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WOMEN OF THE MIDDLE AGES ...
... WITCHES OR ANGELS?
Discover it with us!
Tuesday, October 2, 2007
Monday, October 1, 2007
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SOME EDUCATIONAL INFORMATION ...
Our blog aims to address various aspects related to the figure of woman in medieval times, in particular, we focus not only on its more historical and social factors but also on the role of women in literary and artistic production of that period.
The choice of the title comes from this: the woman, witch in history, becomes angel in poetry and pictorial representation.
Since the Middle Ages, a historical period examined during the second year of secondary school studies in a Grade II, we turn our attention mainly to the students who attend the classes. Through the "navigation" and guided reflection, it will be possible for them to make comparisons between different disciplines (history, Italian art), managing to gain a sufficiently broad subject matter.
To stimulate this process as independently as possible, it was decided to propose a short bibliography (with texts related to different types in terms of stylistic and thematic) and an interesting filmography: in this way the students, according to their personal interests, may decide to expand their knowledge.
For the same purpose, each text was accompanied by a number of links, and students can use to investigate issues that they care most about.
At first it will ask the class to reflect on the "Life of women in the Middle Ages", focusing on certain aspects:
- fashion
- work
- the woman seen by clerics
- the role of women in society and its education
- the portrait of a great woman: Joan of Arc
We ask students to draw some observations relating to particular elements, suggested by us.
As for the card on fashion, inviting the children to compare the typical dress of the medieval era with that of other times they known, more generally, we ask them to establish a broad comparison between the condition of Women in the Middle Ages and the status of women in vintage greek-roman.
As regards, however, the figure of Joan of Arc (read in parallel with the track dedicated to "Charmed"), students will be guided to reflect on the following question: can we consider Joan of Arc a witch? Why?
The combination of written text, text, illustrations and musical contribution will foster a dynamic and interactive learning mode.
Later, the class will be invited to consider carefully the role of women proposed by the literature: one part will be offered a number of short texts for courtly literature, the other looking at the female figures present in the works of Dante, Petrarch and Boccaccio.
After reading the lyrics proposals, we will ask the students to detect significant differences that characterize the presence of women in the production of each author, using the following guide:
- The description of the woman he loved, he prefers the ' physical or spiritual?
- The love for the woman lived in a haunted?
- What are the effects that the beloved in the life of the poet?
- The woman reciprocates the love?
- What issues are typical of the literary currents of the Middle Ages, are present in compositions?
To answer these questions students will have to bring some significant ways, learning to work on the text.
It was decided then to add to the picture on the literary figures of starting a "trobairiz"
The "poetry of women, however, are not accompanied by analysis and commentary to encourage students to reflect and draw of his claim to be, then, to be compared in class.
Under the label "The trobairitz" is placed on the track to tasks Donzella, Florentine poet that can not be counted among the Troubadours but in this case, is placed among the Provencal poets as Italian counterpart.
addition, a section of the blog is devoted to an analysis of an artistic nature.
The images are not only related to the medieval period, but cover a longer span of time, up to the first half of the twentieth century.
Given the breadth of the information provided, we ask children to work autonomously and a summary to create a concept map.
You can then initiate an interdisciplinary work in which we examine in parallel the "Rooms" police and "Spring" by Botticelli.
To complete the picture, it was decided to propose some bios on the figure of some saint who lived during the Middle Ages: S. Chiara, S. Rita S. Catherine.
On completion of the work pupils should have acquired a greater familiarity with the tools offered by the "network", contributing ideas and suggestions for enlargement of the same blog.
The choice of the title comes from this: the woman, witch in history, becomes angel in poetry and pictorial representation.
Since the Middle Ages, a historical period examined during the second year of secondary school studies in a Grade II, we turn our attention mainly to the students who attend the classes. Through the "navigation" and guided reflection, it will be possible for them to make comparisons between different disciplines (history, Italian art), managing to gain a sufficiently broad subject matter.
To stimulate this process as independently as possible, it was decided to propose a short bibliography (with texts related to different types in terms of stylistic and thematic) and an interesting filmography: in this way the students, according to their personal interests, may decide to expand their knowledge.
For the same purpose, each text was accompanied by a number of links, and students can use to investigate issues that they care most about.
At first it will ask the class to reflect on the "Life of women in the Middle Ages", focusing on certain aspects:
- fashion
- work
- the woman seen by clerics
- the role of women in society and its education
- the portrait of a great woman: Joan of Arc
We ask students to draw some observations relating to particular elements, suggested by us.
As for the card on fashion, inviting the children to compare the typical dress of the medieval era with that of other times they known, more generally, we ask them to establish a broad comparison between the condition of Women in the Middle Ages and the status of women in vintage greek-roman.
As regards, however, the figure of Joan of Arc (read in parallel with the track dedicated to "Charmed"), students will be guided to reflect on the following question: can we consider Joan of Arc a witch? Why?
The combination of written text, text, illustrations and musical contribution will foster a dynamic and interactive learning mode.
Later, the class will be invited to consider carefully the role of women proposed by the literature: one part will be offered a number of short texts for courtly literature, the other looking at the female figures present in the works of Dante, Petrarch and Boccaccio.
After reading the lyrics proposals, we will ask the students to detect significant differences that characterize the presence of women in the production of each author, using the following guide:
- The description of the woman he loved, he prefers the ' physical or spiritual?
- The love for the woman lived in a haunted?
- What are the effects that the beloved in the life of the poet?
- The woman reciprocates the love?
- What issues are typical of the literary currents of the Middle Ages, are present in compositions?
To answer these questions students will have to bring some significant ways, learning to work on the text.
It was decided then to add to the picture on the literary figures of starting a "trobairiz"
The "poetry of women, however, are not accompanied by analysis and commentary to encourage students to reflect and draw of his claim to be, then, to be compared in class.
Under the label "The trobairitz" is placed on the track to tasks Donzella, Florentine poet that can not be counted among the Troubadours but in this case, is placed among the Provencal poets as Italian counterpart.
addition, a section of the blog is devoted to an analysis of an artistic nature.
The images are not only related to the medieval period, but cover a longer span of time, up to the first half of the twentieth century.
Given the breadth of the information provided, we ask children to work autonomously and a summary to create a concept map.
You can then initiate an interdisciplinary work in which we examine in parallel the "Rooms" police and "Spring" by Botticelli.
To complete the picture, it was decided to propose some bios on the figure of some saint who lived during the Middle Ages: S. Chiara, S. Rita S. Catherine.
On completion of the work pupils should have acquired a greater familiarity with the tools offered by the "network", contributing ideas and suggestions for enlargement of the same blog.
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THE REPRESENTATION OF WOMEN IN
Greek mythology, however, gives the woman a goddess-size impossible: think, for example, made representations to the statues, dating from the fifth century BC
While Roman mythology makes it more "human" and less powerful than the male gods, but not the cult of Magna Mater first, and then Ceres and Cybele, assumes less importance ...
Doing a nice jump from Roman times to the Middle Ages, we can see how different the way of representing the woman. E 'notice theocentric concept typical of this time, it involves every area of \u200b\u200blife, including art, which is an expression of the latter. Medieval art has almost always religious subjects. Subject to excellence are the sacred virgins occurring compound, soft and elegant, as in the case of Simone Mart ini (bottom left), or rich in humanity and human traits almost those of Giotto (bottom right)). So how can we define women seen by the artists of this era? Witches or angels? Undoubtedly angels, in unison with the poets and writers of the period.
In fact, we can say that the female figure, despite the different styles and different taste, has always been represented with angelic features and delicate. Precisely for this reason, the question "Women in the Middle Ages witches or angels?" We can not answer that "Angels"!
In fact, paradoxically, and especially in painting, she is represented as a "witch" only in the late nineteenth and early twentieth century, when many artists express their concern and their uneasiness with the woman who is seen as a femme fatale, one who eats and submits to the man fully, and as such represent it on the canvas. Here
The same suffering and terror that we find in many other artists. It would be impossible to list them all and for this reason it is necessary to make a small selection, but will be sufficient, in my opinion, to make clear what is claimed!
We could start with "The bride in the wind" (1914) by Oscar Kokoschka.
The female figure has always been an object of representation in the visual arts, serving from time to time as a different symbol. The way to represent it and the symbolic role it played have changed over the centuries, keeping pace with the evolution of artistic techniques and styles, with a change of taste, and no less important element, with the different way of conceiving the role of women in society.
Since the dawn of civilization, the female figure, then, was the protagonist of human history: archaeologists have unearthed many sculptures of female deities, attributed the organization of the patriarchal tribe, the Paleolithic era.
