Evgeniy Bogat - ...What moves the sun and luminaries. Love in letters of outstanding people. Love that moves the sun and luminaries Need help studying a topic

Where have you been hanging around all night, you shaggy trash? – Xanxus barked, seeing a silhouette that was familiar to the point of pain in the eyes in the doorway. - Do you know what time it is? - Were you worried, damn boss? – Squalo stopped in the doorway, leaning against the frame. He was dressed in civilian clothes, his hair, usually disheveled, neatly tied into a ponytail. – For your information, my purpose is not at all to write reports for you and catch with my head everything that you feel like throwing at it. I had a date. With Oregano from CEDEF. Xanxus was so stunned by this news that he forgot to throw a previously prepared pink marble writing instrument at the swordsman. - Ore...Who? - Cavallone in a coat. We went to a System of a Down concert, then argued about music in some 24-hour diner. The coffee is what you need, by the way. – Squalo took a sip from the glass he was holding in his hand. - Well? - What's "well"? She's a decent girl. Smart. Beautiful. She and I listen to the same records. That's it, I'm off to bed. – The swordsman turned around and, shaking his silver hair, stomped into the residential wing. Xanxus knocked back his seventh glass of whiskey and thought. Worried? He? What the hell? It’s just that when this long-haired idiot isn’t yelling or rushing through the corridors, the castle is unusually quiet. And this silence is scary. Xanxus didn't like change. And he couldn't stand being alone. The boss fell asleep right in the chair. When I opened my eyes closer to noon, Levi was shifting from foot to foot at the entrance to the office. In a fashionable coat. With a bouquet in hands. He smelled a mile away of perfume, shower gel and God knows what else. He even tried to smooth his hair. It turned out so-so. Xanxus decided that he was dreaming, but just in case he barked: “Why did you come, you dumbass?” - Boss... I'm... asking for a day off. Levi-A-Tan hasn't taken a day off in five years. Xanxus' eyebrows crawled under his tousled bangs and met at the back of his head. - For what? - I...well...invited a girl to the cinema. MM. from Kokuyo-land. Such a redhead. Levi smiled stupidly. The boss wanted to kill him. Right here. Right now. He grabbed the writing instrument prepared for the captain from the table and threw it at the Thunderer. – GET OUT OF HERE, RAM! And so that I don’t see you here until tomorrow! - Thank you, boss! – Levi howled gratefully, flying out of the office like a bullet. The piece of marble launched by the boss overtook him in the corridor and greeted the officer’s left shoulder blade. “This redhead? Did he promise her money? Or an expensive trinket? Or does she want to annoy that red-eyed test tube idiot? He’ll play and quit, and that walrus horseradish will then drink valerian. And Squalo kicks him so that he doesn’t smear his snot....” Xanxus sighed, stretched, got up from his chair and went to the window. In the courtyard, Belphegor danced in a round dance with the desperately resisting Mammon and, choking with laughter, said: “I was sitting on a bench in the park yesterday, shi-shi-shi, waiting for the man they ordered for you and me, and then a girl passed by.” Such a shi-shi-shi girl! Feet from ears, ears from feet, and cheeks! You never dreamed of it! That’s how I would pinch off a piece as a souvenir! “Oh, he asks, are you by any chance an emo?” "Who-who?" - I ask. “Well, uh, these are the guys, they wear everything in pink and black stripes. And half-face bangs! And they are also emotional! These are just so, so, so emotional! You can't control your emotions anymore! Sometimes they don’t control it so much that they cut veins and watch the blood flow! They like to see blood, okay?” “Yeah, I say, it’s me. Stopudovo." She added me as a friend on Facebook today, shi-shi-shi... Do you want me to show you? The prince, holding Mammon under his arm, reached for his mobile phone. Xanxus heard a delicate cough behind him. In front of him stood Fran, dressed at home, with his stupid hat in his hands. - What are you up to? I WILL NOT GIVE DAY OFF! - the boss shouted in rage and threw the glass with his morning hangover into the corner. Not a single muscle moved on the illusionist’s face. - I'm getting the key to the library, boss. Lussuria said you have him. Give me please. Xanxus sighed so loudly that the curtains fluttered. He took the key from the table and threw it to the boy. - On the. Go read your etiquette book, you little trash. Even Luss is complaining about you. Fran raised one eyebrow in surprise, but said nothing. Clutching the key in his fist, he silently padded towards the exit. The boss sighed for the third time and, again sank into his chair, took out from the far drawer a book that he had secretly taken from the library - Dante's Divine Comedy. “Love that moves the sun and luminaries,” motherfucker. They completely let themselves go so that they could fail. Damn spring, who invented it? Lussuria, who looked into the office half an hour later, found the boss sleeping over a book. The smell of cherry blossoms wafted through the slightly open window. White petals brought by the wind were tangled in Xanxus's hair. On the refrigerator with whiskey there was a note: “Shoot Squalo in the legs so he doesn’t hang around women. Tomorrow. Today I’m lazy.”

