عن بلاغة العامية

by Dante Alighieri, مينا ناجي (Translator)

يُعد هذا الكتاب الذي يُترجم لدانتي إلى العربية للمرة الأولى، تطورًا للنقد الأدبي غير مسبوق في عصره؛ أولاً: لأنه يتناول موضوعًا شائكًا وحيويًّا، هو الكتابة الأدبيَّة -وبالتالي الكتابة عمومًا- بالعاميَّة، الموضوع الذي لم يُطرح للنقاش مِن قبل بشكل تنظيري ونقدي، على الرغم من وجود شِعر "عامي" سابق عليه. ثانيًا: لأن دانتي تعامل فيه مع اللغة كنظام من العلامات، حيث هناك تواضع على صوت أو رسم يُمثِّل بناءً عقليًّا معينًا، في استشراف لعلم العلامات "السيميولوجيا" الذي سيظهر في القرن العشرين على يد عالم اللغويات الفرنسي فرديناند دي سوسير. ثالثًا: لأن دانتي يطرح تفوق اللغات الطبيعيَّة الحيَّة المنطوقة على اللاتينيَّة في الكتابة، وهو ادعاء أقل ما يوصف به أنه ثوري وغير مسبوق في عصره. رابعًا: لجمعه عناصر من مجالات مختلفة مثل الفكر اللغوي، والتاريخ، والجغرافيا، والفلسفة، وتفسير النصوص الدينيَّة، والنظريَّة السياسيَّة، جنبًا إلى جنب مع الممارسة الشعريَّة والملاحظة الاجتماعيَّة الواقعيَّة في تكامل ثقافي مُدهِش.

Genres: Classics, Nonfiction, Philosophy, Italian Literature, Medieval, Literature, Linguistics

137 pages, Paperback

First published January 1, 1305

About the author

Dante Alighieri, or simply Dante (May 14/June 13 1265 – September 13/14, 1321), is one of the greatest poets in the Italian language; with the comic story-teller, Boccaccio, and the poet, Petrarch, he forms the classic trio of Italian authors. Dante Alighieri was born in the city-state Florence in 1265. He first saw the woman, or rather the child, who was to become the poetic love of his life when he was almost nine years old and she was some months younger. In fact, Beatrice married another man, Simone di' Bardi, and died when Dante was 25, so their relationship existed almost entirely in Dante's imagination, but she nonetheless plays an extremely important role in his poetry. Dante attributed all the heavenly virtues to her soul and imagined, in his masterpiece The Divine Comedy, that she was his guardian angel who alternately berated and encouraged him on his search for salvation.

Politics as well as love deeply influenced Dante's literary and emotional life. Renaissance Florence was a thriving, but not a peaceful city: different opposing factions continually struggled for dominance there. The Guelfs and the Ghibellines were the two major factions, and in fact that division was important in all of Italy and other countries as well. The Pope and the Holy Roman Emperor were political rivals for much of this time period, and in general the Guelfs were in favor of the Pope, while the Ghibellines supported Imperial power. By 1289 in the battle of Campaldino the Ghibellines largely disappeared from Florence. Peace, however, did not insue. Instead, the Guelf party divided between the Whites and the Blacks (Dante was a White Guelf). The Whites were more opposed to Papal power than the Blacks, and tended to favor the emperor, so in fact the preoccupations of the White Guelfs were much like those of the defeated Ghibellines. In this divisive atmosphere Dante rose to a position of leadership. in 1302, while he was in Rome on a diplomatic mission to the Pope, the Blacks in Florence seized power with the help of the French (and pro-Pope) Charles of Valois. The Blacks exiled Dante, confiscating his goods and condemning him to be burned if he should return to Florence.

Dante never returned to Florence. He wandered from city to city, depending on noble patrons there. Between 1302 and 1304 some attempts were made by the exiled Whites to retrieve their position in Florence, but none of these succeeded and Dante contented himself with hoping for the appearance of a new powerful Holy Roman Emperor who would unite the country and banish strife. Henry VII was elected Emperor in 1308, and indeed laid seige to Florence in 1312, but was defeated, and he died a year later, destroying Dante's hopes. Dante passed from court to court, writing passionate political and moral epistles and finishing his Divine Comedy, which contains the Inferno, Purgatorio, and Paradiso. He finally died in Ravenna in 1321.

