Dante Beatrice Quotes

Church of painful love - unfulfilled,unrequited & unattained

Love rules me. It determines what I ask.

While the everlasting pleasure, that did full On Beatrice shine, with second view From her fair countenance my gladden'd soul Contented; vanquishing me with a beam Of her soft smile, she spake: "Turn thee, and list. These eyes are not thy only Paradise.

A precious mouldering pleasure 't is To meet an antique book, In just the dress his century wore; A privilege, I think, His venerable hand to take, And warming in our own, A passage back, or two, to make To times when he was young. His quaint opinions to inspect, His knowledge to unfold On what concerns our mutual mind. The literature of old; What interested scholars most, What competitions ran When Plato was a certainty, And Sophocles a man; When Sappho was a living girl, And Beatrice wore The gown that Dante deified. Facts, centuries before, He traverses familiar, As one should come to town And tell you all your dreams were true: He lived where dreams were born. His presence is enchantment, You beg him not to go; Old volumes shake their vellum heads And tantalize just so.

The image of a wood has appeared often enough in English verse. It has indeed appeared so often that it has gathered a good deal of verse into itself; so that it has become a great forest where, with long leagues of changing green between them, strange episodes of poetry have taken place. Thus in one part there are lovers of a midsummer night, or by day a duke and his followers, and in another men behind branches so that the wood seems moving, and in another a girl separated from her two lordly young brothers, and in another a poet listening to a nightingale but rather dreaming richly of the grand art than there exploring it, and there are other inhabitants, belonging even more closely to the wood, dryads, fairies, an enchanter's rout. The forest itself has different names in different tongues- Westermain, Arden, Birnam, Broceliande; and in places there are separate trees named, such as that on the outskirts against which a young Northern poet saw a spectral wanderer leaning, or, in the unexplored centre of which only rumours reach even poetry, Igdrasil of one myth, or the Trees of Knowledge and Life of another. So that indeed the whole earth seems to become this one enormous forest, and our longest and most stable civilizations are only clearings in the midst of it.

She wanted to be someone’s muse—to be worshipped and adored, body and soul. She wanted to play Beatrice to a dashing and noble Dante and to inhabit Paradise with him forever. And to live a life that would rival the beauty of Botticelli’s illustrations.

Could Beatrice have written like Dante, or Laura have glorified love's pain? I set the style for women's speech. God help me shut them up again!

As at those words did I myself become; And all my love was so absorbed in Him, That in oblivion Beatrice was eclipsed.

...you found me in my lonely labyrinth and like Beatrice, led me out of my own hell...

Ink to parchment, words to paper, glory to Beatrice.

Dante was standing near the Ponte Vecchio, a bridge that crosses the Arno River in Florence. It was just before 1300… Dante saw Beatrice standing on the bridge. He was a young man, she even younger, and that vision contained the whole of eternity for him. Dante did not speak to her and saw her very little. And then Beatrice died, carried off by plague. Dante was stricken with the loss of his vision. She was the connection between his soul and Heaven itself, and from it the Divine Comedy was born. Six hundred fifty years later, during World War II, the Americans were chasing the German army up the Italian peninsula. The Germans were blowing up everything of aid to the progression of the American army, including the bridges across the Arno River. But no one wanted to blow up the Ponte Vecchio, because Beatrice had stood on it and Dante had written about her. So the German commandant made radio contact with the Americans and, in plain language, said they would leave the Ponte Vecchio intact if the Americans would promise not to use it. The promise was held. The bridge was not blown up, and not one American soldier or piece of equipment went across it. We’re such hard bitten people that we need hard bitten proof of things, and this is the most hard bitten fact I know to present to you. The bridge was spared, in a modern, ruthless war, because Beatrice had stood upon it.

Jung has said that to be in a situation where there is no way out, or to be in a conflict where there is no solution, is the classical beginning of the process of individuation. It is meant to be a situation without solution: the unconscious wants the hopeless conflict in order to put ego-consciousness up against the wall, so that the man has to realise that whatever he does is wrong, whichever way he decides will be wrong. This is meant to knock out the superiority of the ego, which always acts from the illusion that it has the responsibility of decision. Naturally, if a man says, "Oh well, then I shall just let everything go and make no decision, but just protract and wriggle out of [it]," the whole thing is equally wrong, for then naturally nothing happens. But if he is ethical enough to suffer to the core of his personality, then generally because of the insolubility of the conscious situation, the Self manifests. In religious language you could say that the situation without issue is meant to force the man to rely on an act of God. In psychological language the situation without issue, which the anima arranges with great skill in a man's life, is meant to drive him into a condition in which he is capable of experiencing the Self. When thinking of the anima as the soul guide, we are apt to think of Beatrice leading Dante up to Paradise, but we should not forget that he experienced that only after he had gone through Hell. Normally, the anima does not take a man by the hand and lead him right up to Paradise; she puts him first into a hot cauldron where he is nicely roasted for a while.