In many ancient civilizations the woman was at the core of society, was the custodian of the principle of life, fertility and as such was rappresentata.La statue below, depicting a mother goddess in some Anatolian civilization (dating back to the first Chalcolithic ) is certainly a clear example of what has been said. The playing technique is not yet come to perfection: the figure is very stocky and almost sketchy, but it is clear that the symbolic importance. This sort of Magna Mater ahead of its time, "softly" session, is nothing but a personification of fertility, abundance, fertility.
Since the dawn of civilization, the female figure, then, was the protagonist of human history: archaeologists have unearthed many sculptures of female deities, attributed the organization of the patriarchal tribe, the Paleolithic era.
In many ancient civilizations the woman was at the core of society, was the custodian of the principle of life, fertility and as such was rappresentata.La statue below, depicting a mother goddess in some Anatolian civilization (dating back to the first Chalcolithic ) is certainly a clear example of what has been said. The playing technique is not yet come to perfection: the figure is very stocky and almost sketchy, but it is clear that the symbolic importance. This sort of Magna Mater ahead of its time, "softly" session, is nothing but a personification of fertility, abundance, fertility.
Greek mythology, however, gives the woman a goddess-size impossible: think, for example, made representations to the statues, dating from the fifth century BC
While Roman mythology makes it more "human" and less powerful than the male gods, but not the cult of Magna Mater first, and then Ceres and Cybele, assumes less importance ...
Doing a nice jump from Roman times to the Middle Ages, we can see how different the way of representing the woman. E 'notice theocentric concept typical of this time, it involves every area of \u200b\u200blife, including art, which is an expression of the latter. Medieval art has almost always religious subjects. Subject to excellence are the sacred virgins occurring compound, soft and elegant, as in the case of Simone Mart ini (bottom left), or rich in humanity and human traits almost those of Giotto (bottom right)). So how can we define women seen by the artists of this era? Witches or angels? Undoubtedly angels, in unison with the poets and writers of the period.
Even during the centuries following the fourteenth century Giotto and Simone Martini, I just mentioned, the representation of the female figure is articulated primarily through sacred subjects, although they can count on the side of mythological subjects (the advent of 'Humanism onwards, many artists paint or sculpt subjects of this kind: among them, for example , include Sandro Botticelli ; Raphael, Michelangelo ; Tiziano ; Bernini, Canova etc..) and increasingly also subjects taken from real life.
In particular painting, from the seventeenth century, Caravaggio is to introduce the protagonists s real life in his paintings is very famous his "Death of the Virgin" (picture below), whose protagonist is depicted pouring on his deathbed, in a pose that certainly did not suit the theme and then caused a scandal, because the painter was painting the virgin walk naked. He even said that he had used as a "model" the corpse of a drowned woman (a detail, the latter being derived from swollen feet and stomach of the young woman), thus introducing the humble reality of everyday life in painting .
In fact, we can say that the female figure, despite the different styles and different taste, has always been represented with angelic features and delicate. Precisely for this reason, the question "Women in the Middle Ages witches or angels?" We can not answer that "Angels"!
In fact, paradoxically, and especially in painting, she is represented as a "witch" only in the late nineteenth and early twentieth century, when many artists express their concern and their uneasiness with the woman who is seen as a femme fatale, one who eats and submits to the man fully, and as such represent it on the canvas. Here
(middle figure) as Edward Munch, in 1894-95, depicted in an entirely new staff and the "Madonna" by communicating their own suffering and their terror.
The same suffering and terror that we find in many other artists. It would be impossible to list them all and for this reason it is necessary to make a small selection, but will be sufficient, in my opinion, to make clear what is claimed!
We could start with "The bride in the wind" (1914) by Oscar Kokoschka.
Continue "The angry" (1910), by Egon Schiele (top center)
ending with the "Judith 1" (1901) by Gustav Klimt
(bottom center)
ending with the "Judith 1" (1901) by Gustav Klimt
(bottom center)
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Woman "stilnovistica"
The " Dolce Stil Novo "is not a" school ", but a different set of experiences yet converged to bring the head to a new love poem, which cut ties with the experimentalism of the courtly lyric hall.
How is the woman singing? Unlike the "lady" of the courts and castles of Provence, the woman of the "stil novo" suddenly appears somewhere in the city. The love affair is made of fleeting encounters and emotions that are located in an urban setting. These meetings and appearances devastating effects on the poet, who sees to stop all their physical and mental.
How is the woman singing? Unlike the "lady" of the courts and castles of Provence, the woman of the "stil novo" suddenly appears somewhere in the city. The love affair is made of fleeting encounters and emotions that are located in an urban setting. These meetings and appearances devastating effects on the poet, who sees to stop all their physical and mental.
The effects of love are considered as a result of the movement of substances incorporeal. These entities airlines, with their autonomy and calling spirits, move and change impacting on the faculties of the individual soul, and are also able to relocate, away from the individual they belong to and following their own account, the 'image of the woman he fell in love. Sudden revelation, the woman stilnovistica "is almost never reached.
The woman is not described physically and become more spiritual and ethereal: the woman is a summary of the ideals that the poet wants to reach, takes on the virtues of the angel, and as such transmits spiritual influences man, but there must be a heart capable of receiving them. The sonnet by Guido
Guinizzelli which we describe below, shows some typical themes of the opera stilnovistica.
The woman is not described physically and become more spiritual and ethereal: the woman is a summary of the ideals that the poet wants to reach, takes on the virtues of the angel, and as such transmits spiritual influences man, but there must be a heart capable of receiving them. The sonnet by Guido
Guinizzelli which we describe below, shows some typical themes of the opera stilnovistica.
The greeting and your beautiful 'the gentle gaze
v'encontro when you do, kill me:
love overwhelms me and already reguardo
If he did not face shame over merzede,
that through my heart I threw a dart over
ched 'n part of the cut and divided;
I can not speak, for' n
penis I glow even as those who see his death.
their eyes as it does pass the throne, which
fer 'for the window de la torre
and what is in shatters and cracks:
remagno como brass statue,
where life or spirit is not satisfied,
except that the figure of a man makes.
gaze of the woman becomes a vehicle of love: the greeting and the look (the only forms of contact between the woman and the poet) is the vehicle with arrows of love that can only cut to the heart of the poet. He is not in itself the strength drains away and is condemned to immobility, like a statue in which there is no vital spirit.
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the Sicilian School
The new Italian vernacular courtly lyric in built around the thirties of the thirteenth century in an environment of great cultural vitality, the court of Frederick II of Swabia . The authors are officers of the imperial government, however, or characters of the administration of the Southern Kingdom. They decide to transplant in the Sicilian vernacular models of Provencal courtly lyric, purified by references to the concrete, the chronicle of courtly life and people readily identifiable, frequent references in the Provencal poetry. The Sicilian poets intend to give their poetry a social function: to reflect the value and prestige of the court where they belong. The poetry of the Sicilian
addresses the theme of love especially from the perspective of the feudal relationship of love and tries to define the character of communication. At the center there is a woman, a noble lady and mistress, to serve with dedication, but never expresses the pathos of distance and dell'indecifrabilità of his beloved lady-that is typical of some poets of Provence. Beware of the transmitted probing love to see the Sicilian poets identify the main plot of the relationship with the woman, and around to see focus various images and metaphors.
In singing his relationship with the woman, the poet tries and increases its value, its serving his beloved, his loyalty makes him engage in more socially worthy.
The first and greatest exponent of the school is the Sicilian Giacomo Da Lentini notary (the Notary), an imperial official. Thin investigator, with wisdom and metrical rhetoric, was probably the inventor of the new form of the sonnet.
m'aggio I place in my heart to serve God,
as I could go unto heaven,
the holy place, audited c'aggio say
or 'sollazo keeps playing and rice.
without my woman there Voria depart, that
c'a Blonda claro head and face, without
that she could not Gaudete,
estandar split from my wife.
But I do not say that proposal
pecato there because I wanted to do;
if you do not see the beautiful port,
and beautiful face and 'the soft look:
which are of such me great consolation in the artery,
seeing my woman in ghiora be.
In this sonnet the woman is described according to the style typical of Provencal poetry: the hair, the look sweet and elegant bearing. But it's also developed the theme of the impossibility the poet to be happy even in heaven, if separate from the contemplation of his lady. Here, too, love feeds on itself. The poet, in fact, reaffirms its attachment does not derive from the desire to possess: he would be happy just to see the woman he loves in the glory of Paradise.