Dante Alighieri (1265-1321) is a huge figure standing on the border of two worlds: the Middle Ages and the Renaissance. This modest note is dedicated not to his works, but to what is less known - the fate of the artist.

Dante was born in a difficult time. Every baby in Florence was doomed to become a member of one of two warring factions: the Guelphs or the Ghibellines. The Guelphs are influential citizens of Florence, merchants, bankers, lawyers, trying to defend their independence, both financial and political. Their activities were connected with Rome, Naples, and France. The desire for independence meant a desire to limit the power of the emperor and strengthen the influence of the Pope. The Ghibellines, on the contrary, were adherents of imperial power. The struggle with the Guelphs was, in essence, a struggle between the papacy and the empire.

Dante's House in Florence

Little is known about Dante's family. These are middle-income people who own land in Florence. Dante's father was a lawyer and was married twice. His first wife - Dante's mother - died when he was a child. Her name was Bella (or Isabella). When Dante turned 18, his father died. The poet became the head of the family too early. He may have attended the law school in Bologna. He did not complete his university education.

At the age of nine, Dante met the beautiful Beatrice Portinari, who was also nine years old. On a summer day in May, he admired his neighbor's daughter. This is his first memory. His whole life was illuminated by the name of Beatrice. He didn’t just love her, it was a feeling of enormous depth, reverent love. And that is why Dante experienced such great grief when Beatrice, already a married woman, died at the age of 25. But nothing ends just like that. Her wonderful image, the beautiful face of the “glorified mistress of his memories” turned into a symbol of the highest Wisdom, close to Revelation.

The image of a young and loving beauty, full of regret for him, did not leave Dante and only intensified in his heart. It seems to him that the whole city is engulfed in this grief. Leaving this world, she goes to the kingdom of eternal peace - to the Empyrean. And there, “beyond the sphere of ultimate movement,” her face is revealed to him: “She who has left the captivity of earthly anxieties, // Worthy of praise and surprise.”

We learn about Dante from one of his first biographers - Giovanni Boccaccio (1313-1375).

It cannot be assumed that Dante became a dreamy hermit. Boccaccio writes that soon after Beatrice's death, Dante married Gemma Donati. The marriage was predetermined by the parents (a well-known case when the husband and wife were still children). Gemma is never mentioned in Dante's works. Two sons were born: Pietro and Jacopo, daughter Antonia (after Dante’s death she would take monasticism under the name Beatrice).

Dante's grief gradually subsided. One day a beautiful young lady looked at him, condoling with him, and something new awoke in him, some vague feeling, seeking a compromise with the past. He begins to convince himself that the same love lives in that beauty that makes him shed tears. And every time she met him, she looked at him the same way, turning a little pale. It reminded him of Beatrice, who was just as pale. He looks at the stranger. If before her compassion brought tears to his eyes, now they don’t. He comes to his senses and reproaches himself for the unfaithfulness of his heart, he becomes even more painful and ashamed. He dreams of Beatrice, dressed the same way as on that warm day when he saw her as a girl... And Dante returns to his old love with incredible passion, almost with a mystical affect. He will write when he sees the pilgrims: “If you stop and listen to me, you will leave in tears; This is what my yearning heart tells me. Florence has lost its Beatrice, and what a person can say about her will make everyone cry.”

