Sex and Salvation in the Middle Ages: From the Romance of the Rose to the Divine Comedy

Italica ◽  
1990 ◽  
Vol 67 (3) ◽  
pp. 305
Author(s):  
Aldo S. Bernardo
Keyword(s):  
Middle Ages ◽  
Divine Comedy ◽  
Romance Of The Rose ◽  
The Divine Comedy ◽  
The Rose ◽  
The Middle Ages

Dante's Heavenly Rose: An Analogue or a Borrowing?

1949 ◽  
Vol 42 (2) ◽  
pp. 149-154
Author(s):  
Theodore Silverstein
Keyword(s):  
Middle Ages ◽  
Common Property ◽  
Present Note ◽  
Divine Comedy ◽  
The Poor ◽  
The Divine Comedy ◽  
Heavenly City ◽  
The Rose ◽  
The Middle Ages

The figure of the rose with which Dante tops the soaring structure of his Paradiso may seem to have stimulated comment enough by now, and the present note, pointing out yet another possible analogue, serve merely to expand the raw bulk of such materials, which, though interesting in themselves, add little essential to our knowledge of the poem. But no Stoffkritik has yet explained entirely happily to the student of the popular otherworld traditions, the origin of this figure in the Divine Comedy or the peculiar fitness of its use there. And the present parallel has the virtue that it is really a parallel, and not confined to the rose alone, whose figure and symbolic significance are common property in the Middle Ages. On the contrary, it describes at the supernal heights of heaven a city which is shaped like a rose, is also the special paradise of the Virgin, and contains traces of another motif — the empty thrones and the waiting crowns and vestments reserved until the Time shall come for the just and the poor in spirit —, which Dante also places for the elect within the limits of this heavenly city. All this, moreover, appears in a work belonging to that body of otherworld lore from which the Divine Comedy, itself the most elaborate literary example of this genre, frequently borrows.

Medieval Interpretation of Phonation Through the Divine Comedy, by Dante Alighieri

2022 ◽  
pp. 019459982110730
Author(s):  
Martha Borraccini ◽  
Matteo Marinini ◽  
Michele Augusto Riva
Keyword(s):  
Middle Ages ◽  
Dante Alighieri ◽  
Medical Knowledge ◽  
Divine Comedy ◽  
Word Formation ◽  
Medieval Period ◽  
Vocal Cords ◽  
The Divine Comedy ◽  
And Function ◽  
Dual Functions

The anatomic and medical knowledge of people throughout history is unexpectedly evident in some of the poems and texts written by intellectuals of the time. This article attempts to understand the conception of laryngology in the Middle Ages by analyzing the Divine Comedy, written by the Italian poet Dante Alighieri (1265-1321) at the beginning of the 14th century. In the text, Dante mentions the throat several times. He recognizes that the larynx has the dual functions of allowing respiration (dead souls recognize that the poet is alive through movement of his throat when breathing) and speech (souls with their throat cut cannot speak). However, Dante does not seem to know of the existence of vocal cords, thinking that it is the tongue that allows for word formation. In general, Dante’s poem indicates that the anatomy and function of the throat were known during the medieval period, although this knowledge was not precise.

The Allegorical Interpretation of Medieval Literature

PMLA ◽  
1967 ◽  
Vol 82 (1) ◽  
pp. 33-38
Author(s):  
Paul E. Beichner
Keyword(s):  
Middle Ages ◽  
Medieval Literature ◽  
Piers Plowman ◽  
Human Beings ◽  
Literal Sense ◽  
Romance Of The Rose ◽  
Knowing That ◽  
Editorial Cartoons ◽  
Allegorical Interpretation ◽  
The Rose

