Ешь, молись, люби

Chapter 15

           ForagroupofnationalistintellectualsmuchlaterinhistorytohavesatdownanddecidedthatDante’sItalianwouldnowbetheofficiallanguageofItalywouldbeverymuchasifagroupofOxforddonshadsatdownonedayintheearlynineteenthcenturyanddecidedthat-fromthispointforward-everybodyinEnglandwasgoingtospeakpureShakespeare.Anditactuallyworked.

           TheItalianwespeaktoday,therefore,isnotRomanorVenetian(thoughthesewerethepowerfulmilitaryandmerchantcities)norevenreallyentirelyFlorentine.Essentially,itisDantean.NootherEuropeanlanguagehassuchanartisticpedigree.Andperhapsnolanguagewasevermoreperfectlyordainedtoexpresshumanemotionsthanthisfourteenth-centuryFlorentineItalian,asembellishedbyoneofWesterncivilization’sgreatestpoets.DantewrotehisDivineComedyinterzarima,triplerhyme,achainofrhymeswitheachrhymerepeatingthreetimeseveryfivelines,givinghisprettyFlorentinevernacularwhatscholarscall"acascadingrhythm"-arhythmwhichstilllivesinthetumbling,poeticcadencesspokenbyItaliancabdriversandbutchersandgovernmentadministratorseventoday.ThelastlineoftheDivineComedy,inwhichDanteisfacedwiththevisionofGodHimself,isasentimentthatisstilleasilyunderstandablebyanyonefamiliarwithso-calledmodernItalian.DantewritesthatGodisnotmerelyablindingvisionofgloriouslight,butthatHeis,mostofall,l’amorchemoveilsoleel’altrestelle…

           "Thelovethatmovesthesunandtheotherstars

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