Love for Beatrice remained in him forever. Everything else was fleeting and insignificant. After her death, in “New Life” he will talk about how he loved her. He will also say that this work is not enough to glorify her, and he will decide to create in her honor an unprecedented monument of the word. And therefore Dante works hard: reads Boethius (“On the Consolation of Philosophy”), Cicero (“On Friendship”), attends monastic schools, and expands his circle of knowledge. The range of his thoughts covers the entire range of human knowledge at the beginning of the 14th century, incorporating both ancient and medieval culture. This is a qualitatively different type of knowledge. Modern man cannot accommodate the enormity of accumulated knowledge, and therefore the world for him crumbles into carefully studied but fragments. Knowledge goes not in breadth, but in depth. For Dante, the Universe is, on the contrary, a single whole, where everything is interconnected and justified, subordinated to a single idea and goal. Philosophy for Dante coincides with grief over Beatrice. But he lives in this world of sorrow, abstract categories and allegories. Remembering the beauty who sympathizes with him, he thinks: is it not in her that the love that makes him suffer for Beatrice is hidden?

At this time, political strife was raging in Florence. A skirmish occurred among the Guelph nobility - between Donati (Black party) and Cherki (White party). Blood was shed and the entire Guelph nobility split into two camps. The Blacks are at one with the Pope, who wants to subjugate Florence, and the Whites are their worst enemies, trying to protect the independence of their homeland. Dante joins the Whites precisely because he considered it his duty to defend the independence of Florence and the people’s right to vote. Since 1295 his name appears on the lists of various government councils, and in 1300 he was sent to San Gimignano as an envoy for negotiations.

The government of Florence sent some members of both the Black and White camps into exile, among them Dante's best friend, Guido Cavalcanti. He, among the Whites, was exiled to Sarzana, some unhealthy area, where Guido became seriously ill and died that same year, despite the fact that he had returned from there in the fall.

Guido Cavalcanti (1250-1300)

Dante continued to speak at council meetings as an opponent of the pope. But power passed to the Blacks. Lists of those subject to expulsion began to be drawn up. The list of 1302 included the name of Dante Alighieri. He was accused of everything possible (extortion, malfeasance, etc.). The sentence was a huge fine and a two-year expulsion from Toksana with a ban on holding public office. All of Dante's property was confiscated. The house was to be destroyed. This news reached him while he was in Rome. He was no longer able to return to Florence. A few months later, a new decree followed, in which his name again appeared along with fourteen others: if caught, he would be sentenced to be burned at the stake: “... let him be burned with fire until he dies.”

Dante lived as an exile for the rest of his life. This is twenty years of his life, the time in which he creates the Divine Comedy. He lives with the ruler of Verona, Bartolomeo della Scala; lived in Bologna, the city of scientists; traveled to Paris, where he studied theology and philosophy (1308-1309).

He sadly remembers Italy, torn apart by confrontations. It seems to him that everyone is lost in delusion, in the dark thickets of the forest, just like he himself in the first song of the Divine Comedy, and everyone’s path to the light is blocked by the same symbolic animals: panther - voluptuousness; lion - pride; she-wolf - covetousness. There is especially a lot of the latter around. At the same time, the paths of personal salvation are open to everyone: reason, self-knowledge, science - all this leads a person to an understanding of the truth, to faith, divine grace and, finally, love. And Beatrice becomes a symbol of this active grace. The voice of reason and science is given to Virgil.

Dante's fate is similar to the fate of Shakespeare and the fate of Pushkin. Apparently, this is a typology of geniuses. Yes, in the 14th century, Dante’s works were enthusiastically received by his advanced contemporaries. But what happened in the literary consciousness of subsequent eras? In the era of classicism and educational philosophy, his name was almost forgotten. For example, Voltaire recognized some of the merits of the works of Shakespeare and Dante, but this did not stop him from calling the former a drunken savage, and speaking of the latter’s “Divine Comedy” as an ugly product of the Middle Ages and barbaric Gothic taste.

Voltaire's reflection on Hamlet: “It seems that this work is a figment of the imagination of a drunken savage” (“Discourse on Ancient and Modern Tragedy”).

