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The Divine Comedy of Dante Alighieri: Volume 2: Purgatorio (Divine Comedy of Dante Alighieri) PDF

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Preview The Divine Comedy of Dante Alighieri: Volume 2: Purgatorio (Divine Comedy of Dante Alighieri)

THE DIVINE COMEDY OF DANTE ALIGHIERI This page intentionally left blank THE DIVINE COMEDY OF DANTE ALIGHIERI Edited and Translated by ROBERT M. DURLING Introduction and Notes by RONALD L. MARTINEZ AND ROBERT M. DURLING , Illustrations by ROBERT TURNER Volume 2 PURGATORIO OXFORD UNIVERSITY PRESS 203 OXPORD UNIVERSITY PRESS Oxford New York Auckland Bangkok Buenos Aires Cape Town Chennai Dar es Salaam Delhi Hong Kong Istanbul Karachi Kolkata Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Sao Paulo Shanghai Taipei Tokyo Toronto Translations copyright © 2003 by Robert M. Durling Introduction and Notes copyright © 2003 by Ronald L. Martinez and Robert M. Durling Illustrations copyright © 2003 by Robert Turner Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York, 10016 www.oup.com Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data is available ISBN 0-19-508741-0 13579108642 Printed in the United States of America on acid-free paper PREFACE Since the submission of our Inferno for publication (1994) there has been an important renewal of discussion of the text of the Comedy in Lanza's (1995, 1997) and Sanguineti's (2001) critical editions: the first privileges the earliest Florentine manuscript, the Trivulziano (Milan, Trivulziano 1080), against Petrocchi's view of the northern tradition as superior, and the second argues for the unique authority of the Vatican's Urb. Lat. 366 (Urb.), from Urbino, on the basis of a collation of Barbi's famous 400 loci critici in the 600 existing manuscripts (at the time of this writing, the volume giving Sanguineti's de- tailed justification of his readings had not yet appeared). Both Lanza and Sanguined adopt many readings rejected, rightly or wrongly, by the main- stream of modern editing. The text presented here is a compromise; not persuaded of the exclusive authority of any manuscript (indeed, unwilling to exclude altogether the possible existence of author's variants), the editor has felt free to adopt read- ings from various branches of the stemma. Thus the text of our Purgatorio once again, in the main, follows Petrocchi's La Commedia secondo I'antica vulgata (1994), but the editor has departed from Petrocchi's readings in a number of cases, somewhat larger than in the previous volume, not without consider- ation of Lanza's and Sanguineti's readings (these departures are discussed under the rubric "Textual Variants," pages 627-29), and, as before, Petrocchi's punctuation has been lightened and American norms have been followed. The translation follows the same principles as that of the Inferno and has the same format, and the reader is referred to the Preface of that volume for dis- cussion of its aims and those of the notes. As before, the numbers in the mar- gins are those of the first Italian of each terzina, and in the notes numbers always refer to the Italian text. One innovation in our notes to this volume is a section for each canto that we have dubbed Inter cantica, discussing the relation of the canto with the Inferno (we hope to include similar sections in our Paradiso volume). These Inter cantica are not exclusively discussions of the canto's relation to the simi- larly numbered canto in the Inferno, although that subject clearly deserves more attention than it has heretofore received; we have learned much from writing these notes: the self-referentiality of the Comedy is complex indeed. Acknowledgments We have again received generous help and encouragement from many friends and colleagues, and it is a pleasure to express our gratitude to them. In par- ticular, Warren Ginsberg, Regina Psaki, and John A. Scott have commented in detail on extensive portions of the manuscript, Paul Alpers, the late Charles v Preface T. Davis, and Nicholas J. Perella on the entirety of an earlier state of the translation. Nancy Vine Durling has caught many errors, typographical and otherwise, in our drafts. Pere E.