Reviews

[alessia]

incredibile ad eccezione di quel passaggio dove dice che è inverosimile sia stata una donna la prima a parlare e sicuramente la Bibbia si sbaglia e a pronunciare le prime parole non è stata Eva ma Adamo

[Calandrino_Tozzetti · Rating 5 out of 5]

Se il latino è Grammatica e il volgare è lingua naturale, il De vulgari eloquentia è una Bibbia ancora illibata, immune ai germi del protestantesimo; scritta in latino per i cattedratici comuni mortali, esalta il volgare come lingua del corpo e dello spirito, eleggendola a idioma dominante delle italiche genti da lì in avanti, pur inconsapevolmente.
Sarà poi motore della Commedia che, sebbene sia un testo minore dell'Alighieri, ha formato il mio spirito critico-letterario e quello di migliaia di - all'epoca - giovani spiriti, gettando qualcuno, me compreso, tra le braccia grassocce dell'ermeneutica.

Mi accingo alla quattordicesima rilettura della Commedia e alla ventesima ripresa (al contrario) del De Vulgari. Poi, sotto con la Vita Nova.

[Igor · Rating 5 out of 5]

I read this to find out Dante's thoughts about vernacular language and how evolved into that what it is today.
This work, finished, could've been great work of Italian gramma but, as mentioned in introduction:
"This is yet one more reason to regret that the work we have peters out in II. xiv, not only in mid-chapter but in mid-sentence - leaving so exhilarating a project, so interesting a beginning, so vast a territory before both author and reader. The suspicion that, had the De vulgari eloquentia been longer, we might never have had the Comedy at all, offers at best a shred of consolation."

[Cristina Di Matteo · Rating 5 out of 5]

Un trattato in latino in cui Dante riflette sul valore e sulla dignità delle lingue volgari, cercando quella “illustre” capace di unire l’Italia frammentata. Un testo affascinante che anticipa la centralità del volgare nella letteratura europea e rivela il pensiero visionario di un autore che voleva dare voce a tutti, non solo ai dotti.

[selena · Rating 3 out of 5]

boooooo 🍅 🍅 🍅 menos mal q no lo terminó y se dedicó a hacer algo decente

[Devero · Rating 3 out of 5]

Alle superiori, in Italia, a tutti tocca affrontare Dante, e in genere oltre alla sua Commedia ci parlano del De Vulgari Eloquentiae e del Convivio. Ma mai che li si legga, e probabilmente è un bene, perché a quell'età oltre a risultare noiose, queste letture, possono anche essere poco comprensibili.
Quindi perché rileggerle dopo tanti anni?
Due motivi: il primo, ovviamente, è che il 2021 è il settecentenario della morte di Durante Alighieri, e vista la considerazione che il Mondo ha di lui, vale la pena rendergli omaggio.
Il secondo è che un paio di autunni fa è scomparso il mio prof del liceo, il mitico Zio Teddy, che su Dante ne sapeva tanto e che riusciva ad appassionarci alla Commedia come a tutto quello che ci spiegava.
Col senno di oggi mi rendo conto che è vero: questa è la prima opera (incompiuta) di teoria della lingua italiana. Dante ci presenta le lingue dalla caduta di babele alla disposizione delle nazioni eredi del latino, per concentrarsi sugli idiomi della penisola italiana. Ne conta 14 (in realtà ne conta almeno 17 ma ne considera solo 14) e nella sua teoria di una lingua italiana che deve essere illustre, cardinale, aulica e curiale elenca i motivi per cui nessuno di questi sia adatto. Sì, il migliore probabilmente è il bolognese, ma nessuno è adatto a diventare lingua nazionale, men che meno il suo toscano o fiorentino. Questo lo specifico perché in tanti credono che Dante invece reputasse il fiorentino migliore, mentre in diversi passaggi di tante sue opere esprime opinione fermamente contraria. In effetti fu il Manzoni che caldeggiò (a torto, ché il Fermo e Lucia suonava molto meglio) lo sciacquar i panni in Arno, mica il buon Dante.
Il secondo libro, che s'interrompe sul più bello, è probabilmente quello meno noto. Lì Dante spiega cosa intenda per lingua illustre e ci spiega la canzone e i suoi modi, la metrica e gli argomenti da trattare.
Oggi questa cosa può far sorridere, ma all'epoca di Dante le opere erano spesso cantate con melodie in sottofondo. Era musica leggera (Dante perdonami) e quindi, visto il successo di Dante, nel suo secolo in Italia era uno scrittore di canzoni che oggi sarebbe considerato più grande di Vasco e dei Pooh messi assieme.