The concentration of allegory in the air in the Middle Ages was heavy. Readers and hearers were exposed to it from various sources, and many probably followed simple allegories on the literal and on the figurative levels as naturally as we understand editorial cartoons. An audience at a morality play followed the physical actions and the speeches of actors, knowing that the characters were personifications of virtues and vices, and other abstractions. No one expected such characters as Lechery, Pride, Gluttony, or Good Deeds, Goods, Kindred, and the like, to be rounded human beings. Homiletic allegories and spiritual and moral interpretations of scriptural texts were heard from the pulpit; no doubt, most of the congregation got the point. A deeper meaning than the literal sense on the surface was sought in poems which were true allegories, such as The Romance of the Rose, Piers Plowman, and The Pilgrimage of the Life of Man, and it was taken for granted that it would be found. The author usually made sure that his primary intention, the allegorical thrust of the work, was rather evident. Modern readers may interpret minor details or symbols in different ways, but there is seldom room for disagreement on main points.

scholarly journals Eropa Berdasarkan Tiga Novel Umberto Eco: Pembelajaran Sejarah Bagi Pembaca Indonesia

ATAVISME ◽  
2013 ◽  
Vol 16 (1) ◽  
pp. 27-41
Author(s):  
Dian Swandayani ◽  
Imam Santoso ◽  
Ari Nurhayati ◽  
Nurhadi Nurhadi
Keyword(s):  
Middle Ages ◽  
European History ◽  
Umberto Eco ◽  
Learning History ◽  
Medieval Europe ◽  
History Of ◽  
History Of Europe ◽  
The Rose ◽  
Foucault’S Pendulum ◽  
The Middle Ages

Tiga novel Umberto Eco, The Name of The Rose, Baudolino, dan Foucault’s Pendulum, dengan lingkup latar masing-masing yang dikisahkannya, membantu pembaca Indonesia guna lebih mengenal kondisi Eropa, khususnya kondisi Eropa pada abad pertengahan, suatu rentang waktu dalam sejarah Eropa yang panjang dengan berbagai peristiwa historis lainnya. Meskipun berupa novel, informasi faktual yang disampaikan lewat ketiga novel tersebut dapat memperkaya wawasan pembaca guna mengetahui situasi Eropa pada masa abad pertengahan, meliputi rentangan teritorial yang melampaui kawasan Eropa sekarang, bahkan juga mengisahkan suatu kelompok sosial yang memegang peran penting dalam perjalanan sejarah Eropa. Novel‐novel Eco tampaknya tidak mudah dipahami oleh pembaca Indonesia, apalagi tentang detail yang dipaparkan mengenai sejarah Eropa abad pertengahan, terkait dengan detail situs-­‐situs geografis dan tokoh-tokoh utama yang menjadi titik penting dalam perjalanan sejarah Eropa. Meskipun demikian, hal ini bisa dimanfaatkan sebagai wahana pembelajaran sejarah, khususnya sejarah Eropa abad pertengahan. Abstract: Umberto Eco’s novels, The Name of The Rose, Baudolino, and Foucault’s Pendulum, with each specific setting, can help Indonesian readers to understand Europe, particularly in the Middle Ages, a long period in the European history which has various other historical events. Although the works are imaginary, the factual information in the novels can enrich the readers’ knowledge about the situation of Europe in the period of time, including the territorial extent which exceeded the present European territory. The works, in fact, tell aboutthe social group which played significant roles in the history of Europe. For Indonesian readers, it is not easy to understand the novels, let alone the details related to the history of Europe in the Middle Ages, the geographical sites, and the important people who played significant roles in the European history. However, the novels can be used as a medium for learning history, particularly the Medieval Europe. Key Words: history of Europe; novels; setting; learning; Indonesian readers

Stories of the Rose: The Making of the Rosary in the Middle Ages

1998 ◽  
Vol 103 (5) ◽  
pp. 1577
Author(s):  
Thomas F. X. Noble ◽  
Anne Winston-Allen
Keyword(s):  
Middle Ages ◽  
The Rose ◽  
The Middle Ages

