Un aeroplano che sapeva volare (Gli emersi poesia) (Italian Edition)

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Zolla Roma Assistant to the Editors — Assistant des directeurs: Weldon The Infernal Present: Witt Hercules at the Crossroads: Bartlett Luca Toschi Si dia un padre a Lucia. Studio sugli autografi manzoniani S. Bernard Chandler AA. Manuscripts should not exceed 30 pages, typewritten double- spaced, and should be submitted in duplicate: All manuscripts to be consid- ered for publication should be sent to one of the two editors: Members of the Society auto- matically receive the journal. Please direct all subscription Veuillez adresser toute de- enquiries, and other business mande d'abonnement et toute correspondence to: Miller Hercules and his Labors as Allegories of Christ and His Victory over Sin in Dante's Inferno Every student of Dante's Inferno knows that, although hell was created by divine power, wisdom, and love — that is by all three persons of the Trinity Inf.

But Christ's relation to hell is progressively and systematically revealed to Dante the pil- grim and to the reader by strategically placed allusions to the ef- fect on hell of the earthquake which occurred at the crucifixion and to Christ's descent into hell to rescue the souls in limbo, the "harrowing" of hell. The effect of the earthquake is presented as a topographical fact in hell, a fissure which is seen in each of the three major divisions of hell the incontinent, violent, and fraud- ulent and understood more fully each time it is encountered.

On the other hand, Christ as narrower of hell is presented not only literally Inf. Dante makes the parallel quite unmistakeable when the divine messenger who helps Virgil at the gate of Dis be- rates the recalcitrant devils: Che giova ne le fata dar di cozzo? Cerbero vostro, se ben vi ricorda, ne porta ancor pelato il mento e '1 gozzo. Cerberus, the centaurs, the Har- pies, Geryon, Cacus, Antaeus and the other giants. Miller Thus Christ, as prefigured by Hercules, is present not only at the gates of the infernal city of Dis but throughout all of hell be- cause of his victory over Herculean monsters representing the gradations of sin in the major subdivisions of hell.

In his presen- tation of Hercules and his victims, Dante combines, with great tact and skill, the two main traditions of allegorizing pagan myths, the moral and the Christological. But before we examine Dante's original use of these traditions, we should try to see how the significance of Hercules as a type of Christ gradually unfolds and reveals itself to Dante the pilgrim and to the reader during the underworld journey. To know abstractly the final plan or scheme of any of the cantiche is of little value unless our awareness emerges from the evolving dramatic experience of the pilgrim poet.

Because Christ's relation to hell emerges more clearly in his other manifestation, the fissure caused by the earthquake in hell, let us first briefly examine the three distinct stages of this revela- tion. In the circle of the lustful we learn that there is an unex- plained "ruina" which has an extraordinary effect on the sinful lovers: But the repeated "quivi" rules out such an interpretation. We are left only with the knowledge that there is a break along the walls of the cir- cle which is especially painful and inimical to sinful lovers and that it has some connection with divine power.

Entering the circles of the violent, Dante and Virgil descend on the debris of a great rockslide which is again referred to as "ruina" Inf. Virgil explains that shortly before Christ's descent into hell there was a great earthquake which caused the rock to fall "qui e altrove" v.

Virgil gives an explanation based on the Empedoclean notion that hatred keeps the elements of the world distinct whereas love causes chaos by mingling them. Virgil is not very sure of himself "se ben discerno The pilgrim Dante and the Christian reader cannot fail to realize that the earthquake was that which occurred at the cru- Hercules and his Labors as Allegories of Christ 3 cifixion and the love which "ruined" hell here and which tor- mented the lustful lovers was not cosmic or Empedoclean but the personal, infinite love of Christ crucified to save mankind from eternal damnation in hell.

In the third great division of hell, among the fraudulent, Virgil learns from Malacoda that one bridge over the sixth malbolgia was broken at the time of the crucifixion Inf. The contrast between the fraudulent, injurious hypocrisy which has chosen and merited eternal pun- ishment in hell and the open, innocent, and self-sacrificing love of the crucified Christ is sharply and vividly presented.

Sinners, whether lustful, violent, or fraudulent, are in hell because they re- jected the love of Christ displayed by his suffering and death. The power of love which was so antithetical to hell that it caused a "ruin" in each of its major divisions was Christ's love for man- kind. The earthquake motif stresses divine love; the Herculean theme, the power and to a lesser degree the wisdom of Christ. When we encounter the first of the Herculean monsters, Cerberus, in the circle of gluttony, we notice that Dante has reworked Virgil's hor- rid, huge, three-headed dog whose shoulders bristle with ser- pents Aeneid VI, into a smaller creature more like an ordi- nary dog Inf.

We may not remember that in the Aeneid, only a few lines before the description of Cerberus, Charon had mentioned to Ae- neas and the Sibyl Hercules' victory over Cerberus Aeneid VI, , but we cannot help being struck by the terms Dante applies to his three-headed dog: Cerberus is not merely a classical mon- ster but also a devil.

Is he a great worm because he is amidst so much rottenness 10 or because he is being assimilated to a huge, diabolical dragon? There are enough hints here to prepare us, perhaps subcon- 4 Clarence H. Miller sciously, for the analogy between Christ's victory over the devils and Hercules' triumph over Cerberus. After Perithous had been killed by Cerberus, Theseus was captured and impris- oned.

Hercules came to his rescue and freed him. Finally, the messenger from heaven who comes to the aid of Dante and Virgil defies the devils in terms which make quite explicit the parallel between Christ's harrowing of hell and Hercules' triumphant de- scent into Hades: Though any knowledgeable reader would recognize the monsters of violence the centaurs and Harpies and those of fraud Geryon, Cacus, and Antaeus as victims of Hercules, Dante explicitly associates three of them with Hercules Inf. The Herculean monsters as Dante presents them seem to be carefully adapted to the three main divisions of hell.

The two monsters of incontinence Cerberus and Pluto 15 are presented as Hercules and his Labors as Allegories of Christ 5 animals only: Cerberus is a dog and Pluto is a wolf Inf. This is in accordance with Dante's conception of in- continent sins, which are committed because the specific human element of choice is lessened through passion: The more fully human the sin, the worse it is: But we never see Dante's giants below the waist, and there was a strong tradition, stem- ming from Macrobius, that their legs ended in serpentine coils. With the possible exception of Cer- berus, who claws the sinners, 19 the Herculean monsters also reflect this difference.