The writer, having lost his way in a gloomy forest, and being hindered by certain wild beasts from ascending a mountain, is met by Virgil, who promises to show him the punishments of Hell, and afterwards of Purgatory; and that he shall then be conducted by Beatrice into Paradise. He follows the Roman Poet.

... Kökü dışarda bir aşk, Dante ile Beatrice'inkine Fena öykünüyor.

I think Dante would agree with you. Even though Beatrice married someone else and died young, Dante loved her his entire life. The love was a part of him, because to him, Beatrice was ideal. He barely knew her, had only met her twice, but yet he truly claimed to love her. Can anyone tell me why?”No one spoke up. Carmine sighed exasperatedly. This lesson was becoming frustrating to sit through. “Because he really loved the person she made him. It has just as much to do with how he felt as it did with who she was.”“You’re right,” Mrs. Chavis said. “Dante said of her, ‘she has ineffable courtesy, is my beatitude, the destroyer of all vices and the queen of virtue, salvation.’ To him, she was his savior, the epitome of good. She rid him of his evil, made him feel worthwhile. That, we could argue, may be what he loved most of all.

All men, at one time or another, have fallen in love with the veiled Isis whom they call Truth. With most, this has been a passing passion: they have early seen its hopelessness and turned to more practical things. But others remain all their lives the devout lovers of reality: though the manner of their love, the vision which they make to themselves of the beloved object varies enormously. Some see Truth as Dante saw Beatrice: an adorable yet intangible figure, found in this world yet revealing the next. To others she seems rather an evil but an irresistible enchantress: enticing, demanding payment and betraying her lover at the last. Some have seen her in a test tube, and some in a poet’s dream: some before the altar, others in the slime. The extreme pragmatists have even sought her in the kitchen; declaring that she may best be recognized by her utility. Last stage of all, the philosophic sceptic has comforted an unsuccessful courtship by assuring himself that his mistress is not really there.

Siddhartha wants liberation, Dante wants Beatrice, Frodo wants to get to Mount Doom—we all want something. Quest is elemental to the human experience. All road narratives are to some extent built on quest. If you’re a woman, though, this fundamental possibility of quest is denied. You can’t go anywhere if you can’t step out onto a road… …(T)here is no female counterpart in our culture to Ishmael or Huck Finn. There is no Dean Moriarty, Sal, or even a Fuckhead. It sounds like a doctoral crisis, but it’s not. As a fifteen-year-old hitchhiker, my survival depended upon other people’s ability to envision a possible future for me. Without a Melvillean or Kerouacian framework, or at least some kind of narrative to spell out a potential beyond death, none of my resourcefulness or curiosity was recognizable, and therefore I was unrecognizable.

...la quale fue chiamata da molti Beatrice li quali non sapeano che si chiamare.

Beatrice tells Dante in Paradise, Canto XVIII: “Change your thoughts. Consider that I dwell with Him who lifts the weight of every wrong.” (L. 5-6)

A man must stand in fear of just those things that truly have the power to do us harm, of nothing else, for nothing else is fearsome. - Beatrice (Canto 2)

öyle üzgündü ki onları dinleyen Beatrice, ondan üzgün olamazdı çarmıhın dibindeki Meryem bile.

Eros is often our salvation from a false agape, as agape is from tyrannical eros. Redemption is everywhere exchanged.

The chief business of man is at any moment to be realizing his powers of intellectual apprehension—to understand, to the utmost of his capacity, things as they are.

That moment may last for the flash of her smile or for an evening or for six months. But it desires more than such a miracle; it desires the total and voluntary conversion of the lover.

Nove fiate già appresso lo mio nascimento era tornato lo cielo de la luce quasi a uno medesimo punto, quanto a la sua propria girazione, quando a li miei occhi apparve prima la gloriosa donna de la mia mente, la quale fu chiamata da molti Beatrice, li quali non sapeano che si chiamare.

If you look closer, if you go slowly, there can be story even without progress or plot, life in small change, like Dante and Beatrice, like fish swimming hard against the current just to stay where they are. They’re not getting anywhere, neither Dante nor the fish, but that doesn’t mean there isn’t effort, growth, triumph, and beautiful poetry. Trust me, stasis is challenging. And challenge is story.

