Dante's Commedia: Elements of Structure by Charles S. Singleton

By Charles S. Singleton

Charles Singleton is without doubt one of the most crucial students of Dante, and compiler of the well-known six-volume annotated bilingual variation in a literal translation, a suite that was once praised by means of Vladimir Nabokov. during this early learn of the poem, Singleton examines how Dante looked after his components.

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Beyond Good and Evil began by identifying Plato as the source of our dying dogmatism; chapter 1 opens and closes with allusions to pre-Platonic Greek heroes of wisdom. Beyond Good and Evil aims in part to recover a Greek wisdom prior to Socrates and Plato, Homeric wisdom celebrated in tragedy, reformed and restored in Aristophanic comedy, and pursued philosophically by the philosophers of the tragic age of the Greeks. Platonic dogmatism, Nietzsche will indicate, supplanted Homeric or tragic wisdom out of convictions not about its superior truthfulness but about its superior safety.

And showing a way to affirm the nobility of the human in the face of a whole tradition of selfbelittlement and self-contempt. The opening question does not remain an open question. Facing up to the deadly question of the value of truth leads ultimately to the affirmation of truth as wholly compatible with the affirmation of life and humanity. The book is a drama that dares to open on what threatens to be the ultimate tragedy but becomes instead, not simply comedy, but a spectacle fit for gods. Dangerous Maybes SECTIONS ≤–∏ The questions of the origin of the will to truth and of the value of truth dominate the opening sections of the first chapter.

The philosophers of the dangerous maybes are a Nietzschean genus set on the same track by a turned-around taste and inclination and ‘‘baptized’’ with the antiPlatonic name Nietzsche waits to bestow on them until his two chapters on philosophy are nearly over. They are Versucher, tempters and experimenters (42), who pursue the dangerous maybes in the way Nietzsche does; fearless reasoning about dangerous maybes gradually turns them into dangerous probabilities that force one to act. ’’ His manner of studying the philosophers is peculiar: he looks ‘‘between the lines and at the fingers’’— both forms of looking will be connected with Nietzsche’s understanding of philosophic esotericism.

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