The mere words of Virgil cause Pluto to col- lapse like swollen sails when the mainmast snaps Inf. But the Minotaur, who demanded human sacrifice, is far more dangerous: Virgil renders him impotent with rage but warns Dante to descend before the man-beast recovers Inf. The arrows of the centaurs are dangerous and deadly Inf. The Harpies tear the bleeding trees in the wood of the sui- cides Inf. Geryon's scorpion tail could be lethal to Dante Inf. Cacus, a "modified" centaur, has no arrows but in the upper world "di sangue fece spesse volte laco" Inf.

Though Nimrod and Ephialtes would be hugely destructive if they had the intelligence or liberty to exercize their force, Antaeus seems to be a kindly exception. Miller lions but also the farmers of the surrounding countryside and strangers who landed on his shore.

The centaurs and Harpies are openly destructive. Geryon, however, has the face of a just man but the tail of a scorpion; the knots and circlets on his sides suggest not only his skilful and intricate deviousness but also the cruelty of the Turks and Tartars who were the exem- plar weavers of such patterns; the allusion to Arachne calls to mind the crafty entrapment of the spider's web Inf.

Cacus is explicitly distinguished from the violent centaurs because of his fraudulent theft of Hercules' cattle, which he pulled back- ward by the tail into his lair so as to leave the footprints going the wrong way Inf. Nimrod and Ephialtes when they are encountered in hell are merely violent, not fraudulent, but that is only because they have been deprived of their mental faculties.

Three monsters associated with Hercules mark major transitions in lower hell: In elaborating his Herculean allegory, Dante combined and modified the two main traditions of allegorizing pagan mythol- ogy: Eu- hemeristic, chronological pairing of classical and biblical person- ages such as Samson and Hercules was widespread in the twelfth and thirteenth centuries, both in literature and in the plas- tic arts. Ovid's story of Hercules' defeat of Achelous and winning of Deianira Metamor- phoses IX, is recounted in lines and moralized in an- other 92 in which we learn that the three-fold form of Achelous signifies the world, the flesh, and the devil; that God took human flesh from the virgin to fight against the mutable world again Achelous for the human soul; that the cornucopia the right horn torn from Achelous after he had changed into a bull is the joy of heaven the remaining left horn signifies the pride and evil living with which the world is full , and so on.

He abandons the Jews Deianira in favor of the true Church Iole , taking flesh the venemous shirt from the virgin a Jewess in order to save the world from sin: Miller the Amazonian girdle and Antaeus. He willingly died in the flesh but was revived and glorified by his Father Jupiter. The Jews Erystheus can no longer harm him but they attack his sons Christians. Not only was Hercules' descent into hell the best known and most prominent of his exploits, 32 but the motivation, the events, and the characters of the episode lend themselves eas- ily to a Christian interpretation.

There is no such congruity, for example, between the deaths of Christ and of Hercules: The other tradition of allegorizing myth, the ethical, began earlier and lasted longer than the theological. Indeed it had its be- ginnings in pagan times, but for the middle ages and for Her- cules , Fulgentius, the Vatican Mythographers, Boccaccio, and Salutati may be taken as the main practitioners. In this tradition, which often relies on a fairly simplistic duality of mind and matter or reason and passion, Hercules usually represents heroic virtue, reason, the wise man, the philosopher or, less commonly, the astronomer.

His victims signify various forms of carnal passion, worldliness, malice, vice, and excess. He adapted the traditional ethical interpretations of Herculean monsters in quite various ways to transform them into appropri- ate symbols of the kinds and gradations of sin. In making Cer- berus a figure of gluttony he fastened on the most primitive and persistent feature of the myth: Her- cules is reason which scorns and conquers all appetites and all vices. Fulgentius and Mythographer II focus on Cerberus' three heads, which represent three kinds of quarrels natural, causal, accidental or three ages of life infancy, youth, and age.

All this Dante ignores and focuses on the primary feature, voracious- ness. The generation of the cen- taurs by Ixion on a cloud-simulacrum of Juno signifies an ambi- tious man seeking to obtain and maintain tyranny by force of arms — "centauri quasi centum armati. The allegories of Salutati and Boccaccio IX, 27, 98c, p. Virgil also assigns three harpies to the underworld, the first named Aello, the second Oquipete, the third Celeno — "arpage" in Greek means rapine. They are virgins because rapine is dry and sterile; they are cov- ered with feathers because whatever is plundered is hidden away; they can fly because plunderers are very quick to take flight.

In Greek Aello comes from "taking what belongs to someone else"; Oquipete means "taking it quickly"; and Celeno means "black. This signifies that the first step is to desire what belongs to someone else; the second, to take what is desired, and the third to hide what has been taken. Unlike Virgil, he places no emphasis on their foulness or the frus- tration they cause.

Quivi le brutte Arpie lor nidi fanno. But in creating him Dante was simply taking advantage of defi- ciencies in the traditional description and allegory of Geryon. The tradition gives no certainty whether Geryon had: The only allegories about him before the latter part of the fourteenth century are euhemeristic or historical.

According to Servius Aeneid VII, he was a Spanish king who was called triple because he ruled three nearby Mediterranean is- lands, the two Balearic islands and Iviza. His two-headed dog signifies the strength of his army and navy. That Hercules was transported to Spain in a bronze pot signifies that he travelled in an armored ship. All three Vatican Mythographers repeat the same allegory. Boccaccio repeats both traditions XIII, 1, d, pp. In another place Boccaccio describes Dante's image of fraud, who he says was called Geryon because this ruler of Spain received guests with an appearance of kindness but after- wards killed them I, 21, 19b, pp.

At any rate, Dante can not really be said to have departed from traditional descriptions and meanings of Geryon; rather he gave precise form and ethical meaning to what had been vague and merely historical. Cacus is among the fraudulent because he was a crafty thief, not merely a marauder like the other centaurs, as Virgil explains to Dante Inf. When his theft of Her- cules' cattle is described in the Aeneid, his motive is given: Fulgentius allegorizes Cacus as "malitia" which can be subdivided into violence and fraud — an exact correspondence with Dante's division of malice into the second and third subdivi- sions of hell Inf.