In this sonnet the woman is described according to the style typical of Provencal poetry: the hair, the look sweet and elegant bearing. But it's also developed the theme of the impossibility the poet to be happy even in heaven, if separate from the contemplation of his lady. Here, too, love feeds on itself. The poet, in fact, reaffirms its attachment does not derive from the desire to possess: he would be happy just to see the woman he loves in the glory of Paradise.
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The fin 'amors
model of courtly strongly characterizes the troubadour poetry (a poem created in the courts of Provence and southern France in the late eleventh century and the beginning of XIII). The subjectivity of the troubadour is expressed in the song of joi, a joy determined by the fin 'amors, "perfect love", and the desire to enhance the woman-woman, who is often identified with the feudal lord, a princess or the wife of the prince to her lover is in the position of vassal ready to serve in an absolute and disinterested. Even when the woman-woman is physically close, her beauty and power make it unattainable. The song of the poet emphasizes the charm of this distance.
Every gesture of the poet-lover is indeed threatened by the words of slanderers, those who are unable to recognize the value of fin 'amors and can damage or even exclude it from the graces of the woman. The passion in the subject provokes contradictory effects, that poetry looks thin.
However, the experience of love can be represented in different ways. Next to the woman-woman, set in the icy crystal forms, alternate figures that give off a impetuous sensuality. In some texts, love is described by unscrupulous realism, joyfully libertine ways, in others it looks menacing and destructive aggression.
beginning of the thirteenth century, Provencal poetry was a sudden crisis, caused primarily by the Crusade Against the Albigenses, which caused great upheavals in Provence and caused the end of the most important courts of Provence. Already in the twelfth century models of Provencal lyric had spread to Germany, with the poetry of Minnesanger , "singers of the Minne," that the thought of love.
We received word of about four troubadours, among which Bernart De Ventadorn , in the second half of the twelfth century served and courted Eleanor of Aquitaine, poet from the vein, easy and natural, to the love song that combines autobiographical reasons.
beginning of the thirteenth century, Provencal poetry was a sudden crisis, caused primarily by the Crusade Against the Albigenses, which caused great upheavals in Provence and caused the end of the most important courts of Provence. Already in the twelfth century models of Provencal lyric had spread to Germany, with the poetry of Minnesanger , "singers of the Minne," that the thought of love.
We received word of about four troubadours, among which Bernart De Ventadorn , in the second half of the twelfth century served and courted Eleanor of Aquitaine, poet from the vein, easy and natural, to the love song that combines autobiographical reasons.
Sunday, September 30, 2007
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ACCOMPLISHED DONZELLA
Accomplished [1] Donzella is the pseudonym of a Florentine poet lived in the thirteenth century, whose name remains a historical enigma. This is perhaps the first poet to write verses in Italian vernacular in fact we have received three sonnets influenced in part by the taste and troubadour who also suffer from an 'inspiration Petrarch.
Its excellent artistic talents were recognized and exalted in his time as shown by the explicit references Guittone d'Arezzo that in the fifth epistle writes:
"Soprapiacente woman, made all wisdom, crowned with honor, worthy my perfect woman, Guitton, true truly, faithfully yours, el de what is true and bit ', if humbly selfsame recommends that you ";
anonymous while in a sonnet alludes to the fame of tasks as the author of poems," ... that you trobar dominance "... .
of his works have been betrayed only three sonnets in which he expresses pain and suffering for the wedding, unwanted, arranged by the father
TO THE SEASON THAT 'THE WORLD Leaves and Flowers
In the season when' the world's leaf and flower
acresce fin'amanti joy to all, and go along with them
alora
gardens that are auscelletti dolz songs ;
the honest people all s'inamora,
and serve each tragges'inanti,
damsel in joy and every home;
and me, n'abondan marri and tears.
the Ca
my father made me 'n error, and
tenemi often in strong pain:
donar Vole me to lord my strength, and I
Disìo of what I do not have nor want, and
' n great torment live at all hours, but I do not
ralegra flower or leaf.
LEAVE WILL TAKE THE WORLD AND SERVE GOD
Allow desire to entrust the world and serve Deo
and departments of every vanity, however, that
Vegio grow up
matezza and rudeness and falsitate,
sense and courtesy, and even die
and very valuable and all goodness: whence
Voria husband nor sire,
or being in the world to my will.
c'ogn'om Member of bad adorned,
disdainful of cischedun am strong,
to God and my person back
The father makes me feel thoughtful ,
ca me to serve Christ distorna:
bag which I do not give vol for wife.
wITH GREAT HONOR AND VALENZA
Ornato of great value and significance
adorned and resplendent with praise,
strong I have the honor more, then there Plagenza, coming in
remembrance of me in your core
and invited to my little majesty
for acontarvi, s'eo are taught,
as you say, c'agio great wisdom, but certainly
I'm not a lover.
lovers do not como son Voria
of great virtue, nor to appease;
but, what for I 'is, good will ease
good to serve with courtesy
which loves each without failure:
than love and are vogliolo obey.
[1] task was a common name in the Florence of the thirteenth century. 
Accomplished [1] Donzella is the pseudonym of a Florentine poet lived in the thirteenth century, whose name remains a historical enigma. This is perhaps the first poet to write verses in Italian vernacular in fact we have received three sonnets influenced in part by the taste and troubadour who also suffer from an 'inspiration Petrarch.
Its excellent artistic talents were recognized and exalted in his time as shown by the explicit references Guittone d'Arezzo that in the fifth epistle writes:
"Soprapiacente woman, made all wisdom, crowned with honor, worthy my perfect woman, Guitton, true truly, faithfully yours, el de what is true and bit ', if humbly selfsame recommends that you ";
anonymous while in a sonnet alludes to the fame of tasks as the author of poems," ... that you trobar dominance "... .
of his works have been betrayed only three sonnets in which he expresses pain and suffering for the wedding, unwanted, arranged by the father
TO THE SEASON THAT 'THE WORLD Leaves and Flowers
In the season when' the world's leaf and flower
acresce fin'amanti joy to all, and go along with them
alora
gardens that are auscelletti dolz songs ;
the honest people all s'inamora,
and serve each tragges'inanti,
damsel in joy and every home;
and me, n'abondan marri and tears.
the Ca
my father made me 'n error, and
tenemi often in strong pain:
donar Vole me to lord my strength, and I
Disìo of what I do not have nor want, and
' n great torment live at all hours, but I do not
ralegra flower or leaf.
LEAVE WILL TAKE THE WORLD AND SERVE GOD
Allow desire to entrust the world and serve Deo
and departments of every vanity, however, that
Vegio grow up
matezza and rudeness and falsitate,
sense and courtesy, and even die
and very valuable and all goodness: whence
Voria husband nor sire,
or being in the world to my will.
c'ogn'om Member of bad adorned,
disdainful of cischedun am strong,
to God and my person back
The father makes me feel thoughtful ,
ca me to serve Christ distorna:
bag which I do not give vol for wife.
wITH GREAT HONOR AND VALENZA
Ornato of great value and significance
adorned and resplendent with praise,
strong I have the honor more, then there Plagenza, coming in
remembrance of me in your core
and invited to my little majesty
for acontarvi, s'eo are taught,
as you say, c'agio great wisdom, but certainly
I'm not a lover.
lovers do not como son Voria
of great virtue, nor to appease;
but, what for I 'is, good will ease
good to serve with courtesy
which loves each without failure:
than love and are vogliolo obey.
[1] task was a common name in the Florence of the thirteenth century.
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not know much about Marie de France, the only information about him reported that he was born in the second half of the twelfth century in France and probably followed Eleanor of Aquitaine, who married Henry II Plantagenet, England. was a woman of great culture, in fact, knew French and Occitan literature as well as Latin America.
His name is linked to 12 Lais, composed between 1160 and 1175. The Lais are short narrative poems (in octosyllabic in rhyming couplets), whose length varies between 118 and 1184 lines, mostly influenced by the topic of love ed'ambientazione fantastic historical anecdotes, tales from the East, especially from biblical stories relating to or chivalric the Breton cycle, the myth of King Arthur.
In his essays shows, with touches of delicacy and grace charges, not just women abandoned and persecuted but also betrayed or riders who have to pay the penalty for their mistakes. Among the most famous Palais Bisclavret, influenced by legends of Greek and Latin as well as Britons, it is taken the myth of the werewolf. In fact, this poem the protagonist Bisclavret after revealing his secret to her beloved is betrayed and forced to wander in the woods without being able to resume human form. The story ends with the revenge of the knight who, after being taken to court by the king himself takes revenge on his wife cheating and cut off his nose with a bite, disability which will be forwarded to the daughters. In
Lanval , however, tells of a young man loved by a fairy who renounces life and stands at the mercy of his immortal companion to ensure happiness after death, thus reworking of the myth of the man who sells his soul to the devil but is loaded with new colors and shades through the pen of Mary and has become a delicate love story .
