Poets From Italy

"Così è (se vi pare)"

"Some years ago, an American psychologist, Abraham Maslow, felt the same kind of instinctive revolt against the 'atmosphere' of Freudian psychology, with its emphasis on sickness and neurosis, and decided that he might obtain some equally interesting results if he studied extremely healthy people. He therefore looked around for the most cheerful and well-adjusted people he could find, and asked for their co-operation in his studies. he soon discovered and interesting fact: that most extremely healthy people frequently experience of intense affirmation and certainty; Maslow called these 'peak experiences.' No one had made this discovery before because it had never struck anyone that a science calling itself 'psychology' and professing to be a science of the human mind (not merely the sick mind), ought to form its estimate of human beings by taking into account healthy minds as well as sick ones. A sick man talks obsessively about his illness; a healthy man never talks about his health; for as Pirandello points out, we take happiness for granted, and only begin to question life when we are unhappy. Hence no psychologist ever made this simple and obvious discovery about peak experiences."

"Anyone can be heroic from time to time, but a gentleman is something which you have to be all the time. Which isn't easy."

"Woe to him who doesn't know how to wear his mask, be he king or pope!"

"E non le sembra già questa un'opinione?"

"I am a free man, I do not need to copy Petrarch or Boccaccio. My own genius is enough. Let others worry themselves about style and so cease to be themselves. Without a master, without a model, without a guide, without artifice, I go to work and earn my living, my well-being, and my fame. What do I need more? With a goose quill and a few sheets of paper I mock the universe."

"I love you and, because I love you, I would sooner have you hate me for telling you the truth than adore me for telling you lies."

"Yes, let us love winter, for it is the spring of genius."

"What evil is there in seeing a man possess a woman? Why, the beasts would be more free than we! It seems to me that that which is given us by nature for our own preservation ought to be worn round the neck as a pendant and in the hat for a medal."

"[Contagion] passes from one thing to another, and is originally caused by infection of the imperceptible particle."

"A peak unequaled by anyone between Hippocrates and Pasteur."

"Enough, enough, enough! Say no more! Lump the whole thing! say the Creator made Italy from designs by Michael Angelo!"

"Ancora Imparo."

"Italians have such illustrious people they can celebrate, that everyone celebrates — Michelangelo, Vivaldi and, of course, for us on the left, Sacco and Vanzetti."

"Do we not say that the judicious discovering of a most lovely Statua in a piece of Marble, hath sublimated the wit of Buonarruotti far above the vulgar wits of other men? And yet this work is onely the imitation of a meer aptitude and disposition of exteriour and superficial mem­bers of an immoveable man; but what is it in comparison of a man made by nature, composed of as many exteriour and inte­riour members, of so many muscles, tendons, nerves, bones, which serve to so many and sundry motions? but what shall we say of the senses, and of the powers of the soul, and lastly, of the understanding? May we not say, and that with reason, that the structure of a Statue falls far short of the formation of a living man, yea more of a contemptible worm?"

"Interviewer: The examination of two emotional journeys, namely those concerning the artist's relationships with Tommaso de' Cavalieri and Vittoria Colonna, proved to be very interesting. Graziella Magherini: Buonarroti dedicated some very beautiful sonnets to Tommaso, written in the Neoplatonic style, with a refined sensitivity that was an integral part of Florentine Humanism. However, psychoanalytic observation reveals clear homoerotic feelings, albeit disguised. The comparison with the drawings that the artist gave to the young man is extraordinary. I am referring to The Rape of Ganymede, The Punishment of Titus and The Bacchanalia of the Putti. These are truly eloquent works. There are two versions of ‘Ganymede’: in the first, Ganymede resists Zeus in an ambivalent mix of desire and fear, while in the second he offers himself in sweet abandon, in an attitude pervaded by ecstasy and bliss. In The Punishment of Titus, the protagonist, struck by the eagle, becomes a metaphor for Michelangelo's sense of guilt. But even more extraordinary is the drawing with the Bacchanalia of the Putti. Here we are faced with an expression of regressed levels. Naked children linger in bacchanalia, dragging a dead deer here, carrying a pig there; a child urinates in a wine jug; young people are lost, without dignity... In the lower part of the work, the contrast is striking. There is a naked man sleeping uncovered, in an atmosphere of profound sadness, in a pose that closely resembles, for example, the Drunken Moses in the istine Chapel; and there is a hideous female satyr with flaccid breasts. What emerges clearly is a depressed paternal role on the one hand, and a sense of emptied motherhood on the other, in an almost phallic mother figure that combines the male and female roles. In short, the drawings are direct, sensorial: unlike the sonnets, which, as I mentioned, also contain an underlying materiality of the flesh."

