LA DIVINA COMMEDIA di Dante Alighieri. INFERNO. CANTO I. [Incomincia la Commedia di Dante Alleghieri di Fiorenza, ne la quale tratta de le pene e. Bit earlier than promised, I’ve finished the Paradiso, so I bring you complete Dante Alighieri’s Divine Comedy in PDF for free download, as 3 separate eBooks – Inferno, Purgatorio, and Paradiso. Dante Alighieri’s Divine Comedy – Inferno (MB) This entry was posted in. ENGLISH TRANSLATION AND NOTES. PAUL GUSTAVE DOR´E. ILLUSTRATIONS. JOSEF NYGRIN. PDF PREPARATION AND TYPESETTING.
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Divina commedia. Paradiso, a cura di P. Genesini. 1. L'universo di Dante. DIO serafini cherubini troni dominazioni virtù potestà principati arcangeli angeli. Free site book and epub digitized and proofread by Project Gutenberg. Click on the DOWNLOAD button above if you would like to download this Index to your hard disk and save it there with all the volumes of the entire set. Following.
Inferno — I. The musical material of the first picture gravitates in the tonic F axis that adopts as a nucleus the tonic sounds and those of the intra-axial dominant: The second section is profiled under the form of an epic discourse that is developed on the ostinato repetition of the basic chord.
The nucleus of the musical discourse comes back as well in the following structure: F — Ab and also the author brings back repeats of the motif from the second segment of the first section see comparatively the example number two. By training a few groups of exceptional divisions the decimole, the octuplet, the quintuplet in a crescendo we have the dynamics to be once again amplified to f, ff.
The intervallic evolution that is developed under a fan shape and it is marked by turned chromatic formulae. These formulae are developed in the chromatic pentachord that can be found between the sounds F — A. The theme of rondo has a style of an ironic scherzo. There are repetitions of equal and staccato sounds of the trombone that draw a descending, semi chromatic melodic line that is marked by numerological symmetries.
The superior voice of the piano accompaniment takes back in a transposition the rondo theme to a perfect fifth, to a superior ninth respectively. Through the altered thematic restarts, the musical discourse receives a polyphonic allure.
The first segment is a recitativo recto-tone made on the sound D.
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There is an exception on the first sound, which is the first sound, which in this case is C. The Dynamics of the segment is the steady mezzo forte when the tempo is a continuum accelerando that is indicated by the composer through a horizontal arrow.
The two segments are visually delimited through a column that is situated on a respiratory sign. As opposed to the first segment, the second segment is melodically developed on an ascending semi-chromatic scale having a single coming back of a descending semitone along the way.
The intervallic patterns by the semitones content are the following: The dynamics as opposed to the steady mezzo forte of the first segment is an mp dim. Through this dynamic decrescendo, we can find the composer to counterbalance the ascending scale: The replacement of the interpretative breaks by white noise are made not only to overload the score with deranging graphic elements but they also represent the overlapping of two musical dimensions, namely, the basic sonorous dimension of the silence.
The rondo theme comes back as subito in the basic tempo of the part in the thematic section that promotes a polyphonic discourse on an accorded background of basso ostinato. The author uses coloured sonorous effects in the vocal party; these effects are the ones of falsetto and the descending glissando.
This episode represents a variation of the first episode. The base of the harmonically sustaining is made of a chord between two strata that are distanced to a diminished eighth. In its recitativo structure and the dialogue between the trombone and the voice, we have the composer to interweave some returns of the rondo theme.
On a musical plan, this episode makes a synthesis of the first two episodes of this part. The Parlato of the solo voice is counter pointed sporadically by motive fragments that are recommended along the part. As there is the first part this second part, this has a YIN character.
The seven sections of the composing form that have a very short coda added to them are unwounded after the following scheme. The building of the form is a symmetrical and a concentrically one, the essence of the whole is made by the second dialogue when the vocal soloist seems to be in a delirium.
