Textual History and the "Divine Comedy" (PDF)
(Sprache: Englisch)
This book examines the Commedia as a text, set in a discursive space, which can only be interpreted in terms of the other texts that it absorbs and transforms. It is only in the simultaneous reading of these voices that the voice of the Commedia exists....
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This book examines the Commedia as a text, set in a discursive space, which can only be interpreted in terms of the other texts that it absorbs and transforms. It is only in the simultaneous reading of these voices that the voice of the Commedia exists. Texts such as the Bible, the Aeneid, the Metamorphoses, the Thebaid and the Commedia itself, coalesce into a textual "history" which must be examined in retrospect in order to interpret the "events" of the poet's text. Cantos studied include: Inferno XX, Purgatorio XXI, and Inferno XIII, V, and XXVI.
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Chapter I Introduction (p. 1) The reader-narrator relationship in thé Commedia continually relies on an awareness by both narrator and reader of their participation in a text which bears witness to providential history, that is to say, a text grounded in divine truth. This link to history is based upon thé prefiguration-fulfillment pattern found in thé Old and New Testaments.
It is an intégral part of thé général action and structure of thé pilgrim`s journey which can be seen as a figura of Christ`s death and résurrection in its relationship to thé act of conversion. In thé Commedia, thé pilgrim and, through him, thé reader look back to Christ and thé lesson that thé Rédemption provides as a historical event, as well as forward to Christ`s second coming and thé promise and fulfillment of that same historical event.
Hence, thé prefiguration-fulfillment pattern of history can be seen as thé guiding principle for thé writing and, consequentially, for thé reading of thé text of thé Commedia.
From thé earliest times thé Christian concept of history had thé Bible as its focus. Therefore, thé interprétation of history was indelibly linked to textual interprétation. This can be seen by Hugh of St. Victor`s définitions of thé term:
But if we take thé meaning of thé word more broadly, it is not unfitting that we call by thé name "history" not only thé recounting of actual deeds but also thé first meaning of any narrative which uses words according to their proper nature.
The link to history was an important one, for it was only through thé interprétation of events that God`s truth could be revealed to mankind. The scriptural évidence of this came from Romans I, 20: The invisible things of him, from thé création of thé world, are clearly seen, being understood by thé things that are made: his eternal power also and divinity.
Consequently, thé actions and events expressed in a "true" history must reflect other levels of meaning: Ail thé
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deeds which Christ is reported to hâve performed while He was in His body on earth are based on historical truth in such a way that they are always found to be replète with heavenly symbols.
The link between history and allegory is also commented upon by Hugh of St. Victor: Nor do I think that you will be able to become perfectly sensitive to allegory unless you hâve first been grounded in history.? ... The foundation and principle of sacred learning, however, is history, from which, like honey from thé honeycomb, thé truth of allegory is extracted.
Also, for John of Salisbury, thé sole purpose of "chroniclers" such as Orosius, Isidore, Bédé and Hugh of St. Victor and their narratives of historical events was "to relate noteworthy matters, so that thé invisible things of God may be clearly seen by thé things that are done." In this tradition, therefore, thé poet of thé Commedia also demands that his "sacred writing" be seen as a "history" and as a resuit, a text which uses thé concept of "typology."
The link between history and allegory is also commented upon by Hugh of St. Victor: Nor do I think that you will be able to become perfectly sensitive to allegory unless you hâve first been grounded in history.? ... The foundation and principle of sacred learning, however, is history, from which, like honey from thé honeycomb, thé truth of allegory is extracted.
Also, for John of Salisbury, thé sole purpose of "chroniclers" such as Orosius, Isidore, Bédé and Hugh of St. Victor and their narratives of historical events was "to relate noteworthy matters, so that thé invisible things of God may be clearly seen by thé things that are done." In this tradition, therefore, thé poet of thé Commedia also demands that his "sacred writing" be seen as a "history" and as a resuit, a text which uses thé concept of "typology."
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Bibliographische Angaben
- Autor: John J. Guzzardo
- 1989, 1. Auflage, 126 Seiten, Englisch
- Verlag: Digitalia
- ISBN-10: 0916379582
- ISBN-13: 9780916379582
- Erscheinungsdatum: 01.01.1989
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