I fell to thinking about my own life, now so debilitated, and reecting how short this life is, even in health, I began to weep about our wretched state. Sighing deeply, I said to myself: ‘One day, inevitably, even your most gracious Beatrice must die.’ This thought threw me into such a state of bewilderment that I closed my eyes, and I began, like a person who is delirious, to be tormented by these fantasies.

My cats Timmy & Tyke will always be at my side - They wont be jealous but make friends with Bootsie, Kewpie and Davey, and Beauty and Bob - even the little dry moth with the beady black eyes can sit on my arm forever, till we all see God when that which we love solves & melts in one Glow See? And the little mouse that I killed will devour me into its golden belly. That little mouse was God. Dante and Beatrice will be married. Please, that's enough, huh?

The commentaries on the Commedia also began stacking up at my bedside and on the bookshelf next to my chair in the den. There was Charles Williams’s The Face of Beatrice, Harriet Rubin’s Dante in Love, Yale scholar Giuseppe Mazzotta’s Reading Dante, and later the galleys for English Dantist Prue Shaw’s Reading Dante: From Here to Eternity. Most important of all, I began listening to the Great Courses audio lectures by Bill Cook and Ron Herzman, which made the poem come alive like nothing else.

The forest itself has different names in different tongues — Westermain, Arden, Birnam, Broceliande; and in places there are separate trees named, such as that on the outskirts against which a young Northern poet saw a spectral wanderer leaning, or, in the unexplored centre of which only rumours reach even poetry, Igdrasil of one myth, or the Trees of Knowledge and Life of another. So that indeed the whole earth seems to become this one enormous forest, and our longest and most stable civilizations are only clearings in the midst of it.

Beatrice esistette infinitamente per Dante. Dante, molto poco, forse niente, per Beatrice; tutti noi siamo propensi, per pieta, per venerazione, a dimenticare questo penoso contrasto, indimenticabile per Dante. Leggo e rileggo le traversie del suo illusorio incontro e penso a due amanti che l’Alighieri sognò nella bufera del secondo cerchio e che sono emblemi oscuri, anche se egli non lo comprese o non lo volle, di quella felicita che non ottenne. Penso a Francesca e a Paolo, uniti per sempre nel loro Inferno («Questi, che mai da me non fia diviso»). Con un amore spaventoso, con angoscia, con ammirazione, con invidia, deve aver forgiato questo verso.

The 6 feminine elements in a man are: His human mother. This is the actual woman who was his mother, she with all her idiosyncrasies, individual characteristics, and uniqueness. His mother complex. This resided entirely inside the man himself. This is his regressive capacity which would like to return to a dependency on his mother and be a child a gain. This is a man's wish to fail, his defeatist capacity, his subterranean fascination with death or accident, his demand to be take care of. This is pure poison in a man's psychology. His mother archetype. If the mother complex is pure poison, the mother archetype is pure gold. It is the feminine half of God, the cornucopia of the universe, mother nature, the bounty which is freely poured out to us without fail. We could not live for one minute without the bounty of the mother archetype. It is always reliable, nourishing, sustaining. His fair maiden. This is the feminine component in every man's psychic structure and is the fair damsel. It's is Blanche Fleur, one's lady fair, Dulcinea in Don Quixote, Beatrice to Dante in the Comedia Divina. It is she who gives meaning and color to one's life. Dr. Jung named this quality anima, she who animates and brings life. His wife or partner. This is the flesh and blood companion who share his life journey and is a human companion. Sophia. This is the Goddess of Wisdom, the feminine half of God, the Shekinah in Jewish mysticism. It comes as a shock to a man to discover that Wisdom is feminine, but all mythologies have portrayed it so. 49-50

IN A LIBRARY. A precious, mouldering pleasure 't is To meet an antique book, In just the dress his century wore; A privilege, I think, His venerable hand to take, And warming in our own, A passage back, or two, to make To times when he was young. His quaint opinions to inspect, His knowledge to unfold On what concerns our mutual mind, The literature of old; What interested scholars most, What competitions ran When Plato was a certainty. And Sophocles a man; When Sappho was a living girl, And Beatrice wore The gown that Dante deified. Facts, centuries before, He traverses familiar, As one should come to town And tell you all your dreams were true; He lived where dreams were sown. His presence is enchantment, You beg him not to go; Old volumes shake their vellum heads And tantalize, just so.