The exiled Pushkin in exile makes a note about Dante, namely, he recalls the words that the artist put into Francesca’s mouth in “Hell”, reflecting the sorrowful experiences of both Dante and Pushkin himself: “There is no greater torment than remembering a happy time in unhappiness days.” ). (Later, Ryleev would take these same lines as an epigraph to the poem “Voinarovsky.”) The episode of Dante’s meeting with the shadows of Francesca and Paolo in Canto V of “Ada” sank deeply into Pushkin’s memory. To “Eugene Onegin” he makes an epigraph from Dante: “But tell me: in the days of tender sighs // By what signs and how did Cupid allow // So that you recognize your unclear desires?”

Dante's torment was illuminated until the end of his life by the light of Beatrice. He fell asleep with thoughts of her, “like a crying, beaten baby” (“New Life”, XII, 2-3). In a humorous sonnet addressed to Guido Cavalcanti, he paints a picture: “I wish that by some magic we would find ourselves, you and Lapo and I, on a ship that would sail with every wind, wherever we wished, not fearing neither storms nor bad weather, and the desire to be together would constantly grow in us. I would like a good wizard to seat with us both Monna Vanna (Giovanna), and Monna Biche (Beatrice), and the one who stands at number thirty with us, and we would forever talk about love, and we would be happy, and How pleased I think we would be!” But this is just a playful form of love. For Dante, love was filled with more important meanings.

When he pondered the voice of his heart, he saw Beatrice no longer in the company of cheerful poets - she became an inspired ghost, “the young sister of the angels,” they were waiting for her in heaven. The Lord, who knows what they say about Madonna Beatrice, answers: “My dears, wait quietly, let your hope remain for now, according to my will, where someone is afraid of losing it, who will say to sinners in hell: I have seen the hope of the blessed " In this excerpt from “New Life” the mood of the not yet created “Divine Comedy” “flickers” - in the very pathos of Beatrice’s idealization.

When she died, Dante was inconsolable. He remembers her, and these memories drown out the whole world. This world seems to be “lost” in her image, in the numbers 3 and 9, in prophetic visions... Dying, Dante thinks about her: he already sees himself next to Beatrice, closes his eyes, and begins to delirium. There, somewhere on the other side of the universe, he sees women with flowing hair who tell him: you too will die! They whisper to him: you are dead. The delirium intensifies, Dante no longer knows whether he sees the real world. Then the women come, grief-stricken, they cry, the stars above them shine dimly: the stars also cry and shed tears, birds fall dead in the air... Someone passes nearby and says: don’t you really know anything? Your sweetheart has left this world. And Dante is crying too. A host of angels appears and rush to heaven with the words: “Hosanna in the highest.” It seems to him that he should follow them to look at her. The women cover Beatrice with a white veil, her face is calm, she contemplates the source of the world. This is the “New Life”:

And delirium allowed me
See the Madonna's face transformed;
And I saw how donnas
They covered him with a white cloth veil;
And her appearance was truly meek,
As if saying: “I have tasted the world!”

Finally, he sees Beatrice in heaven:

Beatrice shines in the sky,
Where angels taste the sweetness of days;
She left you for them, donnas, -
Carried away not by the pernicious cold,
We do not know the death of people,
But its unsurpassed goodness.

Sandro Botticelli "Meeting of Dante and Beatrice in Paradise"

Arriving in Paradise, Dante flies next to Beatrice. Ascending into the Empyrean, he sees only her face, her eyes, because she is in front of him. Everything else loses its former meaning, turning into the Higher Light:

But Beatrice was so beautiful
And I’m glad to recreate it
My memory has no power.

In her I found the strength to raise my eyes
And I saw that with her instantly
I have ascended into the highest grace.

Literature

Blagoy D.D. Pushkin and Dante // Dante readings. M.: Nauka, 1973. P. 9.
Veselovsky A. N. Dante // Encyclopedic Dictionary. Brockhaus and Efron. Biographies. T. 4. M., 1993. pp. 535-540.
Golenishchev-Kutuzov I. N. Dante's creativity and world culture. M.: Nauka, 1985.
Dobrokhotov A. L. Dante Alighieri. M.: Mysl, 1990.
Lozinsky M. L. Dante Alighieri // Dante readings. M.: Nauka, 1985. P. 35.
Takho-Godi E. A. Dante in the works, lectures and prose of A.F. Losev // Dante readings. M., 2002. pp. 63-76.

