![]() ![]() Much like the voice of one-the wandering nymph. Rainbows will curve their way through a thin cloud The above analysis then offers as example of the anti-narrative mode the verses ( Par. 12.10-21) that describe the joyous dance of the second circle of wise men, which now appears:Į sì l'estrema all'intima rispuose. In these passages, the text becomes an incandescent swirl of language, as the poet layers simile within simile, intending thus to disconnect the logical connectors of discourse à la St. When Dante tells us that difference does not exist, as in the introductory sections of the vite, he creates it when he wholeheartedly wishes to create the illusion of lack of difference, he resorts not to statements about its presence or absence but to another kind of writing, one that does not (insofar as is humanly possible) make distinctions. ![]() The openings of both cantos 12 and 13 are lyrical explosions dedicated to impressing upon us the unity of the two circles, a unity that has just been shattered by the preceding biographies, with their relentless privileging - and denial - of difference. ![]() I describe the narrative texture of Paradiso as the poet’s careful and considered oscillation between these two modes in The Undivine Comedy (pp. ![]() Paradiso 12 begins with a great example of the “anti-narrative”/“lyrical” language that Dante deploys in Paradiso in opposition to his discursive/logical/“narrative” language. ![]()
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