Tre stelle, perché non è per nulla una opera semplice da leggere.

[evi]

no puedo creer que tuve que leer esto qepd yo

[Harry · Rating 5 out of 5]

"First of all, then, I must draw a distinction among the subjects that 2
lend themselves to poetry, for some of them seem to require a stanza of a
certain length, while others do not. For since everything we touch upon
in poetry can be treated either positively or negatively168
- so that sometimes we sing to persuade and sometimes to dissuade, or sometimes sincerely and sometimes ironically, or sometimes to praise and sometimes
to scorn - so the words that treat subjects negatively should always
hasten to make an end, while the others should always reach their destination at an agreeably measured pace..."

The best apologia for Poetry as a medium, makes me want to read Sidney's apologia just to compare. Shows the rhetorical value of poetry and how it inherits cultures and births cultures. Poetry is the medium that rules over all language and literature as a whole. The poet's job in this case is to be and act from noble bred birth. Dante writes greatly.

[David Barrera Fuentes · Rating 4 out of 5]

No tengo argumentos para decir por qué me gustó. Digo, es un tratado sobre poesía escrito en un latín muy escolástico y basado en principios que ya no compartimos. Sin embargo, es interesante el planteamiento subjetivo respecto a la lengua que se plantea y la revolución intelectual que eso implica para la Edad Media. No c.

[Blanca]

a puntito de meterme a filología o algo x el estilo. danteGuapo t quiero pero vaya peazo turra t has marcao.

[Hertha Kristín]

las þessa vissulega ekki á spænsku en fann ekki íslensku útgáfuna á goodreads... alveg smá áhugavert en myndi ekki segja að það hafi verið gaman að lesa þetta

[Richard Wu · Rating 4 out of 5]

As one with little love for the provincial dialect of the American Midwest—and this bears explanation, so picture a people who pronounce coupon “Q”-pon (like cute) instead of KOO-pon as it’s supposed to be, while saying not “Q”-gur but the right KOO-gur for cougar (such inconsistency), and try not to roll your eyes; once an upstart Chicago consultant corrected my “concierge,” insisting it was “con-see-AIR” (can you imagine any human who deserves to live life less...)—I was pleased to see this tract was written by a Florentine with whom I have in common certain things:

Along with these I will mention the people of Treviso, who, like those of Brescia and their neighbours, abbreviate their words by pronouncing consonantal u as f, saying ‘nof’ for ‘nove’ and ‘vif’ for ‘vivo.’ This I denounce as the height of barbarism. [p.35]

And that’s just the start. Our author proceeds to combine his piercing value judgments from on sky with the earthy building blocks of form to delineate a complete hierarchy of poetics—and there is nothing so erotic as the capacity to distinguish. In fact, so confident is Dante in his taste that he’s unafraid to contradict God’s ostensible Scripture—deducing it was Adam, not Eve, who first spoke, that his first word was “God,” that he spake it the instant he was born, that Hebrew was Man’s original tongue—to make the data fit his jigsaw, which seems to require much qualification, albeit what I consider his surest assertions take, notably, none:

Yet further, among the products of human ingenuity, the noblest are those that most fully exploit the technical possibilities of the art. [p.55]

These things besides, another of our shared character traits is a tendency to leave projects unfinished…

[Francesca]

... nam ex diffinientium cognitione diffiniti resultat cognitio...

De vulgari eloquentia, II, IX

E, ora, miei prodi, alla seconda lettura ci accingiamo! XD

[Jared · Rating 5 out of 5]

This is a fascinating, puzzling, oft-contradictory, and brilliant text in which Dante attempts to raise the vernacular language (particularly Tuscan) up to a position of "eloquence" by means of elaborate and complex Latin (viz., grammatical language, rather than vernacular language) argument. In context, Dante's unfinished essay is both preparatory for his vernacular language Commedia and an oblique political treatise by a Tuscan-born exile on the Imperial unification of Italy which is isomorphic to his De Monarchia.