Allegorizing Cacus, Fulgentius re- marks: He is double because malice takes many forms, not simply one; malice also injures in three ways, openly through force or craftily like a false friend or secretly like the unavoidable thief. The position of Antaeus at the edge of the ice where compound fraud is punished seems to present difficulties because the ethical allegory of Hercules' combat with the Lybian giant seems inap- propriate: Hence it seems that Antaeus belongs in upper hell among the incontinent rather than among the fraudulent.

In fact, however, Dante seems to have de- liberately abandoned the usual allegory in order to place him among the giants and Titans. Antaeus has been subsumed into the larger and more impor- tant allegory of the giants and titans who rebelled against Jupiter.

They are not mentioned by Fulgentius or the Vatican Mythogra- phers, but they were well known as symbols of proud rebellion against God from a passage in Macrobius: He [Hercules], representing as it were the power of the gods, is believed to have destroyed the giants when he fought for heaven against them. For what else should the giants be taken to signify except some impious race of men who denied the gods so that they were thought to desire to cast down the gods from their heavenly residence?

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Miller Nimrod, the first of the giants we encounter in the Inferno, was a well-recognized type of the devil. Thus Isidore says of him: But the three giants we actually see represent three distinct kinds of pride: If we examine Virgil's flattering speech to Antaeus Inf. What does the glory of Scipio have to do with Antaeus? They happen to have fought in the same valley. Antaeus killed a thousand lions the "thousand" is merely a facile rhetorical exaggeration , but no mention is made of the inhabit- ants and strangers he murdered.

The threat of going for help to Tityus or Typhon is a rather low appeal to envy. The hauteur of Antaeus is suggested by Virgil's "non torcer lo grifo. In presenting his final Herculean victim Dante ignores the traditional ethical allegory and, by means of a dramatic encounter, places him among his fellow-giants as an example of foolish pride. Thus, by a sparing, judicious use of theological allegory and a skilful, selective use of ethical allegory, Dante makes Hercules and his labors reveal Christ's victory over the forces of evil and sin in all three major levels of his Inferno.

Recognizing Hercules as a surrogate of Christ throughout the Inferno, not merely at the gates of Dis, may also help us to understand better one of the most famous and variously interpreted episodes in the Inferno: Princeton University Press, Volume 2, the commentary, is cited as "Singleton, comm. Marcel Simon, in Hercule et le Christianisme Paris: The attribution of the canzone to Dante is disputed by P. Pantheon Books, points out that from the end of the thirteenth century Hercules appears on the seals of the Signoria of Florence with the motto "Herculea clava domat Fiorentia prava" p.

The two most helpful recent studies on the Christianization of Hercules are Gotthard K. Rowman and Littlefield, , pp. Droz, , pp. Clarendon Press, reveals how often Hercules is both named and alluded to in the Inferno and how rarely and indirectly he appears in the other two cantiche. Vati- can Press, ] , p. Vincenzo Romano, 2 vols. Laterza, ] , II, p. Thesauri Mundi, ] , pp. On his wounding Pluto see Salutati IV, tract. On his defeat of the white bull who coupled with Pasiphae to produce the Minotaur, see Salutati HI, 18, pp. Both Boccaccio and Salutati wrote after Dante's death, but both especially Salutati give documentation from classical authors like Virgil, Ovid, and Seneca and commentators like Servius and Fulgentius who were available to Dante.

Oxford University Press, , rev. Miller 8 These two qualities complete the trinity of divine attributes that created hell: Vernon, Readings on the Inferno of Dante, 2 vols. Methuen, , I, p. Virgil's rebuke to Pluto refers to the vic- tory of St. Michael, one of the figures to whom Hercules was assimilated in the plastic arts Seznec, p. Dieterich'sche Verlagsbuchhandlung, ], p.

Boccaccio XIII, 1, d, p. Pluto's "'nfiata labbia" Inf. Illu- minations Illuminated Manuscripts of the Divine Comedy, ed. Princeton University Press, ], 2 vols. Nine present him as a devil horned or winged and seven present him with three dog's heads and the body of a dog or demon I, Of Pluto, Brieger remarks: When he ap- pears on all fours before the poets [as he does in three manuscripts], it is an al- lusion to the 'accursed wolf of Virgil's address" II, The illuminations of the centaurs, Harpies, Geryon, and Cacus I, , , , , , clearly and consistently show a human face or face and torso combined with an animal body.

Illuminations of the giants I, rarely show the lower part of their bodies, but when they do the giants have fully human form. Vatican Mythographer II, no. Boccaccio IV, 68, 52d, pp.

Salutati III, 40, 16, pp. The transla- tion is by J.

Mozley in the Loeb edition New York: Harvard University Press, , pp. Hercules and his Labors as Allegories of Christ 15 23 Simon, pp. Panofsky, Studies in Iconology: Harper Torchbook, , p. Kurt Weitzmann "Das Evangelium im Skevophylakio zu Lowra," Seminarium Kondakovianum, VIII [], points out that pagan portrayals of Hercules pulling Cerberus from the underworld in- fluenced the depiction of Christ's harrowing of hell during the tenth-century Macedonian renaissance. Princeton University Press, , pp. Giuseppe Principato, , pp. Salutati devotes his entire fourth book the last to this exploit.

Wicksteed and Edmund G. Gardner, Dante and Giovanni del Virgilio [Westminster: Archibald Constable, ], Appendix 1, pp. Giacomo Lacaita, 5 vols. Vincenzo Cioffari [Albany, N. State University of New York Press, ], p. Aello enim Grece quasi edon allon, id est alienum tollens, Oquipete 16 Clarence H. Miller id est citius auferens, Celenum uero nigrum Grece dicitur. In his chapter heading Salutati calls him "tricipiti," but in the first sentence of the chapter refers to him as "tricorporem" III, 28, 1, p. Later Salutati, who one sometimes feels could have alle- gorized the financial page of a modern newspaper, devised a rather elaborate ethical and even numerical allegory for Geryon, HI, 28, , pp.

