Beruflich Dokumente
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Dantes Divine Comedy, written in or about 1320, is facially the story of a pilgrim
moving through the three realms of medieval Christian theology (Hell, Purgatory, and Heaven)
that represent the three major stages of a souls existence on its way to salvation (recognition of
sin, its renunciation, and the rewards for being cleansed of its taint). The intent, however, was
quite different. In this, it had a threefold purpose: current political commentary, an encyclopedia
of extant knowledge (pagan, Israelite, and Christian), and a lament for the perceived injustice of
his situation. Though lofty in many regards, Dante was not above the occasional personal barb as
he traversed Hell and freely admits his own primary sin is that of Pride as he passes through
Purgatory.
The work is unusual in several ways, both in structure and in reception. Structurally, it is
a congeries of threes and nines, each Canticle being arranged into 33 cantos, plus the
introductory canto, for a total of 100. Terza rima is observed throughout, save for the heroic
couplets at the end of each canto. The word Christ is rhymed, but only with itself, three times in
the text, possibly as a way to make up for a prior work in which the word was used rather more
freely. Lastly, the final word in each Canticle is the same, stars. Translations which do not
observe these structural traits do a great damage to the overall spiritual setting intended to be
described by the poet. It is thus possible that the heavily annotated version by John Ciardi
The reception was also rather unusual. Unlike most other works of its era, Dante wrote
the Comedy in vernacular Tuscan Italian. Indeed, his efforts were so popular that this dialect
formed the core of modern standard Italian, relying in part on the conceit that the language of
Tuscany is the language of Rome. Also unusual was its reading in the public squares of Italy, an
honor rarely bestowed on living writers. But then, Dante the man was also an ambiguous sort,
being alternately reputed the last medieval writer or the first of the Renaissance, depending on
the commentators view. There is much to support either position in the Comedy, thus making it
Each of these themes informs the entirety of the Comedy, albeit in different ways at
different points in the narrative. They will be discussed as appropriate in each section along with