Dante understands a vernacular language as "that which infants acquire from those around them when they first begin to distinguish sounds... which we learn without any formal instruction, by imitating our nurses" (Dante I.I.2). He contrasts this with "gramatica," which is learned through study of formal rules and which Dante sees as comparatively "artificial." Dante exalts the vernacular for the universality of its form of acquisition, even in its particular variations, and for ultimately being the more "natural" language. Dante's argument for the naturalism of vernacular language rests upon the fascinating assumption that orality is both directly prior to and in some sense higher than writing. He takes a particular attention in how the "power of speech" was bestowed upon human beings, and in the nature of the first utterance as a question or an answer to a question. In short, Dante praises the vernacular for its proximity to the simple babbling of children working out with fresh eyes the natural order of the world.

Dante traps himself in a contradiction when he concomitantly argues that vernacular is especially suited for poetry and eloquence. He produces the formal equivalent to this contradiction when he makes his argument in elegant and complex Latin prose. Ultimately, Dante wants to raise the "natural" speech of the vernacular to the ability of complex "artificial" language, but it is not clear how this move would not negate the very simplicity for which he praises the vernacular. Similarly, Dante argues that vernacular speech gains its power for its proximity to the primordially oral, but likewise wants to see that orality set down in written verse, perhaps without losing its sense of naturalism or orality. 

It would be too easy to say that these contradictions reveal a streak of errors in Dante's thought, rather than a playfulness towards a more complex, strained, and even political conclusion. Dante's ideal vernacular, after all, does not exist in actuality, but is rather a proto-Nationalist political fiction constructed out of variegated dialects of vulgar Latin. In contradictory form, Dante's true vulgar Latin would need to be constructed and learned by rules, much like the "gramatica" which he claims to want to overcome. Once again, it is confusing how the vernacular product would be any different from the grammatical problem. 

Ardis Butterfield's analysis in Familiar Enemy raises some possible outlets towards a solution to this problem, particularly in the sharp disjunction between written language and oral language which would have been prevalent within Dante's context. Due to the predominance of Latin as a written language, Butterfield suggests that "Turning one’s mother tongue into a written language was thus a source of strain, a sense that there was a gulf to cross between one form of the language and the other" (Butterfield 342). As Butterfield notes, "However artlessly oral it appears, Chaucer’s English is a constructed neo-language not a ‘simple’ vernacular" (342). Perhaps Chaucer's example reveals the contradictions which Dante intended to inhabit and overcome: a translation of orality into verse which reaps the rewards of written forms while preserving the motley riches of the oral vernacular.
 
I will again say that this is a puzzling text. What appears on the surface as a trite treatise on language replete with strained, unpersuasive argument reveals itself to be, upon closer readings, a dazzling, sometimes radical, and rather-playful commentary on medieval life, proto-nationalist imperial politics, biblical hermeneutics, secular epistemology, and a personal reflection on political homelessness and exile by one of the greatest thinkers of the late medieval world.

[Airam · Rating 2 out of 5]

The illustrious vernacular being the higher language, it is to be necessarily employed by the higher style, the tragic (56-57), and requires the greatest form, the canzone (54-55) – a composition of harmonious words to be set to music, a connected series of equal stanzas in the tragic style, without a refrain, and focused on a single theme (70-73). One of the reasons given for the primacy of the canzone is its proximity to song, both in its etymology and in the fact that “per se totum quod debent efficiunt” (54-55). The canzone is an act of singing, in an active or passive sense, i.e., created by an author and acting upon someone or something, or being acted upon, performed, not necessarily by the author, with or without musical accompaniment (70-71).
So again we have this triumvirate of poetry-music-tragedy, which seems so obvious and ubiquitous from Aristotle to al-Farabi to Dante, and which I can broadly understand abstractly, but whose implications for the internal experience of poetry I still struggle to make sense of.
Dante defines poetry as “fictio rethorica musicaque poita” (56-57). Poetry is something I have rarely experienced aurally – it is first and foremost a reading experience. Dante’s poetical sensitivity is inextricable from his musical sensitivity, his judgements of poetry always contemplating its musicality and the harmonization of words or syllables like musical notes.
For me the discussions, not at all particular to Dante, of what kinds of verse or meter are highest generally hinge on both tedious, for their apparent arbitrariness, and fascinating, for their revealing of a poetic sensitive completely outside my apprehension. When Dante goes on about how hendecassyllables are the most splendid carmen, proceeding to illustrate this judgement with examples (60-61, 78-81), truly I am at a loss. These are assertions entirely based on sensitivity but which to their authors are entirely objective. Try as I may, I cannot really feel the superiority of having an odd number of syllables in a verse, nor can I feel that tragic poems that begin with a heptasyllable instead of a hendecasyllable really have more a hint of the elegiac about them. And these kinds of assertions cannot be rationally agreed with but only felt.
So I lament that there is a lot from such finer analyses that brutishly passes me by. My sense is that poetry is for these authors something entirely different from what poetry is to me (to us?), and that the transition from orality to reading has radically changed our experiences, judgements and sensitivities.
As for argumentation, Dante is not exactly a prime logician or an elegant philosopher. Dante’s justifications are often circular, lame or ad hoc – for example, the definition of dignum as “quod dignitatem habet” (50-51), the exclusion of some vernaculars because someone wrote derisive poems about them (26-27) and of others because their cities are so peripheral that their language could not possibly be pure (38-39). But we forgive him, for his originality as a theoretician, bringing together isolated fields of study (and did I sniff a hint of semiotics?) and, above all, for the wonderful poetry he wrote.