On the unusual meaning of "inpos- sibilis" see Thesaurus linguae Latinae Leipzig, under "impossibilis" I B 2. Salutati's ethical allegory of Cacus III, 30, , pp. Boccaccio I, 13, 17c, pp. Salutati III, 27, , pp. Gigantas autem quid aliud fuisse credendum est quam hominum quandam impiam gentem deos negantem et ideo aestimatam deos pellere de caelesti sede voluisse" Saturnalia, I, 20, , quoted by Boccaccio IV, 68, 52d, pp. Equally well known was Cicero's remark: Ascendam super altitudinem nubium et ero similis Altissimo" Allegoriae auaedam Scripturae Sacrae, no.

The same point is made by the Glossa ordinaria PL , col. Centro Editoriale Internazionale, , pp. Massimo Verdicchio The Veltro and Dante's Prologue to the Commedia The prophecy of the Veltro is perhaps the most famous puzzle of the Commedia and the one which has most fascinated and baffled the reader. Di quella umile Italia fia salute per cui mori la vergine Cammilla, Eurialo e Turno e Niso di ferute. The general tendency has been to look for an historical or even a fictional character who could an- swer to the larger-than-life requirements set for the Veltro. A pope, a monarch, a mythic character, a messiah have been the reasonable guesses which, nonetheless, have failed to persuade the reader.

The prophecy is taken to be an aside expressing a hope that remains unfulfilled both in the poem and in history. This is borne out by the narrative events of this first canto in the failed at- tempt of the pilgrim to ascend the "dilettoso monte" Inf. Vedi la bestia per cu' io mi volsi; aiutami da lei, famoso saggio, ch'ella mi fa tremar le vene e i polsi". The coming of the Hound appears to be a future event whose realization might never materialize. The other road that the pilgrim is to take, which will lead him through Hell, Purgatory and Paradise, is the road of the poem through the three cantiche; the road that the pil- grim wanted to take but cannot, and which Virgil believes to be a future possibility, is a road the poem never takes.

The prophecy of the Veltro is one of two solutions to the pilgrim's predicament and the one which is discarded. Even so these reasons do not suffice to justify that the reader, in turn, disregard the episode altogether particularly when it is Virgil to utter the prophecy. In conformity to ancient and medie- val belief, Virgil has always been regarded as a seer, one who can see in the future and foretell it.

In the Veltro episode Virgil has precisely this function but this time his prophetic powers are 20 Massimo Verdicchio closely linked to his role as a poet. In the first place, the pilgrim appeals to him as a wise man "famoso saggio" which, as the commentaries explain, means "poet" because the ancient poets were thought to be men of wisdom and poetry was considered a form of learning.

This is how Singleton, in his commentary, glosses saggio: Tu se' lo mio maestro e '1 mio autore, tu se' solo colui da cu' io tolsi lo bello stilo che m'ha fatto onore. The lines that describe the coming of Aeneas to the Italian shores mark the beginning of the struggle between the Trojans and the peoples of the Latium that eventually leads to the unification of the two people and to Italy's salute.

In the con- text of the Aeneid, the hero that restores Italy to health is, as we know, Aeneas and it is he who in the poem is characterized as a hound. In the final duel with Turnus, the leader of the Latins, Virgil describes Aeneas running after Turnus as a hound chasing a stag: Aeneas, in other words, is Virgil's poetic answer to a resolution of conflict. His prophecy of the Veltro is another way of giving his solution to the plight of the pilgrim. As critics have always thought, Virgil is proposing a hero of the stature of Aeneas but what has not been emphasized enough is that this solution is purely a poetic one.

At stake is the viability of a literary model such as the one offered by Virgil's Aeneid for a poem like Dante's Commedia. The fact that Virgil also points to another solution which is the one adopted by Dante, and that we know that the Commedia in no way follows the model of the Aeneid, just as there is no Aeneas- like hero in Dante's poem, makes only too clear the fact that Virgil's proposed model is never adopted by Dante.

Rather than deducing from all these factors that perhaps it is not a question of poetic models at all, and that my reading is moving along a false path, we should ask why Virgil's model is rejected, or is not ac- ceptable to Dante, when Virgil is nonetheless made the guide of the pilgrim in two cantiche of Dante's poem.

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The unquestioned authority that has always been granted to Virgil by readers of the Commedia is perhaps responsible for the scant attention that Virgil's lines, alluding to the heroes that con- tributed to Italy's "salute," have received over the years. At first glance, the lines do not seem to present great exegetical prob- lems. Virgil mentions four warriors: Camilla, Euryalus, Turnus and Nisus, who have died for the well-being of their country, Italy. When we take the bother of looking up these names in the Ae- neid to find out how they died, we discover, however, to our great surprise, that these heroes did not die fighting for the glory of their country, as Virgil would like us to think.

Camilla, for ex- ample, is killed while pursuing an enemy but not in battle, but because she is after the gold of his armor: Euryalus and Nisus are also killed for similar reasons in similar circumstances. Although they die while on a mission for which they have volunteered — a fact which would justify Virgil's claim that they died for the good of the country — , for at least one of them, Euryalus, this is not the case.

The two warriors are on a mission to reach Aeneas to bring back help against the Rutuli who are besieging their camp. They leave at nightfall to cross the enemy lines but as they go through the sleeping enemy camp they slaughter the sleeping enemies and plunder the camp: Once again the reason for the demise of the heroes is greed and excess and not the love of country.

The same can be said of Turnus who, if we read closely, is not killed for having lost the duel to Aeneas in defense of his country. When he is defeated, Turnus pleads for his life and Aeneas is about to let him go unharmed. As he is deciding, Aeneas discov- ers that Turnus is wearing the baldric of his dead friend Pallas and enraged kills him in just retribution for his act.

Aeneas uoluens oculos dextramque repressit; et iam iamque magis cunctantem flectere sermo coeperat, infelix umero cum apparuit alto The Veltro and Dante's Prologue to the Commedia 23 balteus et notis fulserunt cingula bullis Pallantis pueri, uictum quern uulnere Turnus strauerat atque umeris inimicum insigne gerebat. Their in- itial honorable and patriotic intentions become, in all three cases, secondary to their self-interest and to their desire to gain wealth which blinds them to everything else and for which they are ready to murder.