“Love that moves the sun and luminaries” (Based on Dante Alighieri’s poem “The Divine Comedy”)

An unprepared reader may have a question: why is this majestic, but not entertaining work called a “comedy”? The answer is simple. In the time of Dante, comedy was called not only funny, but also any dramatic spectacle in general.

"The Divine Comedy" is an unusually harmonious creation. His poetics are still considered unsurpassed from a technical point of view. "The Divine Comedy" consists of three parts - "Hell", "Purgatory" and "Paradise". The main characters of the “comedy” are Dante himself and his guide Virgil, an ancient Roman poet who is considered one of the first pagans to accept the Christian idea. The dream of the great Italian was to lead all the disadvantaged to happiness. Dante decided to do this by his own example. He takes his heroes and the reader through all the circles of Hell, through Purgatory to Paradise. The author thereby demonstrated the path for all humanity to the salvation of the soul. To understand the meaning of the “Divine Comedy”, it is important that Dante highlights in it the deep meaning of existence, its three-layer composition: personal life drama, the natural world, and the history of humanity. Thus, the author addressed not only his contemporaries, but also individual descendants. The journey through the beyond world begins with Hell. First, Dante describes a gloomy forest, which he associates with the Italy of his time. Dante considered the main misfortune of his contemporaries to be selfishness, pride, a tendency to violence, and excessive attachment to earthly pleasures. The three animals - a panther, a lion and a she-wolf, which appear before him, consistently symbolize human vices.

One of the pinnacles of world literature is considered to be the description of the nine circles of Hell. Above the gates of hell there is a gloomy inscription:

“Nothing lasts forever, but I last forever.

Abandon hope, everyone who comes here."

These lines remind us that human life, devoid of all hope, turns into a real hell. Dante repeatedly emphasizes that the deeper sin penetrates into the human soul, the more terrible the punishment awaiting it. Therefore, in the first circle of Hell there are unbaptized babies and virtuous non-Christians, in the second - adulterers, in the third - gluttons, in the fourth - misers and embezzlers, in the fifth - angry people, in the sixth - heretics, in the seventh - rapists, in the eighth - deceivers , pimps, seducers, flatterers, sacrileges, sorcerers, bribe-takers, hypocrites, crafty advisers, minions of debauchery, counterfeiters of metals, people, money and words, in the ninth - all traitors led by Judas, Brutus and Cassius. Dante believes that a person who is not guided in his actions by faith, hope and love throws himself into hell during his earthly life. After Hell, Dante's road lies through Purgatory. There he climbs the mountain and finds what humanity has lost, that is, conscience and free will.

The third part of The Divine Comedy opens up a new world for the reader, full of beauty and goodness. On the banks of the Holy Shining River, fiery flowers burn - the souls of the righteous. Above is the throne of God. It seems to embrace the entire Universe. Further the soul is led by “love that moves the sun and luminaries.”

Dante comes to understand that the world is driven by love. It is she who determines the harmony of the universe.

Dante himself considered the Divine Comedy a creation illuminated by the highest light. The main goal of humanity, according to the author, is liberation from the chains of vices, which will ultimately lead to the complete merging of the human and divine principles in the human personality.

Bibliography

To prepare this work, materials were used from the site http://www.litra.ru/

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Composition

Around the middle of the 12th century, a new cultural movement gradually gained strength in Europe - the Renaissance, or Renaissance. Dante Alighieri was at the origins of this movement. Some literary historians consider him both a representative of the Middle Ages and the first of the titans of the Renaissance. An unprepared reader may have a question: why is this majestic, but not entertaining work called a “comedy”? The answer is simple. In the time of Dante, comedy was called not only funny, but also any dramatic spectacle in general. “The Divine Comedy” is an unusually harmonious creation. His poetics are still considered unsurpassed from a technical point of view. "The Divine Comedy" consists of three parts - "Hell", "Purgatory" and "Paradise".