We must remember with Heine that Aristophanes is the God of this ironic earth, and that all argument is apparently vitiated from the start by the simple fact that Wagner and a rooster are given an analogous method of making love. And therefore it seems impeccable logic to say that all that is most unlike the rooster is the most spiritual part of love. All will agree on that, schisms only arise when one tries to decide what does go farthest from the bird's automatic mechanism. Certainly not a Dante-Beatrice affair which is only the negation of the rooster in terms of the swooning bombast of adolescence, the first onslaught of a force which the sufferer cannot control or inhabit with all the potentialities of his body and soul. But the rooster is troubled by no dreams of a divine orgy, no carnival-loves like Beethoven's Fourth Symphony, no heroic and shining lust gathering and swinging into a merry embrace like the third act of Siegfried. It is desire in this sense that goes farthest from the animal.

E nel fine del mio proponimento parvemi sentire uno mirabile tremore incomminciare nel mio petto da la sinistra parte, e distendersi di subito per tutte le parti del mio corpo. Allora dico ched io poggiai la mia persona simulatamente ad una pintura, la cual circundava questa magione: e tenendo che altri non fosse accorto del mio tremare, levai gli occhi, e, mirando le donne, vidi tra loro la gentilissima Beatrice. Allora fuoro sí distrutti li miei spiriti per la forza ch'Amore prese veggendosi in tanta propinquitade a la gentillisima donna, che non ne rimasero in vita piú che li spiriti del viso; ed ancora questi rimasero fuoti de li loro strumenti, pero che Amore volea stare nel loro nobilissimo luogo per vedere la mirabile donna: e avvegna ched io fossi altro che prima, molto mi dolea di questi spiritelli, que si lamentavano forte, e diceano: "se questi non ci infolgorasse cosí fuori del nostro luogo, noi protremmo stare a vedere la maraviglia di questa donna, cosi come stanno gli altri nostri pari".

But I have said enough about the negative side of the anima. There are just as many important positive aspects. The anima is, for instance, responsible for the fact that a man is able to find the right marriage partner. Another function is at least equally important: Whenever a man’s logical mind is incapable of discerning facts that are hidden in his unconscious, the anima helps him to dig them out. Even more vital is the role that the anima plays in putting a man’s mind in tune with the right inner values and thereby opening the way into more profound inner depths. It is as if an inner “radio” becomes tuned to a certain wave length that excludes irrelevancies but allows the voice of the Great Man to be heard. In establishing this inner “radio” reception, the anima takes on the role of guide, or mediator, to the world within and to the Self. That is how she appears in the example of the initiations of shamans that I described earlier; this is the role of Beatrice in Dante’s Paradiso, and also of the goddess Isis when she appeared in a dream to Apuleius, the famous author of The Golden Ass, in order to initiate him into a higher, more spiritual form of life.

One way to respond to these "sins" is found in The Divine Comedy, in which Dante is ultimately led to the vision of God by his guide, Beatrice. In first traversing through the Inferno, Dante reveals that the inhabitants of the Inferno are not there because they are sinners. Sinners also make up the populations of Purgatory and Paradise. Rather, those souls are in the Inferno because they are sinners who refused to admit to their own sins. They denied their faults and projected them onto others, blaming everyone around them. The lesson we learn is that only when our sins become acknowledged and deeply felt can they be integrated. Deep reflection and prayer are an important part of the integration of the [inner] shadow. Once we admit to our shadow with honesty and an open heart, the shadow has the potential to become transformed. Once the shadow is integrated, the Seven Deadly Sins can become aspects of a healthy self. Greed and lust become passion, imbuing our journey with heart and fire. Anger transforms into righteousness that acts compassionately for own and other's behalf. The healthy side to gluttony is self-care, something many women have to learn. Envy, once integrated, becomes an appreciation of others. And in a society where doing is valued over being, sloth turns into the ability to be still. Pride enables us to feel good about our accomplishments and grow in confidence and strength. But the path to authenticity is to admit these qualities are within us. It is shadow work that enables holy women to make their hidden struggles into levers with which to free themselves.