Virgil and the Gawain-Poet

PMLA ◽  
1945 ◽  
Vol 60 (1) ◽  
pp. 16-23
Author(s):  
Coolidge Otis Chapman
Keyword(s):  
French Text ◽  
Divine Comedy ◽  
Reading Habits ◽  
Field Of Study ◽  
Sir Gawain ◽  
Romance Of The Rose ◽  
Marco Polo ◽  
Consolation Of Philosophy ◽  
Gawain Poet ◽  
The Rose

The reading habits of the author of Sir Gawain and the Green Knight, Pearl, Purity, and Patience remain a fascinating and fruitful field of study. Much has been written about the books the poet read, or may have read, but it is unlikely that the catalogue of books owned or read by him has by any means been completely reconstructed. Of the books he certainly knew, the Vulgate is of first importance for its influence upon the poet's thought and style. Certain, but less important, are the Romance of the Rose and the French text of Mandeville. Of the books very probably read by him the Divine Comedy stands first, followed by the Vita Nuova and the Convivio, Boccaccio's Olympia, and the Consolation of Philosophy of Boethius. Less probable is his reading of Tertullian's De Patentia and De Jona et Ninive, the Travels of Marco Polo, Peter Comestor's Historia Scholastica, the Book of the Knight of La Tour-Landry, the French lapidaries, and a few others still less certain.

scholarly journals O amor cortês pelo avesso: François Villon e o debate sobre o Roman de la rose

2014 ◽  
Vol 19 (1) ◽  
pp. 81
Author(s):  
Daniel Padilha Pacheco da Costa
Keyword(s):  
Middle Ages ◽  
Point Of View ◽  
Courtly Love ◽  
Roman De La Rose ◽  
Christine De Pisan ◽  
Romance Of The Rose ◽  
Late Middle Ages ◽  
Francois Villon ◽  
The Rose

<p><strong>Resumo: </strong>Neste artigo, pretende-se discutir a paródia do amor cortês pelos lamentos burlescos do <em>Testament </em>de François Villon, com base nos preceitos e modelos que orientavam a invenção das letras na época. Complementares ao lamento do próprio testador pelo amor louco da sua juventude, os <em>Regrets de la belle heaulmière </em>utilizam como modelo poético o sermão da Velha do <em>Roman de la rose</em>. A imitação de uma das passagens desse poema mais duramente censuradas por Christine de Pisan evidencia que esses lamentos só podem ser compreendidos à luz do debate sobre o <em>Roman de la rose</em>, realizado no início do séc. XV na França. Dessa perspectiva, a paródia deve ser considerada não como uma recusa da tradição cortês no final da Idade Média, como pela crítica contemporânea, mas como um gênero particular da poesia burlesca visando a ridicularização do amor louco.</p> <p><strong>Palavras-chave: </strong>François Villon; paródia; amor cortês; debate sobre o <em>Roman de la rose</em>; lamentos burlescos.</p> <p class="Pa2"><strong> </strong></p> <p class="Pa2"><strong>Abstract: </strong>This paper intends to discuss the parody of courtly love performed by the burlesque regrets of François Villon’s <em>Testament</em>, using the poetic precepts and models based on which the writing was invented at the time. Complementary to the regret of the testator himself for the mad love of his youth, the <em>Regrets de la belle heaulmière </em>use as a poetic model the Old Woman’s sermon of the <em>Romance of the rose</em>. The imitation of one of the passages of this poem most harshly criticized by Christine de Pisan shows that those regrets can only be understood in the light of the debate of the <em>Romance of the rose </em>at the beginning of the XVth century in France. From this point of view, his parody must be considered not as a rejection of the courtly tradition in the late Middle Ages, as it is by contemporary criticism, but as a particular genre of burlesque poetry aiming to mock mad love.</p> <strong>Keywords: </strong>François Villon; parody; courtly love; debate on the <em>Roman de la rose</em>; burlesque regrets.

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