The Divine Comedy by Dante Alighieri (13 inch ebook reader .txt) 📕
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Dante Alighieri’s Divine Comedy is considered one of the greatest works in world literature, and it established the standardized Italian language that is used today. Writing between 1308 and 1320, Dante draws from countless subjects including Roman Catholic theology and philosophy, the struggle between the papacy and the Holy Roman Empire, Greek mythology, and geocentric cosmology to answer the age-old question: what does the afterlife look like? Dante’s vision of the answer, this three-volume epic poem, describes in great detail the systematic levels in Hell, Purgatory, and Heaven.
The poem opens with Dante’s death—not his actual death that would come shortly after his work’s completion, but his fictional death—where the author is found wandering in a dark forest. Blocked from climbing towards the bright light by a she-wolf, a leopard, and a lion, he is forced to walk further into the darkened valley and towards the gates of Hell. Dante and his guides must then travel through the nine circles of Hell, seven terraces of Purgatory, and nine spheres of Heaven to experience divine justice for earthly sins so that he may reach the Empyrean and receive God’s love. On his journey, he will learn that one must be consciously devoted to the path of morality and righteousness, else one find oneself on a path towards sin.
This production is based on Henry Wadsworth Longfellow’s blank verse translation. Longfellow succeeds in capturing the original brilliance of Dante’s internal rhymes and hypnotic patterns while also retaining accuracy. It is said that the death of his young wife brought him closer to the melancholy spirit of Dante’s writing, which itself was shaped by his wounding exile from his beloved Florence in 1302.
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- Author: Dante Alighieri
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Aeneid, III 56. “Cursed thirst of gold, to what dost thou not drive the hearts of men.” ↩
The flower-de-luce is in the banner of France. Borel, Trésor de Recherches, cited by Roquefort, Glossaire, under the word Leye, says:—
“The oriflamme is so called from gold and flame; that is to say, a lily of the marshes. The lilies are the arms of France in a field of azure, which denotes water, in memory that they (the French) came from a marshy country. It is the most ancient and principal banner of France, sown with these lilies, and was borne around our kings on great occasions.”
Roquefort gives his own opinion as follows:—
“The Franks, afterwards called French, inhabited (before entering Gaul properly so called) the environs of the Lys, a river of the Low Countries, whose banks are still covered with a kind of iris or flag of a yellow color, which differs from the common lily and more nearly resembles the flower-de-luce of our arms. Now it seems to me very natural that the kings of the Franks, having to choose a symbol to which the name of armorial bearings has since been given, should take in its composition a beautiful and remarkable flower, which they had before their eyes, and that they should name it, from the place where it grew in abundance, flower of the river Lys.”
These are the lilies of which Drayton speaks in his “Ballad of Agincourt”:—
“… when our grandsire great,
Claiming the regal seat,
By many a warlike feat
Lopped the French lilies.”
↩
This passage alludes to the seizure and imprisonment of Pope Boniface the Eighth by the troops of Philip the Fair at Alagna or Anagni, in 1303. Milman, History of Latin Christianity, Book XI Ch. 9, thus describes the event:—
“On a sudden, on the 7th September (the 8th was the day for the publication ot the Bull), the peaceful streets of Anagni were disturbed. The Pope and the Cardinals, who were all assembled around him, were startled with the trampling of armed horse, and the terrible cry, which ran like wildfire through the city, ‘Death to Pope Boniface! Long live the King of France!’ Sciarra Colonna, at the head of three hundred horsemen, the Barons of Cercano and Supino, and some others, the sons of Master Massio of Anagni, were marching in furious haste, with the banner of the king of France displayed. The ungrateful citizens of Anagni, forgetful of their pride in their holy compatriot, of the honor and advantage to their town from the splendor and wealth of the Papal residence, received them with rebellious and acclaiming shouts.
“The bell of the city, indeed, had tolled at the first alarm; the burghers had assembled; they had chosen their commander; but that commander, whom they ignorantly or treacherously chose, was Arnulf, a deadly enemy of the Pope. The banner of the Church was unfolded against the Pope by the captain of the people of Anagni. The first attack was on the palace of the Pope on that of the Marquis Gaetani, his nephew, and those of three Cardinals, the special partisans of Boniface. The houses of the Pope and of his nephew made some resistance. The doors of those of the Cardinals were beaten down, the treasures ransacked and carried off; the Cardinals themselves fled from the backs of the houses through the common sewer. Then arrived, but not to the rescue, Arnulf, the Captain of the People; he had perhaps been suborned by Reginald of Supino. With him were the sons of Chiton, whose father was pining in the dungeons ot Boniface. Instead of resisting, they joined the attack on the palace of the Pope’s nephew and his own. The Pope and his nephew implored a truce; it was granted for eight hours. This time the Pope employed in endeavoring to stir up the people to his defence; the people coldly answered, that they were under the command of their Captain. The Pope demanded the terms of the conspirators. ‘If the Pope would save his life, let him instantly restore the Colonna Cardinals to their dignity, and reinstate the whole house in their honors and possessions; after this restoration the Pope must abdicate, and leave his body at the disposal of Sciarra.’ The Pope groaned in the depths of his heart. ‘The word is spoken.’ Again the assailants thundered at the gates of the palace; still there was obstinate resistance. The principal church of Anagni, that of Santa Maria, protected the Pope’s palace. Sciarra Colonna’s lawless band set fire to the gates; the church was crowded with clergy and laity and traders who had brought their precious wares into the sacred building. They were plundered with such rapacity that not a man escaped with a farthing.
“The Marquis found himself compelled to surrender, on the condition that his own life, that of his family and of his servants, should be spared. At these sad tidings the Pope wept bitterly. The Pope was alone; from the first the Cardinals, some from treachery, some from cowardice, had fled on all sides, even his most familiar friends: they had crept into the most ignoble hiding-places. The aged Pontiff alone lost not his self-command. He had declared himself ready to perish in his glorious cause; he determined to fall with dignity. ‘If I am betrayed like Christ, I am ready to die like Christ.’ He put on the stole of St. Peter, the imperial crown was on his head, the keys of St. Peter in one hand and the cross in the other: he took his seat on the Papal throne, and, like the Roman Senators of old, awaited the approach of the Gaul.
“But the pride and cruelty of Boniface had raised and infixed deep in the hearts of men passions which acknowledged no awe of age, of
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