Here we should notice a peculiar fact: that there are movements which are both essentially involuntary and yet confined to persons - to creatures with a self-conscious perspective. Smiles and blushes are the two most prominent examples. Milton puts the point finely in Paradise Lost: for smiles from Reason flow, To brute denied, and are of love the food. These physiognomic movements owe their rich intentionality to this involuntary character, for it is this which suggests that they show the other 'as he really is'. Hence they become the pivot and focus of our interpersonal responses, and of no response more than sexual desire. The voluntary smile is not a smile at all, but a kind of grimace which, while it may have its own species of sincerity—as in the smile of Royalty, which as it were pays lip-service to good nature — is not esteemed as an expression of the soul. On the contrary, it is perceived as a mask, which conceals the 'real being' of the person who wears it. Smiling must be understood as a response to another person, to a thought or perception of his presence, and it has its own intentionality. To smile is to smile at something or someone, and hence when we see someone smiling in the street we think of him as 'smiling to himself, meaning that there is some hidden object of his present thought and feeling. The smile of love is a kind of intimate recognition and acceptance of the other's presence - an involuntary acknowledgement that his existence gives you pleasure. The smile of the beloved is not flesh, but a kind of stasis in the movement of the flesh. It is a paradigm of 'incarnation': of the other made flesh, and so transforming the flesh in which he is made. Thus the smile of Beatrice conveys her spiritual reality; Dante must be fortified in order to bear it, for to look at it is to look at the sun (Paradiso, XXIII, 47—8): tu hai vedute cose, che possente set fatto a sostener lo riso mio.

[Canzone III] Li occhi dolenti per pietà del core hanno di lagrimar sofferta pena, sì che per vinti son remasi omai. Ora, s’i’ voglio sfogar lo dolore, che a poco a poco a la morte mi mena, convenemi parlar traendo guai. E perché me ricorda ch’io parlai de la mia donna, mentre che vivia, donne gentili, volentier con vui, non voi parlare altrui, se non a cor gentil che in donna sia; e dicerò di lei piangendo, pui che si n’è gita in ciel subitamente, e ha lasciato Amor meco dolente. Ita n’è Beatrice in alto cielo, nel reame ove li angeli hanno pace, e sta con loro, e voi, donne, ha lassate: no la ci tolse qualità di gelo né di calore, come l’altre face, ma solo fue sua gran benignitate; ché luce de la sua umilitate passò li cieli con tanta vertute, che fé maravigliar l’etterno sire, sì che dolce disire lo giunse di chiamar tanta salute; e fella di qua giù a sé venire, perché vedea ch’esta vita noiosa non era degna di sì gentil cosa. Partissi de la sua bella persona piena di grazia l’anima gentile, ed èssi gloriosa in loco degno. Chi no la piange, quando ne ragiona, core ha di pietra sì malvagio e vile, ch’entrar no i puote spirito benegno. Non è di cor villan sì alto ingegno, che possa imaginar di lei alquanto, e però no li ven di pianger doglia: ma ven tristizia e voglia di sospirare e di morir di pianto, e d’onne consolar l’anima spoglia chi vede nel pensero alcuna volta quale ella fue, e com’ella n’è tolta. Dannomi angoscia li sospiri forte, quando ’l pensero ne la mente grave mi reca quella che m’ha ’l cor diviso: e spesse fiate pensando a la morte, venemene un disio tanto soave, che mi tramuta lo color nel viso. E quando ’l maginar mi ven ben fiso, giugnemi tanta pena d’ogne parte, ch’io mi riscuoto per dolor ch’i’ sento; e sì fatto divento, che da le genti vergogna mi parte. Poscia piangendo, sol nel mio lamento chiamo Beatrice, e dico: "Or se’ tu morta?"; e mentre ch’io la chiamo, me conforta. Piange di doglia e sospirar d’angoscia mi strugge ’l core ovunque sol mi trovo, sì che ne ’ncrescerebbe a chi m’audesse: e quale è stata la mia vita, poscia che la mia donna andò nel secol novo, lingua non è che dicer lo sapesse: e però, donne mie, pur ch’io volesse, non vi saprei io dir ben quel ch’io sono, sì mi fa travagliar l’acerba vita; la quale è sì ’nvilita, che ogn’om par che mi dica: "Io t’abbandono", veggendo la mia labbia tramortita. Ma quel ch’io sia la mia donna il si vede, e io ne spero ancor da lei merzede. Pietosa mia canzone, or va piangendo; e ritrova le donne e le donzelle a cui le tue sorelle erano usate di portar letizia; e tu, che se’ figliuola di tristizia, vatten disconsolata a star con elle.