Here is a small step:
... Inside the tent was the maid of honor. He spent the beauty of the lily and the rose story, when it appears ver the summer. He was lying on a beautiful bed (the sheets that were worth a castle) with a simple shirt was kind and nice. This was partially repaired a precious mantle of white ermine, covered with purple Alexandrian, but left open the side, chest, neck and face, was more white flower spina.Il knight came forward and the maid called him to himself, he sat in front of the bed: "Lanval" - she said; bell'amico, for you have gone out of my land, a distance I have come to seek. If you are brave and kind, neither emperor nor king nor earl had never so much joy and so many blessings, for I love thee above all things. "He gazed and saw her so beautiful, love it stung for a spark, that s 'learned to his heart and inflamed. replied with courteous, "Beautiful lady, if you like, em'avvenga this joy of being loved by you, will perform in my power to your every command, and will be based on insanity or to wisdom. I I will serve you and give away all for you. Beg you always be near that's the thing I most want. "When the damsel heard that he could love her for that sign, granted him his love and his cuore.Ora Lanval is the right way! Then, she had this gift that will never do, of which it was to his talent and spend gifts broadly, she will provide you enough. Lanval now well done! spend more richly than has gold and silver. "Friend "she said" now caution you, I beg and please, do not soon be shown whether the thing to anyone. Suffice to say it would have led me lost forever if others know this love; I can not see, nor ever have. "He replied that he will live up to his command ...
In his essays shows, with touches of delicacy and grace charges, not just women abandoned and persecuted but also betrayed or riders who have to pay the penalty for their mistakes. Among the most famous Palais Bisclavret, influenced by legends of Greek and Latin as well as Britons, it is taken the myth of the werewolf. In fact, this poem the protagonist Bisclavret after revealing his secret to her beloved is betrayed and forced to wander in the woods without being able to resume human form. The story ends with the revenge of the knight who, after being taken to court by the king himself takes revenge on his wife cheating and cut off his nose with a bite, disability which will be forwarded to the daughters. In
Lanval , however, tells of a young man loved by a fairy who renounces life and stands at the mercy of his immortal companion to ensure happiness after death, thus reworking of the myth of the man who sells his soul to the devil but is loaded with new colors and shades through the pen of Mary and has become a delicate love story .
Here is a small step:
... Inside the tent was the maid of honor. He spent the beauty of the lily and the rose story, when it appears ver the summer. He was lying on a beautiful bed (the sheets that were worth a castle) with a simple shirt was kind and nice. This was partially repaired a precious mantle of white ermine, covered with purple Alexandrian, but left open the side, chest, neck and face, was more white flower spina.Il knight came forward and the maid called him to himself, he sat in front of the bed: "Lanval" - she said; bell'amico, for you have gone out of my land, a distance I have come to seek. If you are brave and kind, neither emperor nor king nor earl had never so much joy and so many blessings, for I love thee above all things. "He gazed and saw her so beautiful, love it stung for a spark, that s 'learned to his heart and inflamed. replied with courteous, "Beautiful lady, if you like, em'avvenga this joy of being loved by you, will perform in my power to your every command, and will be based on insanity or to wisdom. I I will serve you and give away all for you. Beg you always be near that's the thing I most want. "When the damsel heard that he could love her for that sign, granted him his love and his cuore.Ora Lanval is the right way! Then, she had this gift that will never do, of which it was to his talent and spend gifts broadly, she will provide you enough. Lanval now well done! spend more richly than has gold and silver. "Friend "she said" now caution you, I beg and please, do not soon be shown whether the thing to anyone. Suffice to say it would have led me lost forever if others know this love; I can not see, nor ever have. "He replied that he will live up to his command ...
From the Breton cycle, however, is based on the Lai du Chèvrefeuille, (honeysuckle) in which the poet shows his sensitivity and skill when he describes Tristan away from the court because of his love for Isolde decides to return to Cornwall to try to get in touch with his beloved, to be able to still enjoy his company.
THE HONEYSUCKLE
Much like me, well I want it, the lai called "Honeysuckle" I also tells the truth, as was done, and on what occasion.
Many have told me and told, and I found it in writing, of Tristan and Queen, their love was so fine, ond'ebbero lot of pain, and then he died the same day.
King Mark was in anger: Tristan had been angry with his nephew, dismissed him from his land because he loved the queen. And he's gone to his country, where he was born in Sudgalles and there was a whole year, that he was not given to return, but then began to drop in death and destruction.
not make you wonder: is he who loves loyally very painful and breathless when he is deprived of what desidera.Dolente pensive and sad and so he departs from his country, he goes straight to Cornwall, where the queen lived. Everything you only hunt in the forest, not wanting to be seen, if they went out at dusk, when it was time to repair itself, and staying the night with the peasants and the poor.
asked them what was the news of the king: and they say they have heard that the barons were called by a notice: they must come to Tintagel, the king wants you to take holiday for the Easter there will be roses all, there is great joy and delight, and the king will be the queen.
Tristram heard that, he rejoiced much, it can not make that journey he did not see passare.Il days that the king moves, Tristan is back in the woods along the road, as far as he knew, would have covered the parade. He cut through a core, and looked him right. When it had a stick ready, with the knife he wrote his name.
If the queen will notice, that she was very careful there - the last time that happened was that he saw it - well known in the signal of his view in a short suo.Ecco quant'egli had wrote: that had long been there, and stay on hold, for inspiration and know how he could see her, because she could not live without her. Two of them was just as honeysuckle that s'apprende to Joxer: when was tied and bound es'è placed around the stem, together they can last well, but then who wants to separate them, it soon Joxer dies and also the honeysuckle. "Bell'amica, so it is with us, nor you without me, nor I without you." When the Queen comes riding, looked around a slope, saw the stick, well it will discover and distinguished each letter.
For riders who escort and proceeded together soon ordered to stop: he wanted to get off and rest, they obbedito.La have queen moves away from its people, summons her maid, Brangäne, that was very trusting. Moved away somewhat from the road within the forest he found that he loved more than anything in the world. Among them will give a great joy. He spoke to his own home, and she expressed her pleasure, then exposed in what way can that be reconciled with the king and very sorry that she had given him leave, for others it was induced charges.
A departs as much to leave his friend, but when they parted, here they began to cry. Tristan returned to the country of Wales, until his uncle made him chiamarePer the joy he had of his wife, that day revised, and so he wanted the queen to remembrance the words that he had written, that Tristan knew he had composed a new harp lai.Senz 'else will tell you the name: "Gotelef" they call it the English and the French " Chevrefoil. "That I have the truth of the lai I have here narrated.
addition to the Lais of Marie France, composed a collection of Fables, the first adaptation of Aesop's fables come to us, and The espurgatoire de saint Patrice (The Purgatory of St. Patrick), inspired by the stories of travel in the afterlife, tells of the sufferings of Purgatory.
