, Paul A. Boer Sr. (Editor), Aurelia Henry (Translator)){kind=link}
The De Monarchia by Dante Alighieri (Author), Paul A. Boer Sr. (Editor), Aurelia Henry (Translator)
'The De Monarchia'
By Dante Alighieri (Author), Paul A. Boer Sr. (Editor), Aurelia Henry (Translator)
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Description:
He who was “the spokesman of the Middle Ages,” who saw and told of his fellow-men and their destiny, uttered a message not for one century of time only, nor of one significance. In each of Dante’s larger works, the Vita Nuova, the Convito, the De Monarchia, and the Divine Comedy, this message is pronounced in one or all of its three phases, the religious, the philosophical, and the political. Because no author ever wrote with such singleness of purpose, nor through such diverse mediums carried to completion a solemn intent, the series of his productions are bound together as inevitably as the links of a chain, lending to one another meaning and value. And because these productions are so similar in purpose, if various in manner of expression, we may call them a unified message, and may apply to them all the words of explanation the poet sent to Can Grande when he presented to him “the sublime Canticle of the Comedy which is graced with the title of Paradiso.” “The aim of the whole and the part,” he wrote, “is to remove those living in this life from a state of misery, and to guide them to a state of happiness.”
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By Dante Alighieri (Author), Paul A. Boer Sr. (Editor), Aurelia Henry (Translator)
Purchase Book:
Amazon.com
Amazon.co.uk
Description:
He who was “the spokesman of the Middle Ages,” who saw and told of his fellow-men and their destiny, uttered a message not for one century of time only, nor of one significance. In each of Dante’s larger works, the Vita Nuova, the Convito, the De Monarchia, and the Divine Comedy, this message is pronounced in one or all of its three phases, the religious, the philosophical, and the political. Because no author ever wrote with such singleness of purpose, nor through such diverse mediums carried to completion a solemn intent, the series of his productions are bound together as inevitably as the links of a chain, lending to one another meaning and value. And because these productions are so similar in purpose, if various in manner of expression, we may call them a unified message, and may apply to them all the words of explanation the poet sent to Can Grande when he presented to him “the sublime Canticle of the Comedy which is graced with the title of Paradiso.” “The aim of the whole and the part,” he wrote, “is to remove those living in this life from a state of misery, and to guide them to a state of happiness.”
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Dante Alighieri, or simply Dante (May 14/June 13 1265 – September 13/14, 1321), is one of the greatest poets in the Italian language; with the comic story-teller Boccaccio and the poet Petrarch, he forms the classic trio of Italian authors. Dante Alighieri was born in the city-state Florence in 1265. He first saw the woman, or rather the child, who was to become the poetic love of his life when he was almost nine years old and she was some months younger. In fact, Beatrice married another man, Simone di' Bardi, and died when Dante was 25, so their relationship existed almost entirely in Dante's imagination, but she nonetheless plays an extremely important role in his poetry. Dante attributed all the heavenly virtues to her soul and imagined, in his masterpiece The Divine Comedy, that she was his guardian angel who alternately berated and encouraged him on his search for salvation.
Politics as well as love deeply influenced Dante's literary and emotional life. Renaissance Florence was a thriving, but not a peaceful city: different opposing factions continually struggled for dominance there. The Guelfs and the Ghibellines were the two major factions, and in fact that division was important in all of Italy and other countries as well. The Pope and the Holy Roman Emperor were political rivals for much of this time period, and in general the Guelfs were in favor of the Pope, while the Ghibellines supported Imperial power. By 1289 in the battle of Campaldino the Ghibellines largely disappeared from Florence. Peace, however, did not insue. Instead, the Guelf party divided between the Whites and the Blacks (Dante was a White Guelf). The Whites were more opposed to Papal power than the Blacks, and tended to favor the emperor, so in fact the preoccupations of the White Guelfs were much like those of the defeated Ghibellines. In this divisive atmosphere Dante rose to a position of leadership. in 1302, while he was in Rome on a diplomatic mission to the Pope, the Blacks in Florence seized power with the help of the French (and pro-Pope) Charles of Valois. The Blacks exiled Dante, confiscating his goods and condemning him to be burned if he should return to Florence.
Dante never returned to Florence. He wandered from city to city, depending on noble patrons there. Between 1302 and 1304 some attempts were made by the exiled Whites to retrieve their position in Florence, but none of these succeeded and Dante contented himself with hoping for the appearance of a new powerful Holy Roman Emperor who would unite the country and banish strife. Henry VII was elected Emperor in 1308, and indeed laid seige to Florence in 1312, but was defeated, and he died a year later, destroying Dante's hopes. Dante passed from court to court, writing passionate political and moral epistles and finishing his Divine Comedy, which contains the Inferno, Purgatorio, and Paradiso. He finally died in Ravenna in 1321.
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