Vedem pe marii poeti ai antichitatii - intre ei Homer, cu spada in mana - poeti cu care Dante schimba cuvinte ce nu pot fi reproduse. Insa aici troneaza tacerea, pentru ca totul este dominat de teribila pudoare a celor care nu vor vedea niciodata chipul Domnului. Dar, indata ce ajungem la cantul al cincilea, vedem ca Dante facuse deja marea sa descoperire: posibilitatea unui dialog cu sufletele mortilor, pe care apoi ii va judeca in felul sau. Nu, nu-i va judeca; el stie ca nu este judecator; judecator este altcineva; este cel de-al treilea interlocutor, este divinitatea. Ei bine, aici se afla Homer, aici se afla Platon si alti barbati ilustri. Dante vede insa doi oameni pe care ii cunoaste si care apartin lumii contemporane lui: Paolo si Francesca. El stie cum au murit cei doi adulteri. Ii cheama si ei vin indata. Dante spune: 'Quali colombe dal disio chiamate'. Suntem in fata a doi pacatosi, iar Dante ii compara cu 'doi porumbei chemati de dorinta'. Si asta pentru ca senzualitatea trebuie sa fie, de asemenea, in centrul scenei. Atunci se apropie de el Francesca, singura care vorbeste (Paolo nu poate vorbi), multumindu-i pentru ca i-a chemat, si ii spune aceste cuvinte patetice: 'Se fosse amico il re de l'universo noi preghiremmo lui de la tua pace', 'Daca Regele Universului ne-ar fi prieten l-am ruga pentru pacea ta', adaugand: 'din moment ce pacatele noastre nu-ti inspira mila'. Apoi, ea isi povesteste istoria si o spune de doua ori. Prima data o povesteste intr-o maniera rezervata, dar insista asupra faptului ca ea continua sa fie indragostita de Paolo. Continua sa fie indragostita de Paolo, deoarece sentimentul caintei este imposibil in Infern. Cainta este oprita in Infern, astfel incat, stiind ca a pacatuit, ea continua sa fie credincioasa pacatului sau, iar aceasta ii da o grandoare eroica. Ar fi fost oribil, de pilda, daca s-ar fi lamentat, daca s-ar fi cait, daca s-ar fi plans de cele intamplate. Dar ea accepta aceasta pedeapsa, stie ca pedeapsa a fost dreapta si continua sa-l iubeasca pe Paolo. Vorbind despre dragostea lor, Dante aminteste ca 'Amor condusse noi ad una morte', si, intr-adevar, dragostea i-a dus pe amandoi la moarte; amandoi au fost executati impreuna. Apoi, Dante este curios sa mai afle ceva. Dar pe el nu-l intereseaza adulterul, nu-l intereseaza in ce mod au fost descoperiti si apoi ucisi. Pe el il intereseaza ceva mult mai intim. El ar vrea sa stie cum si-au dat seama ei ca erau indragostiti, cum s-au indragostit si cum a venit timpul dulcelor suspine. [...] Aici este ceva ce nu spune Dante, ceva care se simte de-a lungul acestui intreg episod si care-i subliniaza virtutea. Iata: Dante, cu infinita compatimire, ne infatiseaza destinul celor doi amanti, dar, totodata, se simte ca el invidiaza acest destin. Ei raman in Infern, iar el se va salva. Ei insa s-au iubit, in timp ce el nu a reusit sa fie iubit de femeia pe care el o adora, Beatrice. In schimb, acesti doi infami sunt impreuna, desi nu-si pot vorbi si se rotesc in acea neagra involburare, fara nici o speranta, fara a spera macar, ne spune Dante, ca suferintele lor vor inceta vreodata, dar ei sunt impreuna, si cand ea vorbeste, spune 'noi'. Cu alte cuvinte, ea vorbeste pentru amandoi, ceea ce inseamna ca, intr-un fel, ei sunt impreuna. Sunt impreuna pentru eternitate, impartasesc amandoi Infernul, iar acest lucru ii pare lui Dante un fel de Paradis...

It is not difficult to imagine that music, like Dante’s Beatrice, is one of the ways in which grace operates through beauty—that music, like Beatrice, is a mediator.

Beatrice, [...] ché non soccorri quei che t’amò tanto, che uscì per te dalla volgare schiera? (Inferno, II, 103-105)

What then are those fruits? They are, according to Aristotle, eleven; they are: (1) Courage—which controls rashness and timidity. (2) Temperance—which controls indulgence and abstinence. (3) Liberality—which controls giving and receiving. (4) Magnificence—which incurs and limits great expense. (5) Magnanimity—which moderates and acquires honour and reputation. (6) Love of honour—which moderates and orders us as regards this world’s honours. (7) Mansuetude—which moderates our anger and our overmuch patience with external evils. (8) Affability—which makes us ‘con-vivial’ or companionable with others. (9) Truthfulness—which prevents us in our talk from pretending to be more or less than we are. (10) Pleasantness (eutrapelia)—which sets us free to make a proper and easy use of amusement (‘sollazia’—solace). (11) Justice—which constrains us to love and practise directness in all things. These are the eleven virtues of largesse; these are the powers which are provoked into action by the girl’s challenge, because they are the ‘valore’ of a man. It is indeed these which Beatrice, consciously or unconsciously, encourages, and in which she takes delight.

the first sight of Beatrice had been to Dante: Here begins the New Life.