Sum-up of Book 2:
The illustrious vernacular being the higher language, it must be employed by the higher style (the tragic, 56-57), requiring the greatest form (the canzone, 54-55, a composition of harmonious words to be set to music, a connected series of equal stanzas in the tragic style, without a refrain, and focused on a single theme, 70-73), magnificence of verses (hendecassyllables being the most splendid, 60-61, and having to set the tone at the outset, 80-81) and style (the best poets rely not only on ingenuity, but follow rules and technique and try to closely imitate the great poets, 56-59), gravity of subject-matter (well-being, love, virtue, and the thoughts they inspire in us, “dum nullo accidente vilescant”, 58-59), excellence of construction (congruent and with the highest possible degree of urbanity, i.e., both graceful and striking, 62-65) and of vocabulary (sublime, i.e., combed and shaggy [pexa atque yrsuta], and noble, i.e., virtuous and revealing greatness of spirit, 66-69).

[Marko Vasić · Rating 5 out of 5]

Prava je šteta što Dante nije dovršio ovu izuzetno zanimljivu etimološko-leksičku raspravu, te umesto da se proteže na četiri i više knjiga (kako je na par mesta napomenuo), ona zauzima tek nepune dve. Međutim, i tako nedovršena, značajan je dokument ranog XIV veka. Dante je uvideo kolika je važnost narodnog jezika u širenju kulture i književnosti s kraja na kraj zemlje, tako da je skoro sva dela (makar ona koja su danas najpoznatija) pisao, upravo, na pučkom jeziku, i zbog toga su i dan-danas noseći stub u književnosti.

Raspravu otvara kratkim pregledom istorije jezika i govora ljudskog roda, osvrnuvši se, pre svega, na knjigu Postanja i diskutujući kome je najpre božanska promisao dodelila moć govora – čoveku ili životinji. Navodeći osobine anđeoskih bića i poredeći ih sa nesavršenim ljudskim bićem, zaključuje sledeće: „Kako dakle čovjeka ne pokreće nagon naravi, nego razum, a taj se razum u svakoga razlikuje i u razaznavanju, i u sudu, i u izboru, i to toliko da gotovo svatko kao da uživa u značajkama svoje osobitosti, smatram da ni jedan čovjek ne razumije drugoga samo po njegovim činima i strastima kao što to biva kod nerazumnih životinja. Niti može, kao što je to kod anđela, jedan prožeti drugoga očima duše, jer dušu čovjekovu zaklanja stvarnost i neprozirnost smrtnoga tijela. Bilo je dakle nužno da ljudski rod za priopćavanje svojih misli bude proviđen kakvim znakom koji će biti i znak razuma i znak osjetila. Nužno znak razuma, jer mora od razuma proishoditi i razumu voditi; a kako se od razuma razumu ništa bez osjetila ne može prenositi, taj je znak nužno morao biti i znak osjetila. I stoga, da je samo razumski, ne bi mogao prelaziti od jednoga drugome; da je samo osjetilan, ne bi mogao od razuma primati ni razumu voditi“.