The larger-than-life hero in revealing his or her all too human nature meets the fate that he deserves. A close reading of the fate of these heroes in the Aeneid contra- dicts what Virgil says of them in the Commedia. One explanation could be that Dante ignores how these characters really died and that he is interested in mentioning their names only for the sake of quoting two warriors from each camp. From what has been said, however, it seems highly unlikely that it is a question of ran- dom selection.

All four characters share too many characteristics for this to be the case. In addition, the phrase "per cui mori" seems to draw attention to the fact that these men sacrificed their lives for their country. Another explanation could be that Dante was not really aware of the real circumstances of their death, or did not care, being interested only in the fact that out of the con- flict in which they took part Italy's well-being was achieved. This other hypothesis is improbable on two counts. In the first place, we know how Dante has Virgil remind us that he knows the Ae- neid by heart, "ben lo sai tu che la sai tutta quanta" Inf.

This reminder is also an invitation to the reader to look further in Virgil's poem for the poet's intentions. And second, and more conclusive for our argument, that while what Virgil says is contra- dicted by a reading of the Aeneid this is not a misreading of Virgil's poem. These heroes do in fact appear in the Aeneid as Virgil relates in the Commedia. When we read further in the episode of Camilla we are told that her death will be avenged because she is protected by the goddess Diana. The unheroic circumstances of her death will be kept se- 24 Massimo Verdicchio cret and, instead, people will know that she died for the glory of her country.

This is Opis' promise, Diana's messenger, at Ca- milla's death: The same can be said of the two friends, Euryalus and Nisus, who receive at their death a similar promise of glory and immor- tality: The glorification of Camilla, Euryalus and Nisus are instances of an important motif that is present throughout the Aeneid, the en- comiastic theme.

As the famous praise of Aeneas' s lineage in Book VI illustrates, one of the poem's main objectives is the exal- tation of the House of Augustus and of his ancestry. The Aeneid, which accounts for the mythic origins of the Roman Empire, is an indirect vehicle to glorify the past and present greatness of the Romans. In the Camilla episode, Virgil is in reality praising Diana who is a Roman goddess. The facts of her death are concealed be- cause she was devoted to Diana, even though she is an enemy of the Trojans, and thus of Rome.

Euryalus and Nisus are Trojans but also best of friends. Their attachment to one another provides the poet with the opportunity not only to praise Aeneas' s lineage but also to connect the everlasting power and glory of the Roman Empire with his own immortal poetry "mea carmina". Also in this case, the unheroic deeds of these heroes are covered up and falsified by the encomium.

The Veltro and Dante's Prologue to the Commedia 25 In making Virgil repeat the praise of these heroes and the lie that they died for the glory of their country, Dante is calling atten- tion to this aspect of Virgil's poetry and to the deceit inherent in encomiastic poetry. It is not difficult to see the substance of Virgil's promise to the pilgrim. Virgil makes the same promise that Opis makes to Camilla or that the poet makes to Euryalus and Nisus. The reasons why this should be so and why the pil- grim needs Virgil's "help," however, are not immediately appar- ent especially from the way the episode of the pilgrim and the lupa has always been read.

It is to this episode, and to the follow- ing lines, that I would like to turn now: The "firm foot" is the lame foot of the soul denoting a weakness of the will wounded by concupiscence. This weakness hinders the progress of the intellect signified by the right foot. This con- dition is not clearly discernible at first because of the simple com- parison that seems to describe only the effect of the lupa on the pilgrim: The movement of "quei" who gradually and willingly volontieri accumulates acquista , or gains ground, is undone by the sudden presence of the she-wolf in the second term of the comparison.

Sapegno, in his commentary, has suggested this second possibility whereby the "quei" can be compared to a miser: But the comparison seems to describe more than the desire with which the pilgrim would like to reach the top. The pilgrim falls prey of the lupa because he is guilty of the same excess that the animal symbolizes.

The lupa functions here as a reminder of the pilgrim's greed and of the vanity of his attempt. Most commentaries to these lines have understood the pilgrim to be the victim of the she-wolf and have placed the blame en- tirely on the animal and on the greed it represents.

The presence and the promise of Virgil are then easily explained by a future event when the lupa will finally be vanquished. What I am sug- gesting, instead, is that the blame lies entirely on the pilgrim and that the lupa is only Dante's way of reminding us of the fact. The pilgrim hopes to get quickly to the top in much the same way that Virgil's heroes crave the possessions of others and both act of their own free will. The analogy between the pilgrim and the characters of the Aeneid is not casual in fact. The same desire to gain, in both cases, makes the individual forgetful of his true du- ties and brings about his undoing.

The Veltro and Dante's Prologue to the Commedia 27 This similarity explains the pilgrim's call for help and Virgil's reply and solution. As a good reader of the Aeneid, the pilgrim knows that Virgil has helped others in similar circumstances. He knows that Virgil will overlook the events, place the blame on others, and conceal his shortcomings with praise. We know that this is what Virgil promises him when he alludes to his characters who now appear as heroes and not as the men they really are.

There is one other detail, however, that must be mentioned now which explains better the pilgrim's request and Virgil's reply. In the one case of poetic "justice" in the Aeneid, the death of Camilla is blamed entirely on the man who kills her, a certain Arruns. We are never told why Arruns followed Camilla everywhere for a chance to kill her but his tireless pursuit has all the trademark of fate. When he does kill her, Virgil's description of the event makes him look like a coward who has struck a poor defenseless woman.

Virgil compares him to a wolf who has killed a shepherd or a big steer and knows he has done wrong: With this in mind, the pilgrim's request is more than justified and Virgili reply not in vain. As a reader of the Aeneid, the pilgrim knows from a paral- lel example that he can expect a similar form of justice. This just- ice is markedly one-sided and in favour of the authorities it serves. It not only conceals the crimes of those whose patrons it seeks to please but also distorts the truth of events whereby the guilty are said to be victims and their just fate an injustice. If we had not read the rest of the poem and took Virgil at his word, we could expect to be reading a poem about a man very much like Aeneas who restores order to a strife-torn Italy.