For whence did Dante take the materials for his hell but from this our actual world? And yet he made a very proper hell of it. And when, on the other hand, he came to the task of describing heaven and its delights, he had an insurmountable difficulty before him, for our world affords no materials at all for this. Therefore there remained nothing for him to do but, instead of describing the joys of paradise, to repeat to us the instruction given him there by his ancestor, by Beatrice, and by various saints. But from this it is sufficiently clear what manner of world it is.

I saw—no, I think the word is beheld—the most wondrous thing in the world. This church was indescribably complex and harmonious; it was like stepping into the mind of God. I was overcome by the desire to worship—a feeling I would not see as adequately articulated until many years later, when I would read Dante Alighieri’s description, in his first book, Vita nuova, of the first time he, as a child, saw Beatrice:

Adesea, în timpul dezvoltării animei, probabil că tinerii au, în perioada școlară, o prietenă pe care o admiră, însă din cauza vârstei nu se pot căsători cu ea. Se căsătoresc apoi cu un alt tip, pentru ca mai târziu în viață - să zicem între patruzeci și cincizeci de ani - această imagine-anima admirată să revină, jucând, de obicei, rolul interior al celei care conduce la Sine. Acest aspect al animei preia rolul lui Beatrice a lui Dante, și anume cel al călăuzitorului spre secretul interior. Cealaltă parte a animei, proiectată asupra unei femei reale, este cea care îl atrage pe bărbat în căsătorie și viață. Așadar, se poate spune că există un aspect al imaginii-mamă a animei care conduce la căsătoria exogamă și, odată cu asta, de regulă, la angajarea în viața exterioară, și un aspect endogam al aceleiași imagini, care rămâne în interior, devenind mai târziu ghidul spre realizarea vieții interioare.

Beatrice certo doveva essere bellissima, anche se lui non ce la descrive mai. Di lei sappiamo solo che aveva occhi color smeraldo e incarnato chiaro, color di perla, ma non pallidissimo. E che per essemplo di lei bieltà si prova, ovvero che era l’archetipo stesso in relazione al quale si fa esperienza del bello, l’unità di misura, diremmo noi, della bellezza femminile.

Donne ch’avete intelletto d’amore resterà sempre, per Dante, tra le sue composizioni giovanili, la preferita. Con essa lui fa cominciare il suo dolce stil novo. Lo dice nella Vita nova, lo ripete nella Commedia, e la cita anche nel De vulgari eloquentia. Dove, tra i migliori poeti toscani del suo tempo, insieme a Guido e a Cino da Pistoia, continua a far figurare questo Lapo, senza che se ne comprenda la ragione. Per fortuna ci sono ancora degli spazi in cui è lecita l’immaginazione, e allora approfittiamone: Lapo era Beatrice. Con quello stile un po’ rétro di chi desidera e ha paura, con l’amante poeta vuol far bella figura e ci prova come può...

He was also a poet, and a particular kind of poet; what kind he describes in the Purgatorio (XXIV, 52-63) Io mi son un che, quando Amor mi spira, noto, ed a quel modo che ditta dentro, vo significando. ‘I am one who, when Love breathes in me, note it, and expound it after whatever manner he dictates.

He who does not merit—Beatrice? say, ‘salute’, salvation—need not hope to find her. But this is to identify Beatrice with salvation? Yes, and this is the identity of the Image with that beyond the Image. Beatrice is the Image and the foretaste of salvation.

Dante Alighieri morirà a Ravenna il 13 settembre 1321, dopo aver portato a termine la Commedia. Franceschino sarà l’ultimo degli Alighieri a risiedere a Firenze prima di trasferirsi a Bagno a Ripoli. Sarà lui a sottoscrivere, anche a nome dei nipoti Pietro e Iacopo, l’atto di pace fra gli Alighieri e i Sacchetti, nell’ottobre 1342. Di Tana non si hanno più notizie dopo il 1320. Gemma Donati rientrerà in città, dove si spegnerà nel 1341. Pietro, che stenderà un commento al poema del padre, abiterà prevalentemente a Verona. Morirà nel febbraio 1364. Iacopo, lui pure studioso della Commedia, morirà prima del 1349, forse nella grande peste del ’48. Antonia, dopo la morte del padre, si ritirerà in un convento di Ravenna con il nome di suor Beatrice.