The main characters of the “comedy” are Dante himself and his guide Virgil, an ancient Roman poet who is considered one of the first pagans to accept the Christian idea. The dream of the great Italian was to lead all the disadvantaged to happiness. Dante decided to do this by his own example. He takes his heroes and the reader through all the circles of Hell, through Purgatory to Paradise. The author thereby demonstrated the path for all humanity to the salvation of the soul. To understand the meaning of the “Divine Comedy”, it is important that Dante highlights in it the deep meaning of existence, its three-layer composition: personal life drama, the natural world, and the history of humanity. Thus, the author addressed not only his contemporaries, but also individual descendants. The journey through the beyond world begins with Hell. First, Dante describes a gloomy forest, which he associates with the Italy of his time. Dante considered the main misfortune of his contemporaries to be selfishness, pride, a tendency to violence, and excessive attachment to earthly pleasures. The three animals - a panther, a lion and a she-wolf, which appear before him, consistently symbolize human vices. One of the pinnacles of world literature is considered to be the description of the nine circles of Hell. Above the gates of hell there is a gloomy inscription:

* “Nothing lasts forever, but I am forever.
* Abandon hope, everyone who comes here.”

Dante comes to understand that the world is driven by love. It is she who determines the harmony of the universe. Dante himself considered the Divine Comedy a creation illuminated by the highest light. The main goal of humanity, according to the author, is liberation from the chains of vices, which will ultimately lead to the complete merging of the human and divine principles in the human personality.

The name Dante is a symbolic designation of the most precious achievements of the culture of our time, its synthetic image, which determines and predicts its character, essence and direction. Dante is primarily a poet, the author of the New Life and the Divine Comedy, the Symposium and Poems. The brilliant poet was a thinker, scientist and politician. Dante's learning was valued by his contemporaries no less than the merits of his poetic works. Dante's poetic fame rests on the grandiose edifice of the Divine Comedy.
Dante took almost fourteen years to write The Divine Comedy. The word “divine” was added by admirers after the death of the author. For Dante, it was a comedy that combined the sublime with the ordinary and trivial. In addition, “The Divine Comedy” is a sacred poem that tells about the revelations of unearthly existence. Dante pursued instructive goals and wrote a work that was not only ethical and religious, but also scientific. Dante's illusory scientific constructions turned out to be capacious and capable of containing amazing spiritual originality. Therefore, at the same time, “The Divine Comedy” is also a very personal work that talks about eternal love.

Dante creatively felt the organic unity of the world. The feeling of the entire universe as a living integrity allowed Dante to look at the world; for him there is no difference between “little” and “great” Florence. For the poet, the “soulless face” of nature and the human world are united and tightly connected with each other. The evil that rises from the deep recesses of the soul is the same evil that undermines from within the beautiful center of the divine fruit - the Universe. The covetous man, according to Dante, is just as guilty as the rapist and the libertine, who deviate from the paths and instructions of nature. As life's experience revealed to Dante the disgusting picture of the fall of man, the need to save the world became increasingly clear to him. And the poet wanted to notify everyone of the impending disaster and sounded the alarm, revealing to everyone his well-thought-out and strictly calculated picture and system of worldly and human affairs.

The Divine Comedy consists of three parts: Hell, Purgatory and Heaven. Dante curiously and inquisitively studied the problems of natural science, embraced with his understanding all forms of the physical world and combined these interests with the most fearless flights of fancy. He constructed The Divine Comedy as an adventure novel, the action of which develops in unknown countries. Dante very accurately describes all the little things and details of the path. Changes in the soil, descents, stairs, rocks, paths and passages are depicted by the author in such a way that the reader has no doubt about the reality of what is depicted.

In the first circle of hell there is no torment, but only quiet sadness and sighs. Here are the souls of virtuous non-Christians and unbaptized infants, heroes of Ancient Greece and Rome. Here, in a bright, cozy place, Dante encounters the majestic shadows of Homer, Ovid, Horace, Lucan, and the spirit of Virgil constantly lives here. Dante places here, together with the heroes of the Trojan War and Julius Caesar, the spirit of Sultan Saladin, who fought with the crusaders.

Real hell begins with the second circle, in which a whirlwind drives away the souls of those guilty of voluptuousness. Here, in the fifth song, one of the most touching moments of world poetry is the story of the unhappy love of Paolo and Francesca. And although Dante, as a Christian, should have condemned the lovers, the entire narrative is imbued with sympathy that cannot be expressed.

He sympathizes with Dante and the glutton Chacko, who is in a stinking swamp under the cold rain in the next, third circle. It is Ciacco who predicts Dante's future exile. The next fourth and fifth circles (misers and spendthrifts, angry ones) seem to have been completed successfully. But before the sixth circle - the fiery city, where the deep hell begins, in which the worst sinners are punished, Dante and his guide have to stop. Only a messenger from heaven comes to the rescue and opens the gates for them. Here, in the sixth circle of hell, there are heretics.