-H. Weber, O.R, has given us kindly and helpful advice, reminding us that the interpretation of Aquinas, Albert, and other thirteenth-century thinkers remains subject to lively debate. Our debt to Albert R. Ascoli is once again profound, and our expression of gratitude to him in our first volume may be taken as applying to this one as well. Charles Lee, of McTek Enterprises, Berkeley, has given us invaluable help and com- puter first-aid. The staffs of the Bibliotheque Nationale de France (Sites Francois-Mitterrand and Richelieu), the Bibliotheque du Saulchoir (Paris), and the Doe and Bancroft Libraries at the University of California, Berkeley, have been unfailingly cordial and helpful. And once again the patience, for- bearance, and active helpfulness of our wives, Nancy Vine Durling and Mary Therese Royal de Martinez, have been exemplary. We again owe a great debt to the personnel at Oxford University Press, especially to Ruth Mannes, in charge of production of the volume. The text of the Purgatorio is reprinted (with qualifications, as above) from La Commedia secondo I'antica vulgata, edited by Giorgio Petrocchi (sponsored by the Societa Dantesca Italiana; copyright © 1994, Casa Editrice Le Lettere), with the kind permission of both sponsor and publisher. As before, translations of biblical passages are from the Douay version of the Latin Vulgate, except as noted, and, unless otherwise identified, non- biblical translations are our own. We record a deep sense of loss at the passing in 1998 of the great Dante scholar Charles T. Davis, a dear friend whose acute and kindly criticism and encouragement had long been of vital importance to us, as to many others. We dedicate this volume to his memory. Berkeley R.M.D. Providence R.L.M. August 2002 vi CONTENTS Abbreviations, xv Introduction, 3 PURGATORIO CANTO 1, is Notes to Canto 1, 26 CANTO 2,34 Notes to Canto 2, 42 CANTO 3,48 Notes to Canto 3,56 CANTO 4,64 Notes to Canto 4, 72 CANTO 5, 78 Notes to Canto 5, 86 CANTO 6,92 Notes to Canto 6, 102 CANTO 7, no Notes to Canto 7, H# CANTO 8,126 Notes to Canto 8, 134 CANTO 9,142 Notes to Canto 9, ?50 CANTO 10, m Notes to Canto 10,166 CANTO 11,172 Notes to Canto 11,180 fit Contents CANTO 12, m Notes to Canto 12, 196 CANTO 13,204 Notes to Canto 13, 214 CANTO 14,222 Notes to Canto 14,232 CANTO 15,242 Notes to Canto 15,250 CANTO 16,258 Notes to Canto 16, 266 CANTO 17,276 Notes to Canto 17,254 CANTO 18,292 Notes to Canto 18,300 CANTO 19,308 Notes to Canto 19,316 CANTO 20,326 Notes to Canto 20,336 CANTO 21,346 Notes to Canto 21, 354 CANTO 22,362 Notes to Canto 22, 372 CANTO 23,382 Notes to Canto 23,390 CANTO 24,400 Notes to Canto 24,410 CANTO 25,420 Notes to Canto 25, 428 CANTO 26,438 Notes to Canto 26, 446 viii Contents CANTO 27,456 Notesxto Canto 27,464 CANTO 28,474 Notes to Canto 28,482 CANTO 29,492 Notes to Canto 29, 502 CANTO 30,510 Notes to Canto 30,518 CANTO 31,530 Notes to Canto 31,538 CANTO 32,548 Notes to Canto 32, 558 CANTO 33,566 Notes to Canto 33, 574 VERGIL, ECLOGUE IV, 584 GUIDO CAVALCANTI'S "PASTORELLA," 588 ADDITIONAL NOTES 1. Cato of Utica (Canto 1), 591 2. The Meeting with Casella (Canto 2), 593 3. Belacqua and the Horizons of Purgatory, 594 4. Vergil's Palinurus in Purgatorio and the Rudderless Ship of State (Canto 6), 597 5. The Canonical Hours; Compline (Canto 8), 600 6. The Terrace of Pride: i. Structure and Rationale (Cantos 10-12), 603 7. The Terrace of Pride: ii. The Theme of Art (Cantos 10-12), 606 8. San Miniato al Monte and Dante's Pride of Workmanship (Canto 12), 608 9. Number, Light, Motion, and Degree at the Center of the Comedy, 610 10. Dante and Forese (Cantos 23-24), 612 11. Embryology and Heredity (Canto 25), 614 12. The Virtues of the Virgin Mary (After Canto 27), 617 13. Dante and Ovid's Pyramus (Canto 27), 618 14. Virgil and the Fourth Eclogue (Canto 30), 620 15. Rolling Out the Apocalypse (Cantos 29-33), 623 tx

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