Andante Recitativo Agitato Recitativo Agitato Recitativo Andante Tranquillo Libero Libero Libeeo The Section I is a ballad — monologue whose central sonority has the tone C as it already can be seen in the solo voice party of the first measures of this section. In these chords, one element of the six or five chromatically slides down. The remarkable interval from the chords is made by the major third. Above these chords, the trombone intones glassy sonorous effects of glissando and con sordino.
Either the recitativo libero is a spoken one — parlando or it is intoned with some determinative heights although without having a precise rhythm. The rhythm is suggested by the form of the head of the musical note — with a square shape longer , or rounded shorter. The harmonic sustaining relies on stratified chords that gravitates around two eighths: The alternations of a long — short duration are graphically expressed in the similar way to the previous sections, namely, through square notes and also through round notes respectively.
La Divina Commedia di Dante by Dante Alighieri
The piano accompanies this short arioso through chorded axial figurations of 11, 7, 16, and 10 tones. Et hoc est eis conveniens, quia multa invocatione opus est eis, cum aliquid contra comunem modum hominum a superioribus substantiis petendum est, quasi divinum quoddam munus.
Upon this basis he subdivides his prologue: Ergo presens prologus dividitur in partes duas, quia in prima premittitur quid dicendum sit, in secunda invocato Apollo; et incipit secunda pars ibi: '0 bone Apollo, ad ultimum laborem. It is to be noted that throughoutDante's criticalpracticesuch division is determinedby content alone, and may be quite independent of the division in metrical form. Thus the secondmajor division of the Paradiso begins at a formally insignificantpoint within the first canto.
The divisions of the regularsonnetsin the Vita nuova show the same concern for content rather than for metrical form. In the course of the little book Dante divides seventeen such sonnets. The first is divided into two parts, of which the first contains four lines, and the second ten. Dante's division, then, is not a superficiala prioriprocess;it is a searchingobjective analysis of poetic results. It is, furthermore, sound in principleand often very helpful to the reader. If Dante had written a commentaryon the whole Comedy, as he presumablydesiredto do, he would certainlyhave followedthe same plan.
How would his division have started? This content downloaded from Pars secunda incipit ibi And then would have followed a Latin translation of all or a portion of the first line of the second or "executive" part of the Comedy. What would that line have been? In other words,how much of the Comedy did Dante regardas constituting its prologue?
In still other words, how much of the Comedy really is prologue? There are but two possibilities. The first possibility is that the prologue consists of the first canto of the Inferno, the executive part commencingwith the second canto. The second possibility is that the prologueconsists of the first two cantos of the Inferno, the executive part commencing with the third canto.
That canto, beginning Per me si va ne la citt dolente, belongs beyond reasonablequestion in the executive part. The general view of the matter accepts the first of these two possibilities,and refinesupon it by saying that the first canto is an introductionto the poem as a whole, whereas the second canto is an introduction to the Infernoin particular.
Dante is always symmetrical in the arrangement of his writings, and this is especially seen in the Divina Commedia. The whole poem consists of one hundred Cantos; the three Cantiche, of the Inferno, the Purgatorio,and the Paradiso, each containing thirty-three, leaving this first Canto of the Inferno, as we have just noticed, as an Introduction to the complete work. Vernon, Readingson theInfernoof Dante,2d ed.
I, pp. I do not know of a single modernedition or commentarywhich takes any other view. Nor have I seen any edition or commentarywhich distinctly accepts the second possibility as correct. That is why Paradiso is a special world that has no connection to those two parts of the Dantescian creation either with the under-world or the world of the above.
It is a speck of dust in the Endlessness of the Cosmos. But our spirit before flying again freely in the Cosmos is embodied on the Earth, by going in every circle of the spiral that goes down into the abyss and then it goes up in an enflamed rising. The text in the Italian language is selective and it is musically processed as the previous parts have been processed. The composer extracts the following lines from the contexts. Canto XXI — I saw a ladder, glimmering like gold 28 I saw a ladder, glimmering like gold Lit by a sunbeam, running up so high That my sight could not trace it to the top.