Dotakavši se vavilonske kule i pometnje koju je njena izgradnja donela, razgranavši, kako tvrdi, jezike na tri strane sveta tj. tri jezičke skupine: grčke, germanske i romanske, Dante prelazi na upoređivanje narečja od zapada do istoka Italije i na kraju severa i juga. Najpre objašnjava razliku između narodnog govora i tzv. gramatičkog, odnosno latinskog. Donosi, na kraju zaključak: „Kad sam tako dopro do onoga što sam tražio, tvrdim da u Italiji postoji pučki jezik koji je sjajan, stožeran, dvorski i saborski, kojega ima u svakom talijanskom gradu, a ni u jednom nije stalan. Prema tom se jeziku mjere i uspoređuju i određuju pučki govori talijanski.“ Najmilozvučniji mu je govor u okolini Bolonje, dok napuljsko narečje naziva grubim i razvučenim.

U drugoj knjizi dotakao se tri kategorije koju je srednjovekovna poetika poznavala: tragediju (zahteva uzvišeni jezik), komediju (zahteva prosečni jezik) i elegiju (zahteva skromni jezik). Nadalje objašnjava detaljno, sa primerima, svaku od te tri kategorije, i upliće ih gradacijski u objašnjavanje razlike između tri pesnička oblika: kancone, balade i soneta koji mu služe da napravi metričku gradaciju. Zaključuje, naposle, da je uzvišeni pučki govor, kakav zahteva tragedija, metrički jedino ostvariv u kanconi. U daljim poglavljima nagoveštava da će u sledećim knjigama (naročito IV) da se bavi objašnjenjima i savetima koje dobar, školovani pesnik mora da primeni kako bi napisao valjanu kanconu ili sonet, ali, nažalost, druga knjiga se prekida naglo, u polovini rečenice.

„De vulgari eloquentia“ možda nije obimom stranica impozantna, ali je sadržaj tih stranica toliko zgusnut, zahteva 200% pažnje čitaoca uz konstantno osvrtanje na tumač u fusnotama, da je, bar meni, bilo pravo uživanje da čitam ovako uobličene misli jednog blistavog uma, vraćam se nekoliko puta na pročitano i promišljam iznova o tome.

[Valeriu Gherghel · Rating 4 out of 5]

În De vulgari eloquentia, Dante Alighieri a elogiat limba vorbită de contemporani (limba vulgară) pentru motivul că are virtuţi poetice. Le-a ilustrat el însuşi, de altfel, în Commedia, numită mai tîrziu, pe drept cuvînt, divină (poate de Boccaccio).

În primul capitol al cărții, Dante cercetează apariţia limbii şi evoluţia ei pînă în secolul al XIV-lea. El afirmă că numai omul are însuşirea de a vorbi, „fiindcă numai lui i-a fost de trebuinţă [limbajul]. Nu le-a fost de trebuinţă [nici] îngerilor, nici făpturilor mai prejos de om”, animalelor.

În opinia lui Dante, îngerii nu au nevoie de limbaj, întrucît înţeleg imediat ceea ce gîndesc celelalte făpturi angelice. Sfinţii Bonaventura şi Thoma vorbiseră totuşi de un limbaj al îngerilor (nodurile şi semnele). În schimb, animalele stau sub domnia instinctului pur şi nu au putut căpăta un limbaj. Doar omul – în măsura în care este (şi este) o fiinţă raţională – are nevoie de limbaj, de un „semn legat”. Acest semn legat, scrie Dante „este tocmai nobilul lucru despre care vorbim: este sensibil în calitatea lui de sunet; iar în măsura în care se dovedeşte în stare să însemne ceva, după voie, este raţional”.

În chip surprinzător, Dante Alighieri susţine că Eva a vorbit cea dintîi, în momentul în care a fost ispitită de şarpe. Acesta a fost primul dialog din istorie, „primul act de limbaj”. Deşi a vorbit mai tîrziu decît Eva (după episodul ispitirii), Adam a avut (totuşi!) cel dintîi posibilitatea rostirii, fiindcă Dumnezeu l-a înzestrat tocmai pe el cu această nobilă însuşire.

Oricum, între Adam şi Dumnezeu nu a existat un dialog propriu-zis. Dumnezeu s-a exprimat, la început, prin fenomene naturale. Iar primul cuvînt rostit de Adam a fost, literalmente şi în toate sensurile, un nume de glorificare, Numele însuşi al lui Dumnezeu: El. Prima rostire a lui Adam ar fi fost, prin urmare, o exclamaţie de bucurie, El, pentru că „Dumnezeu însuşi e în întregime bucurie”.

