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Purgatorio (Italian: [purɡaˈtɔːrjo]; Italian for "Purgatory") is the second part of Dante's Divine Comedy, following the Inferno and preceding the Paradiso. The poem was written in the early 14th century.
The change happened at about the same time as the composition of the book Tractatus de Purgatorio Sancti Patricii, an account by an English Cistercian of a penitent knight's visit to the land of Purgatory reached through a cave in the island known as Station Island or St Patrick's Purgatory in the lake of Lough Derg, County Donegal, Ireland. Le ...
The legend of St Patrick's Purgatory (Tractatus de Purgatorio Sancti Patricii) written in that century by Hugh of Saltry, also known as Henry of Sawtry, was "part of a huge, repetitive contemporary genre of literature of which the most familiar today is Dante's"; [45] another is the Visio Tnugdali.
A complete listing and criticism of all English translations of at least one of the three cantiche (parts) was made by Cunningham in 1966. [12] The table below summarises Cunningham's data with additions between 1966 and the present, many of which are taken from the Dante Society of America's yearly North American bibliography [13] and Società Dantesca Italiana [] 's international ...
—Purgatorio, Canto II, Lines 76-78 [3] Subsequently, Dante identifies Casella by name and asks him to sing. Casella's singing is referred to as characteristically sweet by Dante. Casella begins to sing the first lines of a Amor che ne la mente mi ragiona, a poem written by Dante himself. [4] "'Love that converses with me in my mind,'
The second movement, entitled Purgatorio, depicts Dante and Virgil's ascent of Mount Purgatory. It is Ternary in structure. The first section is solemn and tranquil and in two parts; in the second section, which is more agitated and lamentable, a fugue is built up to a grand climax; in the final section, there is a return to the mood of the ...
Virgil and Dante meet Belacqua, Holkham manuscript at the Bodleian. Belacqua is a minor character in Dante Alighieri's Purgatorio, Canto IV.He is considered the epitome of indolence and laziness, but he is nonetheless saved from the punishment of Hell in Inferno and often viewed as a comic element in the poem for his wit.
While scholars have thus far not provided a history of the Anima Sola (or Ánimas del purgatorio in Spanish), [citation needed] the practice of praying for the souls in purgatory extends at least as far back as the Council of Trent in which the following was determined:
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