6/12/2023 0 Comments Beatrice the divine comedy![]() ![]() As discussed in the Commento on Purgatorio 29, where the procession first takes place: “Dante reproduces the Bible not as words but as things the one text whose verba are in fact res are preserved by him as res in his verba ( The Undivine Comedy, p. Of course, Dante has managed to blur productively the distinction between the historicity of irreducible and embodied beings (Virgilio, Dante, Beatrice) and the history of the universal Church by making the Word of God (the books of the Bible) take the form of embodied persons. ![]() 30.55 and 73) - we move in Purgatorio 32 to the history of the universal Church. 32.9) - and turn his attention back to the events unfolding in front of him.įrom Purgatorio 30’s focus on three irreducible incarnate historical essences, and its signature inscription of individual historicity through names - “ Dante, perché Virgilio se ne vada” and “Ben son, ben son Beatrice” ( Purg. ![]() The narrator models this turning of attention in his story-line, for the pilgrim is forced to look away from Beatrice, at whom he is staring too fixedly - “Troppo fiso!” ( Purg. Purgatorio 32 forces us to turn our attention, in a kind of “conversion” of the gaze: away from Dante the individual, and back to the universal and macrocosmic. ![]()
0 Comments
Leave a Reply. |