La Divina Commedia, in: Grafycolor, Cluj-Napoca, , p. Canto XXX - From out this river shot up living sparks 64 From out this river shot up living sparks That dropped on every side into the blossoms, Like rubies in a setting of pure gold. Then, as if intoxicated by the fragrance, They dove once more into the wondrous flood, And as one sank, another spark shot out.
But by now my desire and will were turned, Like a balanced wheel rotated evenly, By the Love that moves the sun and the other stars. The first section adopts a rondo form of the following scheme: Paradiso — I.
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Canto XXI. The composer allows an ampler development for the thematic segments A except for Avar2 that in the four measures have the roles to remind of the main thematic material before the musical approach of a new section.
The Segment A involves only the party of the piano. In this way, it constitutes an ample introduction for the entire Paradiso. Its own highlighted chords on one hand, by the sforzando, and on the other hand, by their prolongation under the form of the pedals in the acute and the low register that frame the flow of crochets of the inner voices.
They suggest the tolling of the bells. The Segment B imposes in a forefront the tone C and the chord C major as a symbol of the golden glittering light, which is the way through which Dante perceives the ascending steps of a wonderful scale. In this segment, the solo voice intervenes through a recitativo parlato lento on the E tone.
This recitativo is suggestively ended through an illustrative programme music on an ascending Phrygian scale. The following segment Avar1 brings back the ascending suggestive motifs as some synaesthetic counterparts of the golden scale.
The central C tone is imposed as a rhythmic pedal from the first measure of the tone already see m.
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Alongside the segment, the musical discourse circumscribes the following axis: The presence of the tone C can be found in the melodic line of the solo, too; however, it is seen in a latent form. In the case of the light symbol, closed to the tone C, the anti-pole is imposed in a forefront in the axial system, which is the tone F. This tone appears to medium voice of the instrument under the form of a rhythmic pedal that is coated with its own scordatura the tone F that alternatively appears in the Triplet of Semiquavers.
We can mention the fact that, so far, in this part, the composer has not used any values of the semiquavers or any exceptional metrical divisions either.
It reproduces the main thematic material under a varied form.
It is a Quasi trio in an Allegretto grazioso tempo. This new section of the form develops using the following scheme: A B Avar1 m. By this procedure of harmonic support, we can find the author to allude subtly to the sonority of the harp. The segment A is ended through chords of longer duration and, by using the legato, it suggests the bangs of the bells through an illustrative programme music: However, the tempo stays unchanged as an Allegretto grazioso.
The entire segment, along the three measures is in fact, a melodic circumscription of a chromatic descendant scale between the tones that are situated to the pole - anti-pole, namely, E — Bb. In the party of the piano, above a G pedal that is chord amplified, the right hand develops an arpeggio of a descending chromatic six-four chord. The sustaining chords are interpreted into a Quasi Staccato: From a tonal point of view, one of the most interesting solutions is offered in the measure 81 at the beginning of the segment Avar2.
Here, in the moment of the apparition of the a motif under a varied form var2 the basic G minor tonality of the previous segments this is changed through Bb G -D-B. Regarding the sixty-one measures of the first Andante section, this coming-back to the first tempo Tempo I. It is conceived as a rounding of the musical form that has the role to re-equilibrate the musical discourse. In the same section, the basic musical motif of the first section, comes back in the same tonal context, C — F.Just wanted to share that with you.
What a blessing to find this available and in such an easy to read and use format. He sees Mary, Jesus and in the end God himself. And I can hardly believe that Dante would have been content to let the Comedy stand without an invocation in the general prologue. Concerning the cerebral effort, probably the canticas were more cognitively involving for the Humanist group, since their previous knowledge of them.
And thank you Dan Brown for exposing great Classics. The second possibility is that the prologueconsists of the first two cantos of the Inferno, the executive part commencing with the third canto. I use mobile view of WPS office in my android phone and have had a wonderful time reading this.