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Christina Hale, “3 Ways Dante Influenced C.S. Lewis”

December 6, 2020 By Laura Chatellier, FSU '23

christina-hale-three-ways-dante-influenced-cs-lewis“C.S. Lewis’s love for Dante Alighieri and The Divine Comedy was no great secret. Lewis first read Dante’s Inferno in the original Italian when he was in his teens and later read Purgatorio while he was in the hospital recovering from wounds received in World War I. He finally read Paradiso for the first time in 1930, before he became a Christian, but after he had reluctantly decided that there was a God. At this point, he was still very much conflicted as to the nature of God and whether or not there was an afterlife.

“After finishing Paradiso, he told a dear friend, Arthur Greeves, that ‘it reaches heights of poetry which you get nowhere else; an ether almost too fine to breathe. It is a pity I can give you no notion what it is like. Can you imagine Shelley at his most ecstatic combined with Milton at his most solemn & rigid? It sounds impossible I know, but that is what Dante has done.’ He thought that it felt “more important” than any poetry he had ever read. The year after reading Paradiso, Lewis became a believing Christian. While we might never know just how large a role Dante played in his actual conversion, it is clear that Dante had an incredible effect on Lewis’s life and writings.

“The influence of The Divine Comedy can be clearly seen in one of Lewis’s finest, and yet frequently overlooked, works—the Ransom Trilogy (commonly but erroneously called the Space Trilogy). In this post I will outline three ways in which Dante’s influence can be seen in the Ransom Trilogy.” [. . .]   –Christina Hale, Roman Roads, 2020.

Check out more of Christina Hale’s work here.

Categories: Written Word
Tagged with: 2020, Christianity, Literary Criticism, Literature, Pilgrimage

Jorge Luis Borges, “Paradiso, XXXI, 108” in Dreamtigers

November 23, 2020 By Laura Chatellier, FSU '23

jorge-luis-borges-paradiso-xxxi“Beside a road there is a stone face and an inscription that says, ‘The True Portrait of the Holy Face of the God of Jaen.’ If we truly knew what it was like, the key to the parables would be ours and we would know whether the son of the carpenter was also the Son of God.

“Paul saw it as a light that struck him to the ground; John, as the sun when it shines in all its strength; Teresa de Jesus saw it many times, bathed in tranquil light, yet she was never sure of the color of His eyes.

“We lost those features, as one may lose a magic number made up of the usual ciphers, as one loses an image in a kaleidoscope, forever. We may see them and know them not. The profile of a Jew in the subway is perhaps the profile of Christ; perhaps the hands that give us our change at a ticket window duplicate the ones some soldier nailed one day to the cross.

Perhaps a feature of the crucified face lurks in every mirror; perhaps the face died, was erased, so that God may be all of us.” [. . .]    –Jorge Luis Borges, The Floating Library, September 15, 2008.

Categories: Written Word
Tagged with: 1960, Argentina, Books, Literature, Poets, Short Stories

Jorge Luis Borges, “Inferno, I, 32” in Dreamtigers

November 23, 2020 By Laura Chatellier, FSU '23

jorge-luis-borges-inferno-i-32-2020“From the twilight of day till the twilight of evening, a leopard, in the last years of the thirteenth century, would see some wooden planks, some vertical iron bars, men and women who changed, a wall and perhaps a stone gutter filled with dry leaves. He did not know, could not know, that he longed for love and cruelty and the hot pleasure of tearing things to pieces and the wind carrying the scent of a deer, but something suffocated and rebelled within him and God spoke to him in a dream: ‘You live and will die in this prison so that a man I know of may see you a certain number of times and not forget you and place your figure and symbol in a poem which has its precise place in the scheme of the universe. You suffer captivity, but you will have given a word to the poem.’ God, in the dream, illumined the animal’s brutishness and the animal understood these reasons and accepted his destiny, but, when he awoke, there was in him only an obscure resignation, a valorous ignorance, for the machinery of the world is much too complex for the simplicity of a beast.

“Years later, Dante was dying in Ravenna, as unjustified and as lonely as any other man. In a dream, God declared to him the secret purpose of his life and work; Dante, in wonderment, knew at last who and what he was and blessed the bitterness of his life. Tradition relates that, upon waking, he felt that he had received and lost an infinite thing, something that he would not be able to recuperate or even glimpse, for the machinery of the world is much too complex for the simplicity of men.” [. . .]    — Jorge Luis Borges, The Floating Library, July 28, 2008.

Categories: Written Word
Tagged with: 1960, Argentina, Books, Literature, Poets, Short Stories

Beyond The Inferno by Alex L. Moretti

November 21, 2020 By Jasmine George, FSU '24

“What if the fires of ancient love burned so strong you’d traverse three realms of the afterlife in a bid to save mankind from spiritual destruction, for one last kiss with your dead lover? Even if it was she who plunged you into the depths of Hell, the terrifying, blazing Inferno, to witness the punishment of sin in all its barbarity, cruelty and horror. While you were still alive…”   –Beyond the Inferno, Alex L. Moretti, 2020

Alex L. Moretti’s Beyond the Inferno is a novelization of Dante’s The Divine Comedy.

See our post on Moretti’s essay here.

Categories: Written Word
Tagged with: 2020, Alex L Moretti, Inferno, Literature, Novels

“Re-telling A Classic – Unravelling Archaic Prose for Contemporary Readers”

November 13, 2020 By Jasmine George, FSU '24

“Classics endure primarily because their stories explore topics and themes which continue to resonate; think Shakespeare, Tolstoy and Austen. And Dante. But what happens when classics, written in the style and cadence of ancient prose, simply don’t appeal to a contemporary audience thirsty for the story today yet unwilling – or unable – to untangle the archaic language of yesterday?

“Translations can be equally confusing, especially given they are often straight conversions from, in Dante’s case, 14th century Italian prose into 14th century English prose. Yet these classics deserve to live on. They are ripe for rediscovery and should not be abandoned purely because of a reluctance to decode archaic text. Still, it seems, the modern reader is prepared to reject certain bygone classics for that very reason, despite consensus they are considered pivotal pieces of literature; that they are art in themselves.

“So, how then, is today’s bookworm to enjoy classics such as The Divine Comedy without the immediate distraction of deciphering the archaic prose, or constantly referencing a pile of study guides, essays and tutors’ notes? Well, let me tell you…” –Alex L Moretti, Alex L Moretti, 2020

Read the full article here.

See our post on Moretti’s novelization of The Inferno here.

Categories: Image Mosaic, Written Word
Tagged with: 2020, Alex L Moretti, Classics, Contemporary Prose, Language, Literature, Prose

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Coggeshall, Elizabeth, and Arielle Saiber, eds. Dante Today: Citings and Sightings of Dante’s Works in Contemporary Culture. Website. Access date.

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