Especially interesting are the prologue of el'epilogo Fables as the poet reveals the recipients and the intent of his work:
Especially interesting are the prologue of el'epilogo Fables as the poet reveals the recipients and the intent of his work:
Prologue
"All educated people should really concentrate on reading good books, writing, examples, and maxims that philosophers have labored to write and spread. They began writing the valuable proverbs felt a moral lesson and to whom they entrusted to those who are working for the good they could become better. So did our ancestors of antiquity. The Emperor Romulus wrote to his son explaining how to defend itself from the deceptions of men. Aesop, who knew his master, wrote some stories about him that he had found and translated from the greek in Latin. Most people are very surprised that Aesop used his intelligence in a similar job, but no story is shallow and all of them in the finale, which holds the ultimate meaning of the stories, a lesson of wisdom. Not up to me, who must put the tales in verse, telling stories that appear in this collection, I was asked by him who is the flower of chivalry, and since it is a man like him to ask me, I have no intention to evade the request, although it cost labor and suffering and the contempt of some people, then I begin to tell the first story that Aesop wrote and sent to his lord. "
Epilogue:
" At the end of this that I have composed and written in French, I mention that I will remember for posterity: My name is Maria and I come from France. It 'possible that some clerics, many in truth, claiming as its my job. I do not want to be attributed to them: that he forgets himself senseless acts. I started writing this book and translate it from English into French for the sake of Count William, the man most noble of all the kingdoms. This book is called Aesop, Aesop was indeed to translate from greek to latin to compose and to do so. The King Alfred, who liked very much the Aesop, he wanted to translate it into English, and I, exactly as I had found, I put it in French verse. Now, I pray Almighty God to make me put his hand to a work that allows me to make the soul to Him "
"All educated people should really concentrate on reading good books, writing, examples, and maxims that philosophers have labored to write and spread. They began writing the valuable proverbs felt a moral lesson and to whom they entrusted to those who are working for the good they could become better. So did our ancestors of antiquity. The Emperor Romulus wrote to his son explaining how to defend itself from the deceptions of men. Aesop, who knew his master, wrote some stories about him that he had found and translated from the greek in Latin. Most people are very surprised that Aesop used his intelligence in a similar job, but no story is shallow and all of them in the finale, which holds the ultimate meaning of the stories, a lesson of wisdom. Not up to me, who must put the tales in verse, telling stories that appear in this collection, I was asked by him who is the flower of chivalry, and since it is a man like him to ask me, I have no intention to evade the request, although it cost labor and suffering and the contempt of some people, then I begin to tell the first story that Aesop wrote and sent to his lord. "
Epilogue:
" At the end of this that I have composed and written in French, I mention that I will remember for posterity: My name is Maria and I come from France. It 'possible that some clerics, many in truth, claiming as its my job. I do not want to be attributed to them: that he forgets himself senseless acts. I started writing this book and translate it from English into French for the sake of Count William, the man most noble of all the kingdoms. This book is called Aesop, Aesop was indeed to translate from greek to latin to compose and to do so. The King Alfred, who liked very much the Aesop, he wanted to translate it into English, and I, exactly as I had found, I put it in French verse. Now, I pray Almighty God to make me put his hand to a work that allows me to make the soul to Him "
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S. Maria of France CATHERINE OF SIENA
From an early age began to mortify themselves physically, and following a vision of Christ, received six years, decided to remain a virgin.
Around the age of twelve his parents decided to take her husband, but she, who secretly devoted himself to ascetic practices, having shaved his hair, covered his head with a veil and shut herself in the house, even without bending to overwhelming domestic hardships which shall submit it to distract from the ascetic purposes.
opposed by parents, for several years led a life of sacrifice, dedicated only to prayer, locked in his room at last, at eighteen, while remaining at home, took the veil of the mantle (so-called sisters because of her black worn on the dress White of the Third Order Dominican).
In 1370 he decided to open his heart to the outside world and began to devote himself caring for the sick in hospital with a group of disciples who followed her in the many movements, Catherine divided his time between the church of San Domenico, the 'and the leper hospital, where he attended the sick and dying.
It is said that one day regret the disgust felt at the sight of the wounds of a madman, Santa has been drinking the water used to wash the wound, saying he had never tasted food or drink so sweet and delicious. I sleep
Catherine were often accompanied by visions. For example, on the night of the Carnival of 1367, appeared to her, accompanied by the Virgin and a crowd of saints, the Christ, who gave her a ring and married her mystically, when the vision disappeared, the ring remained visible only to her. In another vision of Christ took her heart and took it away, returning with another heart even more beautiful and ruddy: his own. Christ gave his heart to Catherine inserting it into the side and in memory of the miracle at that point, was left a scar.
But Catherine was not only a mystic, he devoted himself to charitable activities, healed the sick, ministered to the poor, saw the prisoners, was a missionary of peace, and his small room, a sort of "cell", became a meeting place of people educated and began to crowd of men, artists and learned men, was, however, also a meeting place for the ordinary people and for members of various religious orders (Dominicans, Franciscans, Augustinians), and these became known as "Catherine" because, attracted by his charisma, they saw in you a reference point.
This raised concern in the higher order, who, suspicious, they called to Florence to assess the veracity of its events, and she defended himself beautifully, and remove doubts and misgivings, saw assign a teacher, Brother Raymond of Capua, her future spiritual heir.
soon spread throughout Europe in the voice of his fame and of the sacred stigmata, received April 1, 1375 in a church the Arno River (now called St. Catherine's).
Catherine began, therefore, to be honored as a saint. In 1376 the Florentines
asked her to intercede with Pope Gregory IX in order to remove the excommunication that they had earned for having formed a league against the excessive power of the French, then Catherine went to Avignon with his disciples, three confessors and an altar laptop, and managed to convince Pope Gregory IX is also left to persuade to abandon the "Avignon captivity", bringing the papal seat to Rome after nearly seventy years of exile.
In 1378 Pope Urban VI in Rome called for help to restore the unity of the Church in the Funds, in fact, the French had the newly elected anti-pope Clement VII. Catherine
supported him, writing letters to various heads of state and cardinals from around the world. In addition, with his disciples went to Rome, where Pope defended strenuously.
On 29 April 1380, only thirty-three, died.
Catherine was illiterate and of great culture had not gone to school and had no teachers. However, although painfully learned to read and, later, to write (even though most of his messages were, however, written under dictation).
Although we did not, therefore, literary purposes, the documents that he left us, the "Dialogue of Divine Providence " and "Letters " are among his most beautiful and least known of the '300, though poorly developed and sometimes characterized by an excessive zeal, it is still often of unusual spiritual height.
The "Dialogue of Divine Providence , one of the most remarkable mystical works of all time, is the real sum of his experiences of faith and its doctrine. The
" Letters", around 381, addressed to people of all, fall within the fourteenth century religious literary tradition, primarily addressed not to the creation of poetic images but at a purely practical purpose. Santa Caterina, in fact, he used letters to noble purposes: to alleviate the pain of others, preaching the Reformed Church, the papacy back to Rome.
Driven by an intense religious fervor, fueled by a genuine desire for renewal of humanity, Santa wrote the messages vigorous and strong, characterized by a fascinating language and load.
Among the various letters written by Catherine, the most striking is undoubtedly the one who wrote on the occasion of the death of Nicholas in Tuldo, a young Florentine gentleman accused in 1375 of plotting a conspiracy against Siena.
unjustly sentenced to death, the man did not want to receive spiritual counseling from anyone, only Catherine was able to overcome his resistance, came to him and spoke to him, instilling into his soul peace and serenity.
The letter is of exceptional beauty to the strength and vigor of his language, but also affects the tenderness of passion el'accesa of words.
The experience of living in Santa Caterina Siena was not only religious and mystical. Canonized by Pius II in 1461, St. Catherine was proclaimed patron saint of Italy , along with St. Francis of Assisi in 1939, Protector of nurses in 1943 (by Pope Pius XII), Doctor of the Church Universal in 1970 (Paul VI), and finally, Patroness of Europe in 1999 (by Pope John Paul II).
The element that characterizes the life of this saint, in fact, is the great practical activities (including political and literary) that involves her for life, fueled by an intense inner struggle and sustained by a profound insight : that of love of God and the world, witnessed more ardent with passion.
From an early age began to mortify themselves physically, and following a vision of Christ, received six years, decided to remain a virgin.
Around the age of twelve his parents decided to take her husband, but she, who secretly devoted himself to ascetic practices, having shaved his hair, covered his head with a veil and shut herself in the house, even without bending to overwhelming domestic hardships which shall submit it to distract from the ascetic purposes.
opposed by parents, for several years led a life of sacrifice, dedicated only to prayer, locked in his room at last, at eighteen, while remaining at home, took the veil of the mantle (so-called sisters because of her black worn on the dress White of the Third Order Dominican).
In 1370 he decided to open his heart to the outside world and began to devote himself caring for the sick in hospital with a group of disciples who followed her in the many movements, Catherine divided his time between the church of San Domenico, the 'and the leper hospital, where he attended the sick and dying.
It is said that one day regret the disgust felt at the sight of the wounds of a madman, Santa has been drinking the water used to wash the wound, saying he had never tasted food or drink so sweet and delicious. I sleep
Catherine were often accompanied by visions. For example, on the night of the Carnival of 1367, appeared to her, accompanied by the Virgin and a crowd of saints, the Christ, who gave her a ring and married her mystically, when the vision disappeared, the ring remained visible only to her. In another vision of Christ took her heart and took it away, returning with another heart even more beautiful and ruddy: his own. Christ gave his heart to Catherine inserting it into the side and in memory of the miracle at that point, was left a scar.