In the lowest three circles, violence is punished. In the seventh circle of Hell - violence against one's neighbor and his property (tyrants, murderers, robbers), against oneself (suicides and spendthrifts), against deity (blasphemers), against nature (sodomites), against nature and art (covetous people). In the eighth - those who deceived those who did not trust (pimps and seducers, flatterers). In the ninth - those who deceived those who trusted (traitors to relatives, homeland and like-minded people, friends and dining companions, benefactors, divine and human majesty). Since only conscious beings are capable of deceiving, these sins are more serious than violence. Dante also places corrupt popes here. And finally, in the depths of the ninth circle, three of the most shameful, in Dante’s opinion, traitors are tormented - Judas and Brutus and Cassius, who killed Caesar.

Readers, together with Dante, entered the threshold of “Hell”, where the “indecisive” so hated by him, who did not join any of the parties, are punished, and saw how they rush after the banner - naked, tormented by flies and wasps, drenched in blood and tears, on which the disgusting worms feed at their feet. And readers do not remain ignorant for a minute about all the horrors and wonders that unfold before our eyes. We, together with the author, pass through the cramped and stinking “Hell”, illuminated by the crimson glow of the city of Dante, we see the captivating Francesca there, we learn the details of the torment, we see the evil games of hellish servants, we hear what torment is in store for the hated Boniface, how the giant Lucifer is tormented in the center of Giudecca. Hatred, sorrow, indignation and proud persistence in sin - this is the dominant atmosphere in which individual scenes and pictures unfold.

Evgeny Mikhailovich Bogat

...What moves the sun and luminaries. Love in letters of outstanding people

MARIANA ALCAFORADO - CHEVALIER DE CHAMILLY

…Can I ever be free from suffering until I see you? Meanwhile, I bear them without complaint, because they come from you. What? Is this not the reward that you give me for loving you so tenderly? But come what may, I have decided to adore you all my life and never see anyone, and I assure you that you too will do well if you do not love anyone. Could you be satisfied with a passion less ardent than mine? You will perhaps find a more beautiful beloved (meanwhile you once told me that I am quite beautiful), but you will never find such love, and everything else is nothing. Don’t fill your letters with unnecessary things anymore, and don’t write to me anymore so that I remember about you. I can't forget you...

I conjure you to tell me why you were so persistent in bewitching me as you did, since you knew that you would have to leave me? And why are you so hardened in your desire to make me unhappy? Why didn't you leave me alone in my monastery? Have I offended you in any way? But I ask your forgiveness; I do not place any blame on you: I am unable to think of revenge, and I blame only the severity of my fate. It seems to me that by separating us, she caused us all the evil that we could fear; she is unable to separate our hearts; a love greater than this has united them for the rest of our lives. If this love of mine is not at all indifferent to you, write to me often. I truly deserve that you take some care to inform me about the state of your heart and your affairs.

The woman who wrote this probably never existed, although the authenticity of her letters was believed by generations of readers for three centuries. Meticulous literary scholars have recently established that, indeed, in the 17th century, a certain Maria Anna Alcaforado lived in one of the Portuguese monasteries, but the love letters were not written by her, but by the half-forgotten writer, diplomat, and witty Guyerag.

...Since you left, I have not been healthy for a single moment, and my only pleasure was to say your name a thousand times a day; some of the nuns, knowing about the deplorable state in which I am immersed by you, tell me about you very often; I try to leave my cell as little as possible, where I saw you so often, and I constantly look at your portrait, which is a thousand times dearer to me than life, it gives me a little joy; but it also gives me a lot of grief when I think that I may never see you again. Have you really left me forever?

Was there really no such love, this melancholy, this tenderness and need for understanding?! And before us is a talented literary hoax, a joke?!

I am writing to you for the last time and I hope to make you feel by the difference in expressions and the very spirit of this letter that you have finally convinced me that you have stopped loving me and that, therefore, I should no longer love you. So, I will send you as soon as possible everything that I still have from you. Do not be afraid that I will write to you; I won’t even write your name on the parcel...

