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A comedy of misunderstanding and Dante’s true inspiration

AGI – the inevitable expert arrived and in one of the German newspapers he told us that Dante was a fake: the genius was false, the language was wrong, and he was probably also a false enemy of the false pope. A network that lasted eight centuries. If so, take the credit: We’ve all fooled for forty generations. Luckily, the German expert finally arrives and explains things to you. Raise your hand if you haven’t peeked at your classmate during the class exam or while writing an essay on Dante. Not even specialists and professors, as we swear, have a clear conscience. So why was Dante’s accusation of plagiarism, mental laziness, and the inability to detail and reproduce, perhaps with the weak assertion that Muhammad’s journey to heaven (Surah seventeenth of the Qur’an, if not mistaken) has actually corrupted him? It would be like saying that Goethe is nonsense only because he imagines Satan seduces man (already in Mark, 1, 12-13) or because he reveals to Europe that one can kill oneself for love. Poor Lotte, you are only one in a thousand, amid the cracks that combine the really big cracks to make the precious cracks. As for German and Italian, they have one thing in common: they are both a synthesis of a hundred languages ​​and a hundred colloquials, which precede them and survive. Bring a man from Bergamo to Puglia and let him speak the dialect: everyone will believe he is from Hamburg. Bring a Bavarian to Mecklenburg and make him express it in his colloquial language, and everyone will make sure he comes from Bitonto. The language expressed in the Frankfurter Rundschau language is also a working language that was skillfully invented at this point. Now, what is striking about this criticism is not the denial of Dante’s Italian Authorship, because it was a long and difficult birth and Jacoboni and Cielo had some advantages. If anything, what is bothering him is the idea that he copied it, possibly using Google Translate because he was unable to understand Arabic in the original. Because it is true, copying is an art and you learn it in school for life, but to say that Dante copied and pasted the Qur’an is not only dishonest: it is completely misleading. A comedy of misunderstanding, perhaps fueled by a judgment that, had it passed in Florence in the fourteenth century, would have resulted in permanent exile. If you want to find a template, the history of literature is full of it and you don’t need to disturb the Prophet. So we suggest ourselves as catalysts for the unimaginative expert. Dante’s canonery in the heart of contemporary Anatolia was, for example, Jalal al-Din Rumi. He lived in Central Anatolia a generation before him: in time to copy it. And he wrote in his words that love is the force of creation, and doubt sets in motion the love that moves the sun and other stars. In his words (it was titled “The Great Canzoniere” and then thought of Petrarch: Another Huge Fake) in his words, we said: “To kiss the rose / which makes the cup magnificent / The world now shows a tongue / Like a lily flower.” And here the donkey falls: the rose, then, the mysterious rose of paradise; The Grail, and then Dante’s nods to the diasporic culture of Iranian origin in the style of a Wolfram; Finally Giglio, who needs no explanation: they still wear it on their soccer jerseys. But if you wanted to find an apparently uncomfortable precedent, why not consider Virgil? Dante practically knew her by heart, and the Aeneid (VI, 637-693) tells of Aeneas’ descent into Hades. However, Beatrice takes Dante to God, while Dido, that villain who seduced her and left her, sends him more or less to Hell. Even earlier Ulysses in the Odyssey (X, 562 ff) did the same, the precursors. And Virgil was also copying. Even Homer. All this to make a verse of Gilgamesh, the Sumerian hero, who asks the gods what the afterlife is and how his companion Enkidu is. He is satisfied with his thirst for knowledge, even if he later realizes that it is better not to masquerade. Orpheus had better luck going to recover Eurydice, and Proserpina instead re-emerged mid-service, but Bernini’s script did the same on a statue. Italians are only good at taking other people’s thoughts. A knight’s dream says: Everything is true, but there is one thing that is going down to Hell, and the last journey to the afterlife of Christianity. And no, because here is also a precedent. It’s called “Visio Tnugdali”, and Celerio is known to have published it years ago in Italy. It is the story of Tnugdal, a Celtic knight from Ireland, a great sinner who finds himself in the middle of his life journey in a dream healer, and sees Hell organized into groups based on different classes of sin committed. But then you look closely and discover that the journey between the Blessed Island and that Cursed Island is one of the central points in the San Brandano Wander, also Irish, which in turn – as some say – resumes the narration of Bran Blessed which then appears in Mabinogion which in turn contains Arthur’s first tales. That helps Chretien de Troyes perfect the love that forms the basis of the Dante screen woman. And here the cycle finally ends. Or not, because it is the eternal history of man and his hope of seeing the mysterious rose, to move the sun and other stars, and maybe even good literature. Everything else is an ephemeral newspaper article.

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Earl Warner

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