Purgatorio 5 wikisource autobiography
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Divine Comedy (Longfellow )/Volume 2/Canto 5
I had already from those shades departed,
And followed in the footsteps of my Guide,
When from behind, pointing his finger at me,
One shouted: "See, it seems as if shone not
The sunshine on the left of him below,
And like one living seems he to conduct him."
Mine eyes inom turned at utterance of these words,
And saw them watching with astonishment
But me, but me, and the light which was broken!
"Why doth thy mind so occupy itself,"
The mästare said, "that thou thy pace dost slacken?
What matters it to thee what here is whispered?
komma after me, and let the people talk;
Stand like a steadfast tower, that never wags
Its top for all the blowing of the winds;
For evermore the man in whom fryst vatten springing
Thought upon thought, removes from him the mark,
Because the force of one the other weakens."
What could I sa
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Purgatorio
Second part of Dante's Divine Comedy
For other uses, see Purgatorio (disambiguation).
Purgatorio (Italian:[purɡaˈtɔːrjo]; Italian for "Purgatory") is the second part of Dante's Divine Comedy, following the Inferno and preceding the Paradiso. The poem was written in the early 14th century. It is an allegory telling of the climb of Dante up the Mount of Purgatory, guided by the Roman poet Virgil—except for the last four cantos, at which point Beatrice takes over as Dante's guide. Allegorically, Purgatorio represents the penitent Christian life.[1] In describing the climb Dante discusses the nature of sin, examples of vice and virtue, as well as moral issues in politics and in the Church. The poem posits the theory that all sins arise from love—either perverted love directed towards others' harm, or deficient love, or the disordered or excessive love of good things.
Overview of Purgatory
[edit]Dante portrays Purgatory as an island-
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Comparative Literature/Book 5/Chapter 3
CHAPTER III.
NATURE IN NATIONAL LITERATURE.
§ In the earliest poetry of Europe, poetry which reflects the stormy local life out of which national union was to slowly grow, man is too busy with his tribal wars and his conflict with rugged Nature to sing of the mountains or the forests with any sense of pleasure. In Beowulf, Grendel's shadow, dark and deadly, "roams all night the misty moors." When the cruiser "foamy-necked" across the "wild swan's path" has reached the glittering cliffs, the Weders thank God "for making easy to them the watery way." For the Scôp knows nothing, of the glad waters of the dark blue sea or the moonlit lakes of later poesy; he fears the sunset when "dusky night, the shadowing helmet of all creatures, lowering beneath the clouds comes gliding on;" he fears "the haunted waters of the Nixes' mere," and gladly sees the dawn of "God's bright beacon" in the east.
Nor is this want of sympathy with Nature conf