Kelly: Dating the Accessus Section of the Pseudo-Dantean Epistle to Cangrande
The tragic incompatibility of Dante and the Epistle to Cangrande be a tragedy, but also classified his own lyric poems, notably, Donne ch'avete . to consult Aristotle's work (in a different Latin translation) and quote further from it. .. Das Schreiben an Cangrande della Scala (Hamburg, ), pp. xliv-xlix. Main · Videos; Epistola a cangrande della scala testo latino dating. Because tilled bystanders which as ware, predestination among unforeseeable. Latin, and not vice versa.4 Since it is unthinkable that Boccaccio knew the Epistle to .. Boffito, L'Epistola di Dante Alighieri a Cangrande della Scala (Turin. ), and Paget °Guido names lyric, satiric, tragic, and comic poets. Cangrande.
The passages common to Cangrande and Guido are labeled E1. Jenaro says 5 that Guido must have taken E1 from Cangrande, since Cangrande could not have taken E1 from Guido without its being contaminated by N and by Guido's intercalations in E1. Jenaro's real objection would seem to be that he finds it implausible that Cangrande, if it were posterior to Guido, should have made such a selective use of Guido; but he does not seem to find it puzzling that Guido should have made such a selective use of Cangrande.
Why, for instance, would Guido say that there are only four kinds of literature when Cangrande says that there are six? In my view, it is much more probable on the face of it that the material was original to Guido and was accidentally or deliberately dropped by the Accessor or by the Compiler.
There seems to be a likelihood of accidental omission by reason of homoeoteleuton in Cangrande's statement of Dante's literal subject. Here is Guido's commentary on the point, with the passage omitted by Cangrande in brackets I have italicized the long identical phrases that would have given rise to the scribal eyeskip: Si enim accipiatur litteraliter, dico quod subiectum huius operis est status animarum post mortem simpliciter sumptus: Primus status sive conditio est illarum animarum que eternaliter sunt damnate, et que in penis habitant sine spe aliqua evadendi ex illis; et ista pars appellatur Infernus.
Secundus status sive conditio est illarum animarum que voluntarie stant in penis, ut Deo satisfaciant de commissis, et sunt in ipsis penis cum spe ad gloriam ascendendi; et ista pars Purgatorium appellatur. Tertius status sive conditio est illarum animarum que sunt in beata gloria, ipsi summo et eterno bono eternaliter hoc est, sine fine coniuncte; et ista pars appellatur Paradisus. Et sic patet quomodo subiectum huius operis est status animarum post mortem simpliciter sumptus].
Nam de illo et circa illum totius huius operis versatur processus. Est ergo subiectum totius operis, litteraliter tantum accepti, status animarum post mortem simpliciter sumptus.
Nam de illo et circa illum totius operis versatur processus. I give Guido's text and bracket the material not in Cangrande: Circa quartam, id est circa causam finalem, nota quod autor istud opus composuit ad hunc finem principaliter, licet et multi alii possint assignari fines. Est autem principalis eius intentio removere viventes a statu miserie, [relinquendo peccata, et sic composuit Infernum; reducere ad virtutes, et sic composuit Purgatorium;] ut sic eos perducat ad gloriam, [et sic composuit Paradisum.
Fines vero alii qui possunt assignari in hoc opere sunt tres: Secundus finis est ut libros poetarum Tertius finis est ut vitam Et sic patet que est causa finalis in hoc opere]. Cangrande, in contrast, has an air of cutting through garrulity.
Finis totius et partis esse posset et multiplex, scilicet propinquus et remotus. Sed, omissa subtili investigatione, dicendum est breviter quod finis totius et partis est removere viventes in hac vita de statu miserie et perducere ad statum felicitatis.
Boccaccio's commentary must preserve something of the original form of the Proto-Accessus passage: The same would be true, I must add, if there was indeed a Proto-Accessus of the sort that I have postulated: Nevertheless, I consider it plausible that the expression was in fact original to Guido, for two reasons. First, Guido goes on to contrast whole with parts by referring to occasional speculative passages within the Comedy as possible exceptions to his general statement: The Compiler did not independently think of drawing on the Aristotle passage; rather, he was inspired by the Accessor's use of it.
Guido employs the twelfth-century Anonymous translation, whether in its original form or in the revision made by William of Moerbeke in the s. Moerbeke's was the fifth version of the Metaphysics to be produced in less than a century. The version used by the Compiler was the oldest of the translations, that made by James of Venice Iacobus Veneticus Graecus.
Epistle to Cangrande Updated
He drew on the first part of Thomas Aquinas's prologue to his Metaphysics commentary in the Convivio and the Monarchia: In any case, it does not seem very likely that Dante as author of the Epistle to Cangrande would have drawn on two different translations of the Metaphysics or excerpts from two different translations to cite portions of the same paragraph.
The Compiler, then, would be drawing directly only on the James of Venice translation. If the Compiler himself was the author of the Accessus, we would have to postulate that the Accessus had somehow become separated from the Dedication and, probably, from the Exposition as well before it was consulted by Boccaccio.
If the Compiler was not the author of the Accessus the hypothesis I favorwe must date the Accessus in its original form before the Compiler adapted it to a time after Guido's commentary and before Boccaccio's.
We can say nothing more about the Accessor's sources until we deal further with Guido and examine what some of the other commentators have to say. But since it is certain that Boccaccio used the Accessus at the time of his Dante lectures in the s, we must ask whether there are any signs of his earlier acquaintance with the work. The conclusion that he was drawing on the Accessus in the earlier work as well is strengthened by the fact that he uses the word quieto.
As we will see in Chapter VI, quieta was the Accessor's substitution for Guido's grata in his description of the first part of tragedy. Florencepp.
Dante Alighieri, Epistole: bibliography
Toynbee's variants are not based on the manuscripts but on Boffito's edition, which is not reliable. The transition to the Paradiso discussion comes at He cites a line from Cangrande 7.
Boccaccio read the generaliter as going with the first part of the sentence: Cited from his Esposizioni sopra la Comedia di Dante 1. La lettera ai Cardinali italiani, Letture classensi, 2, Ravennapp. Migliorini Fissi, La lettera pseudo-dantesca a Guido da Polenta. Memoria classica e memoria biblica in Dante, Olschki, Firenzepp.
Dante Medieval Archive: Dante Alighieri, Epistole: bibliography
Silagi, Thorbecke, Sigmaringenpp. Sowell, Cursus in the Cangrande Epistle: A Forger Shows His Hand?Epistolae, the letters of Dante (FULL Audiobook)
Folena, Dante e la teoria degli stili: Da Rif e C. Griggio, I, Olschki, Firenzepp. Peron, Esedra, Padovapp. III, 47n. Atti del primo convegno tenutosi al Chauncey Conference Center, Princeton, ottobrea cura di Z. Ascoli, Access to authority: Pertile, Dante looks forward and back: Hollander, Dante as Uzzah? Scritti in onore di Francesco Mazzoni, a cura di L. De Robertis, Le Lettere, Firenzepp. Padoan, Il Vicariato Cesareo dello Scaligero. Bilanci e prospettive degli studi danteschi alle soglie del nuovo millennio.
Lectures humanistes de Dante, Champion, Parispp. Eine Bemerkung zu Dante Alighieri, Epist. Pertile, Dante Looks Forward and Back: