Time and the Crystal: Studies in Dante's Rime petrose by Robert M. Durling

By Robert M. Durling

The Rime petrose, Dante's robust lyrics a few lady as appealing and as tough as a beneficial stone, are in most cases stated to be an vital second in his stylistic improvement. during this first full-length research of the poetics of the petrose and in their relation to the Divine Comedy, Durling and Martinez discover a lot new fabric, specially from medieval technological know-how (astrology and mineralogy), philosophy, and theology. The authors argue that the Rime petrose characterize an enormous turning aspect in Dante's perception of a "microcosmic poetics" that grew to become the basic mode of the Commedia. They reveal how Dante the following makes an attempt his first complete account of his relation to the universe as an entire. This paintings bargains many new insights into the intrinsic importance of those outstanding poems and their position in Dante's developmentespecially far-reaching are the results for the translation of the Divine Comedy. The ebook will be of curiosity not just to scholars of Dante but additionally to highbrow historians, historians of technological know-how, scholars of poetics and poetic idea, and to all these drawn to medieval literature.

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Extra resources for Time and the Crystal: Studies in Dante's Rime petrose

Sample text

In parts 1c and 5c the emphasis is on the increasing immobility of things, but in 2c, 3c, and 4c the motion is downward. Thus, although Dante has avoided a monotonous identity of pattern, the description of winter in each stanza follows a similar pattern: (a) upward motion; (b) motionlessness or ineffectiveness of what is above; (c) descent. [5] it can hardly escape notice that, just as the successive stanzas concern progressively lower realms of nature, so the high and low points of each stanza are lower and lower as we move through the poem.

Dante 1980 133]), represented as intended by the poet, and the fear of its being understood that is mentioned here, a contradiction that is never resolved. In our view, this reticence is meant to whet the interpreter's curiosity. [14] We may further observe at this point that Dante introduces the poem itself with a reference to the importance of its structure, which the division is to explain: "cominciai una canzone con questo cominciamento, ordinata nel modo che si vedrà di sotto ne la sua divisione" (Dante 1980 116–117; emphasis added).

In part b, the emphasis is on im― 74 ― mobility. In parts 1c and 5c the emphasis is on the increasing immobility of things, but in 2c, 3c, and 4c the motion is downward. Thus, although Dante has avoided a monotonous identity of pattern, the description of winter in each stanza follows a similar pattern: (a) upward motion; (b) motionlessness or ineffectiveness of what is above; (c) descent. [5] it can hardly escape notice that, just as the successive stanzas concern progressively lower realms of nature, so the high and low points of each stanza are lower and lower as we move through the poem.

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