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OUR WEBSITE į is a website truly dedicated to the growth and success of salon professionals everywhere. The Relationship between Poetry and Gluttonyģ. Additional Remarks about the Relationship between Statius and VirgilĠ2:03 - Chapter 2. The interpretative key to the language of paternity and filiation that pervades these cantos is found in Purgatory XXV, where Statius' embryological exposition of the divine creation of the soul conveys the divinity of poetic inspiration.Ġ0:00 - Chapter 1. In Purgatory XXVI, Dante reinforces his own poetic genealogy through his encounter with Guido Guinizelli, founder of the Sweet New Style of poetry he crafted in his youth. Through Dante's older contemporary Bonagiunta (Purgatory XXIV), the pilgrim distinguishes the poetic style of his youth from that of the courtly love tradition pursued by his interlocutor. On the terraces of gluttony and lust, the pilgrim's encounters with masters of the Italian love lyric give rise to the Comedy's most sustained treatment of poetics. Guest lecturer Professor David Lummus discusses Purgatory XXIV-XXVI. Question and AnswerĬomplete course materials are available at the Open Yale Courses website: Canto XXVI: Ulysses as a Mode of Being for DanteĠ1:02:31 - Chapter 7. Canto XV: Reenacting the Aesthetic Temptationģ8:50 - Chapter 6. Short Remarks about Comedy and the Fallģ3:56 - Chapter 5. Canto XIX: Simony, Sacrilege and the Sacredģ2:24 - Chapter 4. The Prophetic Voice and the Writer of Epistlesġ2:12 - Chapter 3.
Returning to Canto XV and Brunetto LatiniĠ6:58 - Chapter 2. In Inferno XXVI, Dante's tragic revision of the journey of Ulysses is shown to offset his own poetic enterprise, while acknowledging its risks.Ġ0:00 - Chapter 1. Once again, the dangers of Dante's poetic vocation are dramatized in the canto that immediately follows. The fine line between prophecy and profanation is shown to resurface in Inferno XXIV and XXV, where the poet falls prey, as did the pilgrim in Inferno IV, to poetic hubris. Simony, the sin punished in Inferno XIX, is situated historically to point out the contiguity of the sacred and the profane and its relevance to the prophetic voice Dante established in this canto. This lecture deals primarily with Cantos XIX and XXVI of Inferno.
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