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He lays the fault for his death and the need for his current penance on his family's pride in its name, which made the Aldobrandeschi consider themselves better than others merely by fact of being Aldobrandeschi. The reference to every fante in Campagnatico, Omberto's feudal holding with its castle where he died in battle, is variously interpreted.

The word in Dante's Italian may mean 1 infantryman, 2 any man at all, especially one of the lower class, 3 a very young child. Most commentators support the third view and we have followed them , but all three are potentially valid. For the notion that this eleventh canto of the cantica is part of a program that is built on the number eleven's numerological significance as trangression because it exceeds the Decalogue — the formulation is St. Omberto is the first penitent in purgatory proper who speaks to the travelers we have only heard penitential prayer until now and his last words clearly identify the purpose of purgation in the process of absolution for Dante, necessarily preceded by confession, contrition, and satisfaction — see the note to Purg.

What seems to be the case is that all those who have penance to perform on any particular terrace need precisely to give satisfaction see the verb sodisfaccia in verse 71 [as Tozer in his prefatory note to this canto duly noted] before God for their transgressions on earth. This implies that others, those who do not need to do penance on a particular terrace, either were without that sin or else had given satisfaction while they were still alive. This is the view taken by Nicola Fosca in his unpublished commentary, portions of which he has kindly made available to this writer.

Porena comm.

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Dante's bending down his face is a natural action taken in order to see his interlocutor's face, yet it, too, reveals a moral significance see the note to vv. The next penitent is apparently less heavily weighted and thus less burdened by pride than Omberto, since he is able to move a little under his rock and thus twist his neck enough to get a glance at the features of Dante, now conveniently lowered by his desire to make out Omberto. As a result, Dante recognizes him. Where the first penitent was still deeply involved in the feelings of the family pride that had afflicted him so greatly on earth, the next will represent all those who are prideful in their accomplishments in this case, artistic ones ; and we will see that he is more advanced in his penitence than Omberto.

Oderisi d'Agobbio contemporary Gubbio is praised by Dante as the great Italian master of the art of illuminating manuscripts, an art particularly associated with the French and with Paris. Oderisi deflects Dante's compliment, thus showing that his pride is at least greatly abated if not utterly vanquished — see verse What is at stake here is artistic merit, not the cry of the vulgar, a subject that will be before us within ten lines.

What Oderisi can now admit is that, as good as he was at illuminating, in his own opinion Franco of Bologna was superior to him in his craftsmanship — a truth that he knew but never would have permitted himself to admit during his emulous life on earth. It is interesting that Benvenuto da Imola comm. By being willing to share the honor with Franco this is exactly the burden of Purg. If Oderisi was known by Dante to have died in , he certainly had made his way up the mountain quickly, apparently spending very little time in ante-purgatory.

Compare the case of Forese Purg. And see the note to Purgatorio XI. Oderisi, nonetheless, must have reformed his ways very early, since the late-repentant spend equal time in ante-purgatory as they did while they were unrepentant on earth. Or perhaps Dante thought or knew that he had died earlier than we think.

Oderisi's outburst subtly changes the topic of his discourse from human talent and ability to its reception among other human beings. Where before he had spoken of Franco's honor, he now bewails the emptiness of these same talents as recipients of the praise conferred by fame. The phrase 'com' poco verde in su la cima dura' literally: how briefly lasts the green upon the top has never been adequately explained. What object does the poet have in mind for the noun cima?

The language of the passage, which addresses the question of the brief limits of fame unless a 'dark age' allows fame to continue for longer than it usually does by not producing other 'winners' quickly , seems clearly to reflect exactly such a concern — one that was not far, as we know from Paradiso XXV. Giovanni Cimabue ca.

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His pupil, Giotto di Bondone ca. In this vein see Boccaccio's treatment of him in Decameron VI. The notion that Dante is in this passage putting Giotto's art ahead of Cimabue's is baseless, though widespread. Dante may himself have admired Giotto's painting more than Cimabue's, but that is not the point here.

Purgatorio: Canto 11

All that Oderisi is saying is that, in accord with what he has just said about fame being brief unless a dark age assures the last 'laureate' his continuing green reward, Cimabue had the public's cry but now Giotto has it. Moving his attention from painting to poetry, Oderisi says the same thing about Guido Guinizzelli ca. A problem here arises from Dante's use of the noun gloria , which can mean 'reputation, fame' in the vulgar sense, or 'just renown for great deeds,' or 'heavenly glory' as in the experience of paradise.

The word occurs some 22 times in the poem and has this first meaning less frequently than it has either of the other two, e. But the word has just been used in its most negative form seven lines earlier: the 'vana gloria' that prompts our desire for fame.

In this reading, the more recent Guido Cavalcanti has taken the public's laurel from Guinizzelli. Picone Florence: Franco Cesati, , pp. This argument needs to confront at least one major problem: Dante twice refers to Guittone by name in the Commedia Purg. Atti del terzo Seminario dantesco internazionale , ed.

Michelangelo Picone [Florence: Cesati, ] , p. It is also difficult to believe that the older poet had chased the younger 'from the nest,' for even if they were no more than ten years apart in age, Guido is generally thought of as the elder of the two, both literally and morally. While there is still some dispute about the reference, most now agree that Dante is clearly pointing to himself as the one who will in turn replace Cavalcanti in the 'nest' of the public's admiration.

To medieval readers this would surely have seemed an inappropriate reading. Oderisi's moralizing is pungent and clear: earthly fame is not worth even a moment's affection. It is difficult to justify any positive role for earthly fame in light of these forceful words. Without as yet naming him, Oderisi tells the cautionary tale of Provenzan Salvani, 'prominent Ghibelline of Siena, born c. His family, the Salvani were descendants of the Cacciaconti, feudal lords of Scialenga.

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Provenzano's father, Ildebrando, and his paternal grandfather, Salvano who gave his name to his descendants , were both prominent Ghibellines. Provenzan himself begins to appear in the records in After the Battle of Montaperti Sept. It is curious that, of these two great Ghibelline leaders, Dante has condemned Farinata who saved the city to hell and saved Provenzan who wanted to destroy it. For the biblical passages that underlie this image of the fleetingness of grass as being similar to human ambitions in this life, see the Old Testament Isaiah , , ; Psalm [] , as noted by Tommaseo in his commentary to these verses.

This is Dante's first and not last see Purg. Here again is the word sodisfar.

See the note to Purgatorio XI. Guitar music Applause Thank you. I'm going to play one more tune here.

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This is not an anti-war statement, this is just my own personal fear. I wrote this tune to try and deal with it. I hope it works for me and any of you who feel the same way. It's called "Senso Kowai". Guitar music Applause Translation - Italian In Giappone ogni cosa cambia ogni qualche centinaio di anni, ma alcune cose non cambiano mai.

Suono di chitarra Applausi Grazie. Ho scritto questa canzone per cercare di affrontarla.

Io che non conosco la vergogna

Spero che funzioni sia per me sia per gli altri che si sentono come me. Si intitola: "Senso Kowai". There is a special kind of memory that's supposed to keep plans like that in mind, and it's called working memory.

It's a very useful kind of memory. You use it not only to remember plans and instructions, but you also use it to keep in mind relevant information when you solve problems. So it's very important for mathematical problem solving, and it is also closely related to attention. So one way to put that is you need to remember what to focus on. I'm going to illustrate that by testing your working memory here.

Your task here is to remember where this person is pointing so that you can point at the same boxes in the same order, OK?