But Catherine was not only a mystic, he devoted himself to charitable activities, healed the sick, ministered to the poor, saw the prisoners, was a missionary of peace, and his small room, a sort of "cell", became a meeting place of people educated and began to crowd of men, artists and learned men, was, however, also a meeting place for the ordinary people and for members of various religious orders (Dominicans, Franciscans, Augustinians), and these became known as "Catherine" because, attracted by his charisma, they saw in you a reference point.
This raised concern in the higher order, who, suspicious, they called to Florence to assess the veracity of its events, and she defended himself beautifully, and remove doubts and misgivings, saw assign a teacher, Brother Raymond of Capua, her future spiritual heir.
soon spread throughout Europe in the voice of his fame and of the sacred stigmata, received April 1, 1375 in a church the Arno River (now called St. Catherine's).
Catherine began, therefore, to be honored as a saint. In 1376 the Florentines
asked her to intercede with Pope Gregory IX in order to remove the excommunication that they had earned for having formed a league against the excessive power of the French, then Catherine went to Avignon with his disciples, three confessors and an altar laptop, and managed to convince Pope Gregory IX is also left to persuade to abandon the "Avignon captivity", bringing the papal seat to Rome after nearly seventy years of exile.
In 1378 Pope Urban VI in Rome called for help to restore the unity of the Church in the Funds, in fact, the French had the newly elected anti-pope Clement VII. Catherine
supported him, writing letters to various heads of state and cardinals from around the world. In addition, with his disciples went to Rome, where Pope defended strenuously.
On 29 April 1380, only thirty-three, died.
She was buried in the cemetery of Santa Maria sopra Minerva, but in October of 1381 Pope Urban VI granted permission to disconnect from the American bust head, which was run by two brothers and taken to secret in Siena. On 11 May 1385, accompanied by an impressive procession, the relic was carried in the church of San Domenico, where he still lies. The remaining parts of the body become too relics, were placed in the sarcophagus under the altar.
Catherine was illiterate and of great culture had not gone to school and had no teachers. However, although painfully learned to read and, later, to write (even though most of his messages were, however, written under dictation).
Although we did not, therefore, literary purposes, the documents that he left us, the "Dialogue of Divine Providence " and "Letters " are among his most beautiful and least known of the '300, though poorly developed and sometimes characterized by an excessive zeal, it is still often of unusual spiritual height.
The "Dialogue of Divine Providence , one of the most remarkable mystical works of all time, is the real sum of his experiences of faith and its doctrine. The
" Letters", around 381, addressed to people of all, fall within the fourteenth century religious literary tradition, primarily addressed not to the creation of poetic images but at a purely practical purpose. Santa Caterina, in fact, he used letters to noble purposes: to alleviate the pain of others, preaching the Reformed Church, the papacy back to Rome.
Driven by an intense religious fervor, fueled by a genuine desire for renewal of humanity, Santa wrote the messages vigorous and strong, characterized by a fascinating language and load.
Among the various letters written by Catherine, the most striking is undoubtedly the one who wrote on the occasion of the death of Nicholas in Tuldo, a young Florentine gentleman accused in 1375 of plotting a conspiracy against Siena.
unjustly sentenced to death, the man did not want to receive spiritual counseling from anyone, only Catherine was able to overcome his resistance, came to him and spoke to him, instilling into his soul peace and serenity.
The letter is of exceptional beauty to the strength and vigor of his language, but also affects the tenderness of passion el'accesa of words.
Friday, September 28, 2007
Hermaphrodita Futanari Online
COUNTESS OF DIA
It amazes me that you turn proudly
The great merit of your person,
my dignity and my nobility will speak for me,
But I also want you to tell him, messenger,
m'appago of joy and youth,
I live in was painful
In this song the Countess says his love loudly and without bias says he wants his beloved.
La vida the Countess of Dia says: "Dia de la Comtesse is fo moiller d'En Guilem de Peitieus, domna nice and hot. enamoret if Rambaut et d'En d'Aurenga and fez he mantas de Bonas cansos . "(The Countess of Dia was the wife of William of Poitiers, a beautiful lady and good. And he loved Raimbaud of Orange, and wrote many beautiful songs in his honor).
Unfortunately, on the basis of this information is not possible to determine with certainty the identity of this poet, in fact there are several William of Poitiers and Raimbaud of Orange. The most reliable means as the Beatrice of Dia wife of William II of Poitiers (between 11 and 63 
1189) while another defines it as a hypothesis Isoardi, wife of Raimon Agout and daughter of an earl Dia (between 1184 and 1214).
unfortunately not received its name although it can be assumed that it was Beatrice who lived in Provence and Lombardy in the second half of 1100.
have been betrayed only a few songs in which the countess in a language devoid of prejudice sings a love that was neither married nor intended to marry but full of desire for Raimbaut quivering of Aurenga.
The only part of the Trobairitz which has kept the music belongs to the Countess of Dia and is titled "A Chantar qu'eu not know I had de volria ", which contains some of the most beautiful verses of the Provencal language full of pathos, which can only flow from the heart of a wounded woman in love.
1189) while another defines it as a hypothesis Isoardi, wife of Raimon Agout and daughter of an earl Dia (between 1184 and 1214). unfortunately not received its name although it can be assumed that it was Beatrice who lived in Provence and Lombardy in the second half of 1100.
have been betrayed only a few songs in which the countess in a language devoid of prejudice sings a love that was neither married nor intended to marry but full of desire for Raimbaut quivering of Aurenga.
The only part of the Trobairitz which has kept the music belongs to the Countess of Dia and is titled "A Chantar qu'eu not know I had de volria ", which contains some of the most beautiful verses of the Provencal language full of pathos, which can only flow from the heart of a wounded woman in love.
OF WHAT I HAVE TO SING 'I would not
I sing about what I would not,
so I have embittered him whose love
because I love her more than anything else;
him with grace and courtesy, not profit me,
nor my beauty, substance and intellect,
because they are ungrateful, betrayed
what would be fair if I were guilty.
friend, comfort me in this: I've never cheated
any with my behavior;
but I love you more than he loved Seguis Valens,
and I like to have you won in love,
my friend, because you are the best.
To me you show arrogance of words and attitudes,
and are well disposed to anyone else.
It amazes me that you turn proudly
To me, friend, and for this reason to mourn:
is not good that another love take you away from me,
still be able to apply to you or welcome;
and remember it was the beginning
of our love ... God forbid
that the separation is because of me!
The great merit of your person,
and the rich prize that you have, I fret:
since there is no woman , near or far,
that if I would not subjugate;
but you, my friend, you have enough feedback
to know who is the most faithful.
And remember our agreement.
my dignity and my nobility will speak for me,
and my beauty, my heart and even more faithful,
and So I send you, wherever you are,
this song, which will be my messenger;
and want to know, my friend nice and kind,
why you so hard and strange to me:
not know if it's pride or even contempt.
But I also want you to tell him, messenger,
many to lose too much pride .
In this song the words of the poet, the uncertainty in awe for fear of being abandoned by the beloved show that arrogant and hard with her alone and so scolded him saying that "for too many lost pride .
OF JOY AND YOUTH 'M'APPAGO
m'appago of joy and youth,
and joy and youth m'appagano
that my friend is the gayest,
that are pretty and cheerful;
and because they are honest with him,
well claim that both I really,
than ever not love him m'astengo
heart nor have I any reason.
much I like it, since I know it's the bravest
one I most wish I possess,
and pray to God that will attract happiness
on the person who first drew me
and do not believe any of those who blame him
except who warns
you receive tailored
of what has been done.
A lady that seeks the good value
well must make its intent
on a brave knight
since knows his value;
love and dares to openly
a lady who loves without hiding
the valiant and brave
not tell you that well.
I chose a man brave and courteous,
whose quality improves and increases,
generous, wise and righteous
where opinion and wisdom.
The Please believe me,
and nobody can make him believe
I've ever done wrong to him;
and find in him no fault.
Dude, your value
know the valiant and brave,
why I beg you to give me,
if you like, your protection.
In this song the Countess expressed her joy for the love of her partner, being brave and courteous, also increases the prestige of his beloved.
I LIVE IN PAINFUL STATE
I live in was painful
For I've got a knight had, and I want
is well known
ch'oltre any measure I have loved.
I see now to be betrayed,
he did not I gave my love,
and so, I am in error
day and night, in bed and dressed.
Well one night I would have
arms bare the beloved,
that certainly would be blessed and happy
I only did the pillow,
Since, I like him more than
did not like Florio and Biancifiore
I will give you my heart and my love,
my senses, my eyes and my life.
Bell'amico, kind and brave,
when I have no power?
only one night with you lying
To make a gift of a loving kiss!