Dante mai spune că Dumnezeu a dat omului însuşirea vorbirii cu un singur scop: acela de a fi lăudat, slăvit, magnificat. Poetul opinează că limba cu care a fost înzestrat Adam de către Dumnezeu a fost ebraica. Prin urmare, dacă îl credem pe Dante, limba adamică aceasta a fost... (1.09.24, d).

[Mike · Rating 4 out of 5]

Dante continues where he left off in Vita Nuova with a work of medieval literary criticism, defining a search for what he terms the “illustrious vernacular.” This is more than just the vernacular language of the masses, or even a type of national language (although Italian is the vernacular in question here) but instead a type of universal poetic vehicle. At the same time, this is not at all what we might term a democratic voice (Dante is obviously writing hundreds of years before such a term existed), since Dante is quite strict – and at times snooty – on what language he perceives to be properly “vernacular.” Indeed, he goes into detail listing those dialects that are subpar for vernacular poetry. Likewise, only certain verse forms, rhyming styles, and words are appropriate for the illustrious vernacular – the styles and forms that Dante employs in his own work, naturally! Despite these "rules," the scholarly notes mention the times when Dante would go on to break them The Divine Comedy, which suggests he either evolved from this earlier opinion or perhaps was gleefully breaking the rules. I found Book II (in which Dante goes into details about the structure and rhyme scheme of canzoni) to be the most fascinating, and I only wish he had gone on to finish the work with Books III, IV, etc.

[Pierre · Rating 4 out of 5]

La lettura del De Vulgari Eloquentia è un viaggio nella mentalità medievale. Tutto, dalla logica aristotelica nelle argomentazioni alle teorie linguistiche ricavate dalla lettura della Bibbia, fino all'inconsueto latino utilizzato, sa di 1300. Credo di avere apprezzato il libro proprio per questo suo valore documentario, che mi ha affascinato: il Medioevo mi ha sempre interessato, anche grazie ai miei studi durante la laurea triennale.

Inutile dire che a livello linguistico quest'opera è superata, ma il lettore comunque potrà apprezzare alcuni lampi di genio dell'autore. Questo trattato contiene però le teorie che trovano la loro applicazione in tutta l'opera di Dante, dalle sue rime alla Commedia.

Non mi dilungo sui contenuti, che la maggior parte di voi avrà studiato. Si parla delle varietà linguistiche parlate in Italia, dei loro pro e contro e del modo migliore di usare la migliore di loro, il "volgare illustre" (ok, questo riassunto fa rabbrividire anche me per la sua stringatezza).

Lettura consigliata a tutti gli amanti del Medioevo e della letteratura italiana.
Avvertenza: alcune informazioni tecniche su come costruire le canzoni vi faranno addormentare, ma d'altronde non siamo i destinatari che Dante avrebbe voluto.

[Erika Moreno · Rating 3 out of 5]

Durante esta obra, Dante realiza un primer estudio sobre la manera en la cual se comunican los ciudadanos, al nivel de presentar una aproximación a lo que actualmente puede ser denominado como dialectología. 

Se plantean algunas novedades para su tiempo, en donde se explica y ejemplifica la lengua vulgar en comparación con la lengua culta, todo desde un análisis de los dialectos que conocen, la organización de estos y los usos que deben tener.

[Elisa Orrù · Rating 3 out of 5]

Una curiosità per chi studia linguistica o si interessa della materia. Personalmente jo trovato interessante il primo libro, mentre nel secondo ho faticato di più a seguire.

[Dan Vine · Rating 4 out of 5]

Fascinating.

[Ingrid · Rating 2 out of 5]

Qué tajantes son los escritores medievales.

[Fabiola Taverna · Rating 5 out of 5]

Da leggere almeno una volta nella vita. Dovrebbero farlo leggere in tutte le scuole. Straconsigliato a chi ama la propria lingua!

[Francisca · Rating 2 out of 5]

*2.5*

it is beyond me how i spent four years studying linguistics and this little treatise never crossed my path. i had to go and study literature for it to come my way.

[Pol Monclús · Rating 4 out of 5]

Espectacular trabajo de R.Pinto.

[Alessia · Rating 3 out of 5]

Dante un po' ti odio

[Giorgia Saolini · Rating 5 out of 5]

Non ne farò una recensione

[Filipa]

imagine if i had read the latin version

[marghe]

purtroppo di nuovo qui