The poem would sing the praise of the powers it served and would be characterized by a similar system of bipartisan justice in favour of those whose protection it sought. We know already that this is not the case with Dante's poem but the reason is that Virgil's poetic model, which he proposes 28 Massimo Verdicchio through the prophecy of a coming Veltro, is rejected on account of its biased system of justice. The critique of this model is made clear not only in the two opposed solutions that Virgil gives, only one of which is correct, but also in the way in which Dante con- structs the episode.

When we observe closely the list of warriors mentioned by Virgil we realize that Turnus does not really fit in with the rest of them. Although he is an example of greed like the rest, it cannot be said that Turnus died for the well-being of Italy. Viewing it from the point of view of the Trojans, Turnus is an ob- stacle and a detriment to that well-being.

Only his death brings about the peace and unity that Virgil is extolling. Virgil, in fact, does not avenge him or celebrate him like he does the others, even though the others are just as guilty as he is. Turnus, instead, is more on the side of characters like Arruns. They are personifi- cations of evil whose ritual death at the hands of the gods is an af- firmation of justice and an end to all injustices.

Turnus' s presence among the other warriors is conspicuous for another reason. In the series of names, Turnus is placed between Euryalus and Nisus, two characters who are really part of one epi- sode, "Eurialo e Turno e Niso di ferute. The presence of Turnus amongst them is, however, more dramatic and relevant when we remember that Euryalus and Nisus are said to be the best of friends in the Aeneid. The two never separated, they were always together, when they went to battle they went together, when one volunteered for the mission the other also went.

Virgil says of them: We have mentioned how Nisus, who in the meantime had reached safety, returns to help his friend who has been caught by the enemy. They fight together and when they are killed their bodies are found together, "turn super exanimum sese proiecit amicum con- fossus, placidaque ibi demum morte quieuit" Aeneidos IX. W T hen Virgil sings their praise, as I have already quoted, he celebrates their inseparability which he adopts as the symbol of the unity between his poetry and the House of Augus- tus.

As long as Virgil's poetry will be influential and the Romans will be in power the memory of the two inseparable friends shall never be forgotten. The symbolic importance that the two friends have for Virgil in the Aeneid makes highly significant, therefore, the placing of Turnus, the symbol of discord in the Aeneid, be- tween the two friends.

The separation of the two friends means first of all that their memory as a "fortunati ambo" has been indeed obliterated and replaced by the memory of their greed which is the cause of their death. The union of poetry and political power that the two symbolize is also broken and not only because the House of Augustus no longer rules the world. The break, which implies a critique of the enco- miastic poetry we have in the Aeneid, points to the history of greed and deceit which is concealed under the lie of a history of noble and selfless acts performed for the glory of one's country.

As a result, even the fiction of a "pious Aeneas" becomes suspect not only because he is the embodiment of the noble and selfless man, and the ancestor of Augustus, but also because he is the in- strument of a justice which is corrupt. The reappearance of Turnus amongst Virgil's heroes points to the shortcomings of Virgil's politically compromised system of justice. A poetic justice that conceals the aberrations on which po- litical power is constructed and slavishly flatters the powerful. Consequently, Virgil's own motives are in question here and his greed for which he compromised his poetic integrity.

He will expiate his cupiditas in Purgatorio XII. Virgil's promise of a Veltro who will restore Italy to health is only a nice fiction which is no longer acceptable. The fiction of a new Aeneas would only perpetuate the evil under a compromised sys- tem of justice where definitions of good and evil are decided on the bases of political power and not of merit. For these reasons, at the level of a poetics of the Commedia, Virgil's proposal and poetic model is rejected and the Commedia takes another road, a road of a different type of justice, as we shall see. At this point, and before we go on to describe Dante's version of the Veltro, it must be said that if Dante rejects Virgil's poetic model this does not mean that he rejects the Aeneid or Virgil.

Dante rejects only the idea of a poem like the Aeneid that courts the favour of the powerful it glorifies. I also do not mean to say that Virgil was taken in by his own fiction. There is sufficient evi- dence to believe that the myth of Aeneas and of the glorious Roman people is also put into question by Virgil. The glorifica- 30 Massimo Verdicchio tions of Camilla and of Euryalus and Nisus are treated ironically as Virgil first elaborates in detail on their base and unheroic ac- tions and then praises them. This is more clear in the case of Turnus's death at the end of the Aeneid which, abruptly, marks the end of the poem.

As I have said, Aeneas first grants Turnus his life and then kills him because he has murdered Pallas. There is reason to believe, reading between the last lines of the poem, that Aeneas's justification for killing Turnus is suspect and that the poet wanted to call attention to Aeneas's act of injustice when he describes Turnus's indignance "indignata" at Aeneas's "ex- cuse" for killing him: Dante rejects in Virgil only the compromise that places poetry at the service of political power for personal gain.

Like Camilla's desire for gold, Euryalus' s helmet, Turnus's baldric, or the pilgrim's lupa, the presence of Turnus's amongst Virgil's he- roes points to the poet's greed for which he willingly compro- mised his art in exchange for a comfortable living, as Juvenal iron- ically points out in the seventh satire. Dante rejects the fic- tion of a Veltro, of a pious and noble man, who is above the greed and the deceptions of ordinary men, capable of bringing about the resolution of political and social conflicts. The tendency to take Virgil's prophecy literally and to accept him as the voice of authority in the Commedia, has made the reader overlook an im- portant detail in the description of the Veltro that might have alerted him to Dante's critique of Virgil's model and to Dante's very different Veltro.

The lines in question are the following: That is to say that speaking of the Veltro, Dante is saying that it will not feed neither land nor wealth, but wisdom, love and virtue, and its nation will be be- tween two felts. The verb cibare is used in the same transitive active voice two other times in the Commedia. In one instance the verb is used to describe the feeding of the blessed by the Agnus Dei at the Celes- tial Banquet: In the latter case, the verb refers specifically to the teachings one finds in Dante's poem which the poet, as the scribe of his poem, offers to the reader for his edification.