Know that I longed
of possessing in place of her husband,
on condition that I promise
to only what I say.
In this song the Countess says his love loudly and without bias says he wants his beloved.
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"SHE DOES NOT APPEAR Son of mortal man, BUT THE WOMAN DEO ...": BEATRICE
So gentle and so honest it seems
my lady when she greets others, that every language
Deven trembling outline ,
and the eyes not dare to look.
She goes, feeling praise,
graciously clothed with humility;
and seems to be something coming
miracle from heaven to earth to show.
Mostrasi so pleasing to him who seeks
for giving eyes a sweetness to the core, no n'tender
that the people who can not test:
my lady when she greets others, that every language
Deven trembling outline ,
and the eyes not dare to look.
She goes, feeling praise,
graciously clothed with humility;
and seems to be something coming
miracle from heaven to earth to show.
Mostrasi so pleasing to him who seeks
for giving eyes a sweetness to the core, no n'tender
that the people who can not test:
and it seems that his lip is mova
a gentle soul full of love,
that goes to the soul saying: "She sighs."
a gentle soul full of love,
that goes to the soul saying: "She sighs."
With these words, Dante Alighieri defines Beatrice, the woman he had sung in the Vita Nuova and then celebrated in the Divine Comedy .
Who is Beatrice? Real woman or poetic imagination? The criticism has been much discussion on this point and some do not consider lack of an ideal figure Beatrice and symbolic. However, for most scholars, she really existed and should be identified with Beatrice, or Beatrice Portinari, the wife of Simone de 'Bardi, who died very young on June 8, 1290, he was able to meet during his youth in Florence.
Love for Beatrice Dante concentrates all the way and the value of their moral commitment, despite In fact, the contacts between the two were sporadic, the beloved is a love supreme for the poet in which mirror their own choices and their desire for justice and truth.
Dante, at the beginning, loved the canons of courtly love, singing the sweetness of her eyes, the beauty of her face, her grace and kindness of his actions and providing a feeling of love lived as a service . New Life In
are witnessing a turning point.
He presents her with a new, intense concentration symbolic Beatrice is "Beatrice," one who dispenses happiness, an angel came down from heaven on earth but regret and intended to return there. It is the announcement of a salvation, of a ransom of as unworthy of existence and there is negative "thing come / from heaven to earth to show miracle." La Vita Nuova
must be seen as the work in which Dante tells a personal story: his love for Beatrice. New Life In
is outlined the inner journey that leads the poet to understand how his love is not aimed at anything material, even the simple greeting, element in the courtly lyric. Sole objective is love for the poet to "praise" his wife, Beatrice is Dante stimulus for introspection and spiritual source of literary inspiration. At the conclusion of the work of Dante is clear what will be his task: highlight to the world the figure of Beatrice and promises not to write more of her except when she can so totally worth it.
The New Life is so outstanding, such as temporary work that awaits fulfillment in a work more ambitious: it will, in fact, its culmination in the Divine Comedy, where Beatrice will be transformed into a figure of salvation that transcends mundane reality , but at the same time retaining the character of a mortal creature. Already in the Vita Nuova
, but even more in Comedy, Beatrice is turn the image of Christ, just think of the use of the number nine, the continuing use of biblical quotations and numerous allegories that bring the two figures.
Beatrice, then, back in the second poem of the Divine Comedy : will, in fact, in the Garden of Eden to query and rebuking the poet for his wanderings, and will become the lead in Paradise. The Divine Comedy
Beatrice is embodied revelation and a symbol of Christ for all humanity, through which allows not only to Dante but to humanity as a whole, to get to Paradise and to the contemplation of God
Who is Beatrice? Real woman or poetic imagination? The criticism has been much discussion on this point and some do not consider lack of an ideal figure Beatrice and symbolic. However, for most scholars, she really existed and should be identified with Beatrice, or Beatrice Portinari, the wife of Simone de 'Bardi, who died very young on June 8, 1290, he was able to meet during his youth in Florence.
Love for Beatrice Dante concentrates all the way and the value of their moral commitment, despite In fact, the contacts between the two were sporadic, the beloved is a love supreme for the poet in which mirror their own choices and their desire for justice and truth.
Dante, at the beginning, loved the canons of courtly love, singing the sweetness of her eyes, the beauty of her face, her grace and kindness of his actions and providing a feeling of love lived as a service . New Life In
are witnessing a turning point.
He presents her with a new, intense concentration symbolic Beatrice is "Beatrice," one who dispenses happiness, an angel came down from heaven on earth but regret and intended to return there. It is the announcement of a salvation, of a ransom of as unworthy of existence and there is negative "thing come / from heaven to earth to show miracle." La Vita Nuova
must be seen as the work in which Dante tells a personal story: his love for Beatrice. New Life In
is outlined the inner journey that leads the poet to understand how his love is not aimed at anything material, even the simple greeting, element in the courtly lyric. Sole objective is love for the poet to "praise" his wife, Beatrice is Dante stimulus for introspection and spiritual source of literary inspiration. At the conclusion of the work of Dante is clear what will be his task: highlight to the world the figure of Beatrice and promises not to write more of her except when she can so totally worth it.
The New Life is so outstanding, such as temporary work that awaits fulfillment in a work more ambitious: it will, in fact, its culmination in the Divine Comedy, where Beatrice will be transformed into a figure of salvation that transcends mundane reality , but at the same time retaining the character of a mortal creature. Already in the Vita Nuova
, but even more in Comedy, Beatrice is turn the image of Christ, just think of the use of the number nine, the continuing use of biblical quotations and numerous allegories that bring the two figures.
Beatrice, then, back in the second poem of the Divine Comedy : will, in fact, in the Garden of Eden to query and rebuking the poet for his wanderings, and will become the lead in Paradise. The Divine Comedy
Beatrice is embodied revelation and a symbol of Christ for all humanity, through which allows not only to Dante but to humanity as a whole, to get to Paradise and to the contemplation of God
NEW LIFE (1292-1293; prosimetrum: 42 + 31 chapters of prose poems)
The title alludes to the revelation of an absolute experience that gives new meaning to "life" and renewed. The narrative begins with the first meeting of Dante and Beatrice, the poet when he was nine. The next meeting will take place nine years later: this time Dante receives the greeting of the woman. After a dream in which Love calls the woman to eat the heart of the poet, Dante wrote his first sonnet, as a greeting to "all of them faithful love." For some time, fearing that they may come to identify in his beloved Beatrice, in contravention to the rules of courtly love, Dante is the woman of expedience-screen. But Beatrice, offense, denies him the greeting prompting the poet to write openly about her.
Following a conversation with a woman who makes him feel like his happiness could be found only in the "praises" of his wife, relies on the poetry of Dante "praise", a theme which occupies the central part of the work. Among
ads and premonitions came the news of the death of Beatrice, Dante narrates directly: he insists only on its loss, the sense of loss related to the absence of his beloved. A year has passed since the death of her sympathy and gratitude for a "nice woman" who gives him solace. Beatrice appears to him in a dream and he feels ashamed for being distracted. At the end of the work is proposed not to speak Beatrice over again until they can "more worthily treat of her."
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" CORTESE "
courtly love itself as an absolute force, since foreign material to the bond of marriage is justified in itself, a waiver of any social recognition and is ready to challenge the presence of a third party (the husband). The highest intensity of this love accompanying the knight as a good total, far from any compromise with the normal daily life, and, as in the case of Tristan and Isolde, love finds its apotheosis in death, the affirmation of its absoluteness and its impossibility. The model of courtly love has had a great fascination in the history of Western culture and imagination, many centuries later we find him in the forms of romantic love.
His statement in the literature of romance was not only the result of a literary invention, but stemmed from a profound modification of the experience of love and sexuality. Feudal states in the secular world a new image of femininity: the communication with the woman-lady gives a higher value, an absolute nobility, and the relationship with the woman he loves goes beyond the mere desire of physical possession, but aspires to become a "value". Fidelity to this value, however, implies a distinction between the lovers are able to live it to the end and the rest of society, even courtly love stands completely outside the social rules. To this may not coincide with the bed (as theorized by Andrea chaplain in his treatise De Amore ), there must be prohibited in situations that are impossible, contact women tied to another man. 
courtly love itself as an absolute force, since foreign material to the bond of marriage is justified in itself, a waiver of any social recognition and is ready to challenge the presence of a third party (the husband). The highest intensity of this love accompanying the knight as a good total, far from any compromise with the normal daily life, and, as in the case of Tristan and Isolde, love finds its apotheosis in death, the affirmation of its absoluteness and its impossibility. The model of courtly love has had a great fascination in the history of Western culture and imagination, many centuries later we find him in the forms of romantic love.