"No one who has not seen the Sistine Chapel can have a clear idea of what a human being can achieve. ... The master's inner security and strength, his greatness is beyond all description. ... At the moment I am so engrossed by Michelangelo that even Nature makes no appeal to me, for my vision is so small compared with his. If there were only some means of fixing such pictures in one's soul!"

"...he was a good man, but he did not know how to paint."

"To make something is to invent or discover it. Michelangelo cuts away the extra marble that hides the statue, right?"

"Who can measure the worth of a Shakespeare, a Michelangelo or Beethoven in dollars and cents?"

"Thus to the plain man there may be no metaphor in Aristotle's "substance", Descartes' "machine of nature," Newtonian "force" and "attraction," Thomas Young's "kinetic energy" and Michelangelo's figure of Leda. Placed in their customary contexts these present nothing to him but the face of literal truth. To the initiated, however, who are aware of the "gross original" senses as well as the now literal senses , they may become metaphors. There are no metaphors per se...."

"If one day, reasoning absurdly, Michelangelo's belonging to Freemasonry were to emerge, then should that wonder of the Last Judgment be hidden inside the Sistine Chapel? Or, in the case of Leonardo da Vinci, the Last Supper in Santa Maria delle Grazie?"

"Your lordship, only worldly light in this age of ours, you can never be pleased with another man's work for there is no man who resembles you, nor one to equal you … It grieves me greatly that I cannot recapture my past, so as to longer be at your service. As it is, I can only offer you my future, which is short, for I am too old … That is all I have to say. Read my heart for "the quill cannot express good will.""

"Beauty is the purgation of superfluities."

"I was never the kind of painter or sculptor who kept a shop."

"As when, O lady mine, With chiseled touch The stone unhewn and cold Becomes a living mold, The more the marble wastes, The more the statue grows."

"A quel pietoso fonte, onde siam tutti, S'assembra ogni beltà che qua si vede, Più c'altra cosa alle persone accorte;"

"I saw the angel in the marble and carved until I set him free."

"Recollect that trifles make perfection, and that perfection is no trifle."

"The greatest danger for most of us is not that our aim is too high and we miss it, but that it is too low and we reach it."

"If people knew how hard I had to work to gain my mastery, it would not seem so wonderful at all."

"If you knew how much work went into it, you would not call it genius."

"What do you despise? By this you are truly known."

"E 'n la sua volontade è nostra pace."

"Nel suo profondo vidi che s'interna, legato con amore in un volume, ciò che per l'universo si squaderna."

"Ecce deus fortior me, qui veniens dominabitur mihi."

"The hottest places in hell are reserved for those who in times of great moral crisis maintain their neutrality."

"And you, beloved children, whose lot it is to promote learning under the magisterium of the Church, continue as you are doing to love and tend the noble poet whom We do not hesitate to call the most eloquent singer of the Christian idea."

"Dante's relationship with women is very complex, because the range of real women in Dante's life and in Dante Alighieri's imagined life is very different. There is an idealization of women that occurs when he is nine years old. He lost his real mother when he was five years old, so he is the son of a father and a stepmother. The neighbors of the Portinari family had six daughters and one of these is Beatrice, a nine-year-old girl, his age. Dante meets her gaze and from that moment he becomes almost a prisoner of that gaze, which is why nine is Beatrice's magic number, because he meets her at nine years old. The Poet follows her to Florence for another nine years, without ever receiving encouragement from her, until at eighteen, before entering the church where the girl goes every evening in Santa Margherita dei Cerchi which is the Portinari church, suddenly she decides to stop, look at him, smile at him, and says "I greet you" which is the only phrase Dante will hear from Beatrice. Dante remains completely satisfied by this smile and considers it the sealing of a relationship that has had no other type of concretization, nothing else, just this look and this greeting. He tells this story in this wonderful diary which is the Vita Nova, a set of poems and prose writings that he wrote in the aftermath of Beatrice's death."