A similar idea is behind the use of cibare in the episode of the Veltro. Since we are in the prologue canto of the Commedia, the prophecy of the Veltro is a way of saying that the poem to come will not teach the reader how to become successful in business and wealthy; rather it will teach him wisdom, love and virtue. To the riddle of the Veltro and to the question "What is the thing that feeds neither land nor pelt but only wisdom, love and virtue and its domain is between two felts?

The felt lining is in accordance 32 Massimo Verdicchio with the humble and unassuming character of the book and its modest aims. At the time of Dante, books could be covered with intricate and costly covers and, very often, they were lined with velvet. The practice of using the imagery of feeding, in the sense of teaching, and in a prologue to acquaint the reader with the con- tent of the work to be read, is not new with Dante who used a similar technique in the Convivio.

The Convivio, Dante tells us, needed to be written because the reader seduced by the beauty of the poems simply enjoyed them but did not read them allegorically for the moral lessons "bontade" they meant to convey. The prologue canto of the Commedia shares with the introduc- tion of the Convivio not only the imagery but also a similar preoc- cupation. This is expressed as the liberating action of the Veltro and is the way in which the Commedia will teach wisdom, love and virtue: In Dante's poem there can be no illusion that evil can be exorcised once and for all through the punitive action of a god or a pious man.

The reap- pearance of Turnus in Dante's poem makes this clear. The killing of the lupa is Virgil's fiction not Dante's. The lupa does not symbolize envy, as the wolf represents evil in the Aeneid, so that its defeat at the hands of the Veltro can signify the successful overcoming of evil. The lupa in the Commedia, as I have indicated, is only a sign pointing to the presence of greed and of envy.

As a sign, the lupa points to those who are guilty of this sin in very much the same way as the helmet points to Euryalus's greed, Pallas's baldric betrays Turnus's, and the pres- ence of Turnus amongst Virgil's warriors Virgil's own avidity. These are signs that point to a deceit or a transgression which makes it possible to uncover it and to punish it. The task of Dante's Veltro will be to hunt down these examples of greed found in every city of the "umile Italia" and to place them where they belong in Hell or in Purgatory.

He will look for Florentines, Romans, Greeks and everyone whose baseness is concealed by an apparent noble character. In the terms of Dante's allegorical rep- resentation, to place the lupa in Hell means to bring about in the reader the moment of recognition of a particular evil or crime which is how the Commedia will teach its readers to become wise, loving and virtuous. Dante's objective in the Commedia is to teach the reader to go beyond the mere letter of poetic representation to unveil the truth that it conceals, in very much the same way in which he is to learn to go beyond the appearances of things to the truth behind.

In the Convivio, the mode of representation which the poet uses to convey his moral teachings is called the allegory of poets and con- sists of two concurrent but different levels of meaning: In the now famous letter to Cangrande, Dante gave the etymology of allegory as that which is other, different. A set number of conventions govern the relation between sign and referent.

The symbols employed are to a large extent part of an established system of meanings and one needs only to establish the connection to decode the meaning of the symbol. In allegory the meaning is other than what appears to be at first. The literal meaning is only a fiction, a "bella menzogna," whose purpose is to hide the allegorical truth to which it points. Differently from the symbol, poetic allegory is not so easily determined because it does not depend on a reliable system of meanings for its expres- sion.

In poetic allegory, it is the meaning the poet gives to the fic- tion that is at stake. In the letter to Cangrande, Dante explains what these two levels are. The poetic fiction is the journey in the three realms or, more specifically, the representation of the state of the souls after death. The allegorical meaning, however, is in function of the system of justice that punishes or rewards men's actions voluntar- ily undertaken. The meaning of the allegory is the judgment of man as he is deserving or undeserving because of actions dependent on his free will.

Un- like the type of justice that exists in the Aeneid, this justice is im- partial because it is not compromised by political affiliations and personal gain. The Veltro and Dante's Prologue to the Commedia 35 The process through which these teachings are imparted, how- ever, is not always clear and transparent as the episode of Virgil's prophecy of the Veltro has shown. Virgil's vice must be deduced by going beyond the meaning of the letter to the hidden mean- ings, and truth, that it conceals. This is where the Convivio and the Commedia differ.

In the earlier work, Dante sets out to explain to the reader the meaning of his poems that he has missed, in the Commedia the reader is on his own. He has to read the poem alle- gorically and uncover the deceit himself if he wants to become wise, loving, and virtuous. Through this process of reading, or of "feeding" to use Dante's metaphor as it is employed in Paradiso X, the reader gradually learns and, supposedly, also journeys from Hell to Paradise.

The reference to feeding in Paradiso X under- scores this necessity, namely, that the reader can reap the re- wards only if he is capable of eating the food that the poem feeds him, "Messo t'ho innanzi: Virgil's lie of noble and selfless heroes is exposed through the presence of Turnus which disrupts the authority of Virgil's poetic word.

Once the presence of the discordant element is perceived, namely the sign that points to the infraction, the awareness brings about the moment of judgment. In the case of Virgil, the ironic presence of Turnus is sufficient to expose Virgil's bias and to undermine the validity of his claims. Through this ironic mode of signification, the souls in Inferno and in Purgatorio are made to reveal their wrongdoings which is not immediately apparent at a first reading. Encountering Paolo and Francesca, Brunetto Latini or Ulisse, to name only a few of the most well-known "heroes" of the Inferno, the reader has often been at a loss to justify their presence in Hell.

In the case of Virgil there has never even been the suspicion of a possible deception. But as for Virgil, what is related by the souls is always a lie that can never be taken at its face value but must be unmasked before the truth can be known. This task is given to the reader who is called upon to perform a similar critical task that Dante put into practice in the Convivio. This is the task to go beyond the seduc- tion of the language of love of Francesca, the promise of immor- tality of Brunetto Latini and the rhetoric of Ulisse, to make mani- fest the truth that their language conceals.

We learned about domestic animals and their young and which meats come from different animals, the classes will undertake a trip to Corkagh Park farm to study the pigs, cow, goats and other farm animals which are living there. Essi subirono molte torture ma non rinnegarono la fede in Cristo. Tutto il Corso del Popolo viene occupato da bancarelle che vendono di tutto. Particolarmente allegri sono i bambini, che chiedono ai grandi di comperare dolci, giocattoli,palloncini, animaletti da casa. Per tutto il giorno in Cattedrale vengono esposte le reliquie dei Santi e molti sono i fedeli che si recano in visita per una preghiera e approfittano per visitare il museo diocesano nel quale sono conservate le antiche statue dei patroni Felice e Fortunato.