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WITCHES
magic is commonly called the set of practices that a company, you usually live mostly on agriculture, put in place to control or predict the weather, to get fertility land and promote or limit the people. These rituals are kept secret because they also provide practical negative: the erotic, when we want to coerce the individual will, "make love ', or affect the fertility or infertility, or infanticide to limit ports in times of difficulty, or the" theft magic "of the crops from one field to' another or the evil eye cast on his neighbor's cattle.
During the slow conversion to Christianity, the old rites rustic Mediterranean that Europe had inherited from the gods of the Greeks and Romans and the northern gods of the Celts and Romans, who continued to live, even until the eleventh, XII, XIII century. In the Germanic area, particularly towards the east, the diffusion worship the new God had been conducted largely with weapons and not accepted by the people only because they wanted so their conquerors or their king, but when the soldiers went away, what could be done to maintain the missionary priest Christianity imposed by force of arms? It could only create a sense Christian to preach the cult of the old gods who could not erase from people's memory. Without denying their existence, simply explained that they were demons.
already mentioned in early medieval texts, the witches claimed to fly riding demons transformed into animals and Augustine (354-430) said that they used for this ointments. Some people think that these ointments were compounds with hallucinogenic drugs and perhaps not coincidentally, centuries later, a English inquisitor was told that the ointment was the women fall into a deep sleep, a trance that made them insensitive to all but the trance could also be introduced by a phenomenon of self-hypnosis which the ointment was the symbolic gesture.
Why only women? It is difficult to answer this question, difficult to explain the wave of misogyny, which then began to occur as soon as the ' ' Inquisition said the line of intolerance, when many women have been subject to increasingly stringent interrogation, they ended to confess demonic practices, perhaps to escape, at least for a while, the pressure of physical and psychological torture, or because their simplicity made them helpless against the culture and the strength of the inquisitor. It is true that much of the popular magic had always been practiced by women, who were in the hands of the secrets of fertility - fertility, contraception, abortion - and to which so many secrets were entrusted to the community and also an important part of magical practices a traditional society in which the relationship between births and deaths must always be in balance because there was food for all. Herbalists, midwives, paediatricians first. And then, of course, even witches.
the second half of the fourteenth century witchcraft, first tolerated, was defined as a crime, the culmination of a process of legal system matter of demonic magic. The aversion to magical practices of the Church grew especially in the fifteenth century, when it was more clearly oriented toward women, giving rise to the phenomenon of "witch hunt", a tragedy that he brought a large number of arson.
magic is commonly called the set of practices that a company, you usually live mostly on agriculture, put in place to control or predict the weather, to get fertility land and promote or limit the people. These rituals are kept secret because they also provide practical negative: the erotic, when we want to coerce the individual will, "make love ', or affect the fertility or infertility, or infanticide to limit ports in times of difficulty, or the" theft magic "of the crops from one field to' another or the evil eye cast on his neighbor's cattle.
During the slow conversion to Christianity, the old rites rustic Mediterranean that Europe had inherited from the gods of the Greeks and Romans and the northern gods of the Celts and Romans, who continued to live, even until the eleventh, XII, XIII century. In the Germanic area, particularly towards the east, the diffusion worship the new God had been conducted largely with weapons and not accepted by the people only because they wanted so their conquerors or their king, but when the soldiers went away, what could be done to maintain the missionary priest Christianity imposed by force of arms? It could only create a sense Christian to preach the cult of the old gods who could not erase from people's memory. Without denying their existence, simply explained that they were demons.
already mentioned in early medieval texts, the witches claimed to fly riding demons transformed into animals and Augustine (354-430) said that they used for this ointments. Some people think that these ointments were compounds with hallucinogenic drugs and perhaps not coincidentally, centuries later, a English inquisitor was told that the ointment was the women fall into a deep sleep, a trance that made them insensitive to all but the trance could also be introduced by a phenomenon of self-hypnosis which the ointment was the symbolic gesture.
Why only women? It is difficult to answer this question, difficult to explain the wave of misogyny, which then began to occur as soon as the ' ' Inquisition said the line of intolerance, when many women have been subject to increasingly stringent interrogation, they ended to confess demonic practices, perhaps to escape, at least for a while, the pressure of physical and psychological torture, or because their simplicity made them helpless against the culture and the strength of the inquisitor. It is true that much of the popular magic had always been practiced by women, who were in the hands of the secrets of fertility - fertility, contraception, abortion - and to which so many secrets were entrusted to the community and also an important part of magical practices a traditional society in which the relationship between births and deaths must always be in balance because there was food for all. Herbalists, midwives, paediatricians first. And then, of course, even witches.
The three most important dates at the start witch-hunting are the 1348, when some women who lived isolated, often herbalists, midwives or healers were accused of witchcraft and lynched by the people, becoming one of the scapegoats of the plague, 1484, when the pope, alarmed by the news events of witchcraft occurred in Germany, intervened against certain women who had been accused of apostasy of faith, sexual intercourse with the devil and the damage to people, animals and fruits of land, 1487, when two interrogators wrote the Malleus Maleficarum (Hammer of Witches), a treaty that established for the first time that witchcraft was only women that witches were not visionary, as Augustine had written, but really had relationships with devil, and because children who had never practiced contraception or abortion. The night flight and the sabbath, he said, they were dreams or hallucinations, but really took place.
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for comparison ... THE WOMAN IN THE COMPANY 'GREEK-ROMAN
In the culture of greek and Roman civilization, the difference between men and women have a twofold nature: biological and cultural. From the biological point of view, the woman responded to the task essential to reproduce the species. In Greek and Roman society, as indeed in almost all ancient civilizations, the woman is seen primarily as a mother, is indeed the symbol of fertility.
In Greek culture, most women lived a life of "internal" private, family, mostly locked up in four walls.
Roman women, however, leading a somewhat different, that today we would say "more free." In the early centuries of the Roman republic, the woman was under the absolute power of the pater familias, as well as property, slaves and children. In the Augustan period (late first century BC), however, this situation of complete independence was modified: the woman was accorded a larger freedom, certainly greater than that afforded to it in the context of other civilizations. In ancient times, for example, only the husband could divorce his wife, while even later the woman was entitled to sue for divorce, in addition, he received a dowry at marriage in the event of divorce left her and this gave her a autonomy.
This autonomy was not enough to emancipate the Roman woman from her traditional role as "queen of the hearth" (and, in fact, his life spent mostly inside their home), but it was enough for them to enjoy some activities precluded Greek woman: sport, for example, but also the cultural life (theater, philosophy, law) and religion. It was what happened in the bacchanalia, events religious services in honor of the greek god Dionysus (the Romans called Bacchus). During these rites, small groups of initiates, men but especially women, they indulge in singing and wild dancing, during which they fell into a kind of hypnotic trance that allowed them direct contact with the deity. Although this was an extreme form of female liberation and much disputed.
In the culture of greek and Roman civilization, the difference between men and women have a twofold nature: biological and cultural. From the biological point of view, the woman responded to the task essential to reproduce the species. In Greek and Roman society, as indeed in almost all ancient civilizations, the woman is seen primarily as a mother, is indeed the symbol of fertility.
In Greek culture, most women lived a life of "internal" private, family, mostly locked up in four walls.
Roman women, however, leading a somewhat different, that today we would say "more free." In the early centuries of the Roman republic, the woman was under the absolute power of the pater familias, as well as property, slaves and children. In the Augustan period (late first century BC), however, this situation of complete independence was modified: the woman was accorded a larger freedom, certainly greater than that afforded to it in the context of other civilizations. In ancient times, for example, only the husband could divorce his wife, while even later the woman was entitled to sue for divorce, in addition, he received a dowry at marriage in the event of divorce left her and this gave her a autonomy.
This autonomy was not enough to emancipate the Roman woman from her traditional role as "queen of the hearth" (and, in fact, his life spent mostly inside their home), but it was enough for them to enjoy some activities precluded Greek woman: sport, for example, but also the cultural life (theater, philosophy, law) and religion. It was what happened in the bacchanalia, events religious services in honor of the greek god Dionysus (the Romans called Bacchus). During these rites, small groups of initiates, men but especially women, they indulge in singing and wild dancing, during which they fell into a kind of hypnotic trance that allowed them direct contact with the deity. Although this was an extreme form of female liberation and much disputed.
[listen to the song "Women of Athens" by E. Finardi]
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