"Christianity has an admirable example of the natural union between faith and freedom in Dante Alighieri. Precisely his undoubted adherence to Catholic truth allows and illuminates his perfect autonomy of judgement, free from any fear or human conditioning. Dante is not afraid to criticize the work of the popes and their operational choices, to the point of placing several of them in the depths of hell. But in him "the reverence of the supreme keys" never diminishes and never diminishes in the slightest (Inf. XIX, 101). When it comes to expressing reservations or criticisms that he considers due, there are no discounts neither for lay people, nor for ecclesiastics, nor for monarchs, nor for ordinary citizens... all of whom are required, without exception, to abide by the law evangelical."

"Dante does not come before us as a large catholic mind; rather as a narrow, and even sectarian mind: it is partly the fruit of his age and position, but partly too of his own nature. His greatness has, in all senses, concentred itself into fiery emphasis and depth. He is world-great not because he is world-wide, but because he is world-deep. Through all objects he pierces as it were down into the heart of Being. I know nothing so intense as Dante."

"Redeth the grete poete of Itaille, That highte Dant, for he can al devyse Fro point to point, nat o word wol he faille."

"I wanted my illustrations for the Dante to be like the faint markings of moisture in a divine cheese. This explains their variegated aspect of butterflies' wings. Mysticism is cheese; Christ is cheese, better still, mountains of cheese!"

"Gilson criticizes attempts to trace Dante's position back to Thomism or Averroism. For St. Thomas, every hierarchy of dignity is at the same time a hierarchy of jurisdiction, while for Dante—except for God—a hierarchy of dignity is never the foundation of a hierarchy of jurisdiction, and this corresponds to Dante's specific philosophical problem, which is not so much to define the essence of philosophy as to determine functions and jurisdictions. The principle governing this determination is absolutely irreconcilable with Thomism. St. Thomas knows only one ultimate end: eternal bliss, which can only be attained through the Church; moreover, the spirituality of the ultimate end implies that between temporal and spiritual power there is a hierarchical subordination of the means to the end. For Dante, on the other hand, man can obtain, through the exercise of political virtues, a human happiness completely distinct from heavenly bliss, even if the latter represents a higher end. The thesis of the “duo ultima” legitimizes the complete distinction between the political order and the religious order, which is equally universal to that of the Church, but autonomous and pursuing an end of earthly happiness."

"For us Anishinaabe, Biskaabiiyang is a specific term that means “returning to the woods,” because we’re woodland peoples. For example, I grew up growing my “three sisters”—that is, corn, beans, and squash—along the edge of the forest, using what people now call sylvan culture or permaculture. It’s curious how this counters the perspective of classical authors like Dante in early modern Europe or, later, Edmund Spenser, an important Renaissance poet, who view the woods as this terrifying presence. Why is this decolonizing? Because through boarding schools and many other colonial experiences, that fear of the woods creeps in."

"Dante and Shakespeare divide the modern world between them; there is no third."

"Dante as a poet performs miracles in some of the openings of his lyrics or some of his verses in the Commedia. In an age of convention and formalism he went to Virgil to school; in an age when nothing gave reason to hope for the appearance of a masterpiece of form and structure, he produced such a masterpiece. His creative work is immensely superior in merit to his theorizing, but even these show how, in spite of the limitations of contemporary philosophy and rhetoric he was able to slip through the meshes of the network which encircled him, and to bring the vernacular poetry of Italy, when it was still in its infancy, to heights of perfection and finish that have seldom been equalled and never surpassed."

"In quella parte del libro de la mia memoria, dinanzi a la quale poco si potrebbe leggere, si trova una rubrica, la quale dice: Incipit vita nova."

"I would like to add my voice to those who consider Dante Alighieri an artist of the greatest universal esteem, who through his immortal works still has much to say and offer to those who desire to travel the way to true knowledge, to the authentic discovery of self, of the world, of life's profound and transcendent meaning. ... The Comedy can be read as a great itinerary, rather as a true pilgrimage, both personal and interior, as well as communal, ecclesial, social and historic. ... Dante is...a prophet of hope, a herald of humanity's possible redemption and liberation, of profound change in every man and woman, of all of humanity."

"Dante was the first to sing of heaven and of hell, not as the dreams of mythological fiction, but as the objects of a real faith. He was the first who lanched from this promontory on which we stand, into the vast immensity of the universe, traversed the abyss amidst demons and infernal tortures, and mounting afterwards through angelic hosts and undiscovered worlds, gazed with stedfast eye upon the glories of the Highest... Dante was the Columbus who discovered this new world of poesy... Dante probably surpassed even Homer himself."