ELOISE TO ABELAR

You wrote to your friend a long message of consolation, though about his misfortunes, but about your own. By recalling them in detail with the intention of comforting your friend, you further intensified our melancholy. Wanting to heal his pain, you inflicted new and irritated old sorrowful wounds on us. I beg you, heal this self-inflicted illness, since you are already easing the pain of wounds inflicted by others. You acted as a friend and comrade and repaid your debt to friendship and comradeship.

Think about how great a debt you owe to me personally: after all, the debt that you owed to all women in general, you must pay even more zealously to me, your only one.

O my beloved! All of us know how much I have lost in you.

...You had two qualities that could captivate any women, namely, the talents of a poet and a singer. As far as we know, other philosophers did not possess these qualities at all.

As if jokingly, in a moment of rest from philosophical studies, you composed and left many love poems beautiful in form, and they were so pleasant both in words and in melody that they were often repeated by everyone, and your name constantly sounded on everyone’s lips; the sweetness of your melodies did not allow even uneducated people to forget you. This is what most of all prompted women to sigh with love for you. And since most of these songs sang our love, I soon became famous in many areas and aroused the envy of many women. What wonderful spiritual and physical qualities did not adorn your youth! What woman, even if she was my envy at the time, would not be prompted by my misfortune to take pity on me, who was deprived of such joys? Which man or woman, even if they were once my enemies, will not soften out of compassion for me?

The authenticity of this letter is indisputable: there was Heloise, a wonderful woman, there was Abelard, a freethinking philosopher, and there was their love.

...My soul was not with me, but with you! Even now, if she is not with you, then she is nowhere: truly, my soul cannot exist without you.

But, I beg you, make her feel good with you. And she will be good with you if she finds you supportive, if you repay love with love, and let you reward a little for a lot, at least with words for deeds. Oh, if, my dear, your affection for me were not so sure, you would care more about me! And now, the more confident you are in me, as a result of my efforts, the more I am forced to endure your inattention to me.

What can I hope for if I lose you?

What can I hope for if I lose you, and what can still keep me in this earthly wandering, where I have no consolation except you, and this consolation is only in the fact that you are alive, for all other joys come from you are unavailable to me...

Her earthly wandering began at the very dawn of the 12th century: the year is either 1100 or 1101 - it is not precisely established. And we know absolutely nothing about her parents and her childhood; we only know the name of the monastery in which she studied Latin and the wisdom of the ancient classics - Argenteuil, and the name of the uncle who adopted her - Fulbert. But if its first seventeen years were dissolved in the twilight of dawn, then the details of the amazing decades that followed, starting from the hour when Master Abelard settled in the house of the Parisian canon Fulbert, who wished to teach the canon’s young niece Heloise philosophy, have been hurting human hearts for almost a millennium. Abelard himself was then forty; he was smart, educated, fearless and smart, like no one in France; his disputes with the orthodox Catholic Church were remembered like the conversations of Socrates, whom Abelard highly revered, fifteen centuries earlier in Athens; In order to learn from the incomparable master the subtle art of dialectical thinking, young men, leaving their homeland, family, lovers, were drawn to Paris from the most distant outskirts of Europe...

Who, even among kings and philosophers, could equal you in glory? What country, city or town hasn't been dying to see you?

Abelard deceived Canon Fulbert: he secretly fell in love with Heloise even before he settled in his house. And he became not her teacher, but her lover. Later, when fate dealt him more blows than the wisest and strongest could withstand, he found enough sincerity in himself to write about those days: “Hands more often reached for the body than for books, and eyes more often reflected love than watched behind what is written."

Now he wrote not philosophical treatises, but love poems: they were learned by knights and artisans, merchants, townspeople and townswomen and sung not only in Paris. It was a big, natural and long-awaited love, like a ball of the sun melting the heavy body of a thousand-year-old cloud from the inside.

At night, when Abelard was sleeping peacefully, people hired by Canon Fulbert brutally mutilated him.

Tell me, if you can, only one thing: why, after our tonsure, which was accomplished solely by your sole decision, you began to treat me so carelessly and inattentively that I can neither relax in a personal conversation with you, nor console myself by receiving letters from you ? Explain this to me if you can, or I myself will express what I feel and what everyone already suspects.