Aprì la finestra e cominciò a cantare accompagnandosi con lo strumento: E ’l viver mio (omai esser de’ poco) fin a la morte mia sospira e dice: «Per quella moro ch’ha nome Beatrice». E il miracolo avvenne ancora. Non aveva neanche finito la seconda stanza, che vide la finestra di fronte spalancarsi e Bice “spuntare” in tutta la sua bellezza. «Salute...», gli disse. «Risponderei “salute” anch’io, se detto da me significasse la stessa cosa...», balbettò. Tanto gentile e tanto onesta pare la donna mia quand’ella altrui saluta, ch’ogne lingua deven tremando muta, e li occhi no l’ardiscon di guardare... «Cosa c’è nel mio “salute” che non potreste rendermi per le rime?», chiese lei. «Detto da voi significa “salvezza”, perché la vostra bellezza è quella di un angelo». «Mi auguro vivamente di no, perché una simile bellezza sarebbe una condanna più che una benedizione: prometterebbe a chi mi guarda una felicità che io non potrei mai offrire a chi da un angelo, invece, se l’aspetterebbe». Ella si va, sentendosi laudare, benignamente d’umiltà vestuta; e par che sia una cosa venuta da cielo in terra a miracol mostrare... «Io mi accontenterei anche della semplice promessa: mi basterebbe vivere come posso, com’è concesso a un qualsiasi mortale, ma mi darei le arie di uno che abbia già prenotato da tempo il suo posto in Paradiso...». Il sorriso che Beatrice gli rivolse allora gli sbriciolò l’anima come un violino suonato da un arcangelo. Mostrasi sì piacente a chi la mira, che dà per li occhi una dolcezza al core, che ’ntender no la può chi no la prova... «Se vi basta la semplice promessa», lei gli rispose, «sappiate che già v’appartiene come la vista del mio volto adesso, che nessuno potrà togliervi mai...». E par che de la sua labbia si mova un spirito soave pien d’amore, che va dicendo a l’anima: Sospira.

Questo, a distanza di anni, Dante avrebbe capito dell’amore terreno. Come al solito, lui che sapeva dipingere, riassumerà tutto in un’immagine. Bisogna spostarsi, per trovarla, nel purgatorio dell’amore: la cornice è di nuovo quella dei lussuriosi, le anime intrappolate nell’amore carnale, che tuttavia, a differenza di quelle dell’Inferno, hanno saputo uscirne, ovvero non hanno smarrito del tutto, per amore, la via. Perché l’amore ci danna o ci salva... Dante cammina, davanti a lui c’è Virgilio, la ragione. Da una parte ha le fiamme in cui ardono i poeti che popolano questa cornice, dall’altra il baratro. Da una parte c’è l’eccesso di passione, dall’altra il vuoto d’amore. Da una parte il pericolo di bruciarsi, dall’altra quello di precipitare... Bisogna camminarci in mezzo: è questa – ci dice – la via. Poco oltre, varcato un fuoco che non brucia, immagina di rivedere, dopo anni, Beatrice. A disbramarsi la decenne sete. Come sia accaduto, non sa dirlo neanche lui che sa dire tutto. L’amore per monna Bice avrebbe potuto benissimo essere la sua dannazione. Invece fu la sua salvezza.

What Beatrice was to Dante, Guinevere to Lancelot, business has been for millions of English-speakers. They have wooed her as assiduously as Paris wooed Helen.

From 1864 to 1870 Rossetti was at work on his masterpiece, one of the great morbid statements of all nineteenth-century art, the Beata Beatrix in which he depicted Elizabeth as the Beatrice of Dante’s Vita Nuova.

The Beatrice that obsessed Dante was a Florentine named Bice di Folco Portinari. Envision this moment (and, in all fairness, I am envisioning it the way Henry Holiday did in his exquisite nineteenth-century painting): Bice is walking beside the Arno River, dressed in white, the fabric clinging to her legs and outlining her slender thighs, and there is Dante. He meets her at the corner of one of the bridges that span the river. His left hand, at first glimpse, is moving casually toward his hip; it is only on a more careful study that one realizes his hand is actually going up to his heart. Meanwhile, his right hand is resting on the bridge’s waist-high stone balustrade, as if Bico’s beauty is such that he needs to steady himself when he beholds her.