nel dare risposta, l’autore non prende in considerazione la bellezza dei versi e delle terzine, ma presenta l’attualità e il vero significato della metafisica dantesca da cinque aspetti: l’idea dello sviluppo, la presenza dell’autore, l’intenzione poetica, il metodo della scelta e dell’astrazione, e, infine, l’ambizione di ritrovare un linguaggio che corrisponda all’oggetto della Commedia.
Zusammenfassung
Der Vergleich der beiden Werke begann nach dem Erscheinen des Fragments in den 1790er Jahren. Nach kurzer kritikgeschichtlicher Durchsicht der ersten Jahrzehnte stellt die Studie die Charaktereigenschaften von Dante, der den gewöhnlichen Weg der Begnadigung geht und die von dem doppelseeligen Faust vor dem „Öffnen des Vorhangs“ dar. Im Falle vom letzteren erhielt das falsche Ich eine kontinuierliche äußere Unterstützung vom bis zuletzt in seiner physischen Gestalt anwesenden Mephisto. Die edle Hälfte seiner Seele blieb oft allein. Das eine Werk ist eine himmlische Vision, das andere ein irdisches Drama. Goethe beschäftigte sich seit 1824 in seinen Gesprächen und seiner Korrespondenz immer öfter mit Dante. Die Suche und der heroische Kampf gegen die Welt reichen für die Seligkeit nach dem Urteil eines Gottes aus, der unsere Welt nicht „nur von außen stieße“. „An der Stelle“ des Verlangens nach Vergebung, das auf den ersten Blick in Faust fehlt, steht sein individuelles, von Irrtümen belastetes Sendungsbewusstsein, das nichts anderes ist, als der Entschluss seines freien Willens, das Werk der Schöpfung durchzusetzen. Im Subjekt gibt es keinen Gnadenmoment (wie bei Dante), dem die Handlung entspringen würde, sondern der Prozess der Handlung selbst konnte vor dem Augenschein der Mater gloriosa zum Schluß gnadenwürdig werden. Diese Gnade ist eine Folge der Tat.