Dopo la processione il via vai di grandi e piccini continua sino a tardi. In questo giorno di inizio estate, sacro e profano si mescolano tra le calli di Chioggia. They suffered under torture but they didn t deny their faith in Christ. Anciently their mortal remains were kept at the bishop s see seat at Malamocco, an island of the lagoon, but when in the ancient see was moved to Chioggia, the relics of the martyr saints were transferred, too, and they became the Patron Saints of the town and of the diocese. They are remembered on 11th of June, the day of their martyrdom.

In Chioggia, on this day, there is a great celebration. The main street is full of stalls selling everything. From early in the morning the main street is filled with people rummaging among the stalls looking for the most curious souvenir. The children are particularly excited, asking grown-ups to buy sweets, toys, balloons, little pets,. In the air there is a smell of freshly cooked food.

All day you can visit the relics of the Saints in the cathedral, many of the faithful come to pray and to see the museum where ancient statues of Felice and Fortunato are kept. In the afternoon the bishop celebrates mass in the presence of local civil and religious dignitaries. This is followed by a procession; the priests and the congregation take the statues to a small square at the end of the main street, from where the bishop blesses the town.

Along the route there is an almost surrealistic atmosphere, the procession winds its way amongst smells of hot food while people stop in silence on the sides of the street. Some pray, some make the sign of the cross and some just go on eating. After the procession the bustle in the main street of grown-ups and little ones continues until very late. On this day, at the beginning of summer, the sacred and the profane mix together among the "calli" narrow streets of Chioggia. Balloons, stalls and people in the main street Palloncini, bancarelle e gente in Corso del Popolo.

La manifestazione rievoca quel periodo storico, economico e culturale. Prende il nome dalla marciliana, una nave da carico che si usava per il piccolo commercio nel Mare Adriatico; a Chioggia serviva soprattutto per commerciare il sale che veniva prodotto nelle sue famose saline. La festa sembra proprio una antica fiera del sale, quando i mercanti venivano dalle terre di Lombardia per comprare il sale. Ecco come un alunna della scuola Marchetti racconta la manifestazione. Andrea e le corse dei milites al combattimento con spade, lance, archi, scudi.

Molti bambini partecipano alla Marciliana indossando quei particolari costumi. Tamburini e gonfaloni - Drummers and banners. The city was the centre of battles, siege and destruction, finally liberated in June The event recalls that historical period, economic and cultural. It takes its name from the marciliana, a cargo ship, used in the Adriatic Sea to trade salt produced in the famous salt works in Chioggia. The festival is like an ancient salt fair when merchants came from Lombardy to buy salt. Here s how a pupil of the Marchetti school describes the event. The city is divided into five districts which have their own banner with different colours and images to represent their main characteristic and to recall, with the involvement of adults and children the ancient crafts: The music is beautiful: A moment which strikes me every time is the taking of the tower, it is recalled by illuminating S.

Andrea s bell tower at night, like it s on fire and the soldiers running to fight with their swords, crossbows, lances and shields. The crossbow competition is very good too, you really feel like you re in the middle ages. Many children take part, all in costume. Ragazze in processione - Girls in procession. Midsummer Eve is always on the Friday that comes between the 19th and 25th of June. History The tradition to celebrate Midsummer Eve, from an astronomical point of view, is about to celebrate the day that is the opposite to Christmas Eve, id est the twenty-four hours when the day is the longest and the night is the shortest during the year.

In the pre-christian time Midsummer was connected to sacrifices and sacrificial feasts. The purpose was to please the god connected to fertility. As time went by the church took over the celebration and wanted it to be in memorial of Saint John. We put garlands of flowers in our hair, decorate the May pole with leaves and flowers and dance around it, enjoying the beautiful summer and the night of light.

Np3 In Np3 the pupils think that the best about Midsummer is the dancing around the May pole. Depending on the tradition of the family you eat the Midsummer Lunch before or after the dancing. For dessert you use to get fresh strawberries with whipped cream. When Brioni came in each week, we listened to all types of music and sang rhythms like Clon-dalk-in. The best part was getting to play the samba drums in the Hall.

We each had a turn playing many different types of drums. Irish Traditional Music is a very important to people in Ireland. Music sessions are often held in pubs and all musicians are welcome to participate. Irish music is played for dancing to but nowadays you can hear traditional music without a dancer in sight. Traditional musicians love to play jigs and reels. There are many famous bands such as the Chieftains, who play fantastic traditional music. Durante i tre mesi d estate la gente di Chioggia passa gran parte delle giornate in spiaggia.

Sulla lunga distesa di sabbia fine ci sono molti stabilimenti balneari, con file di capanne e ombrelloni, non solo per la gente di Chioggia, ma anche per le migliaia di turisti che trascorrono le vacanze a Sottomarina. La gente, spesso a gruppi familiari o di amici, affitta per tutta la stagione una capanna con ombrellone. Se le mamme non possono, ci sono sempre i nonni che sono liberi e disponibili. Quanti giochi si fanno sulla sabbia! Scavare buche, giocare con secchielli e palette, costruire ponti e castelli di sabbia, fare piste per palline, giocare a calcio a piedi scalzi o a tamburello: Al sabato e alla domenica, quando tutti in famiglia sono liberi dal lavoro, spesso si pranza in spiaggia sotto l ombrellone, al riparo dal sole cocente che nelle ore del mezzogiorno fa scottare la sabbia, portando cibi pronti da casa; qualche volta si mangia anche a sera, prima che faccia buio, comprando la pizza.

18633 songs found in English or Neapolitan or Italian

All together on the sand - Tutti insieme sulla sabbia. During the three months of summer the people of Chioggia spend most of the day on the beach. Sottomarina beach is very wide, deep and 6 km long, from the breakwater of the port to that of the mouth of the river Brenta. On the long stretch of fine sand there are many bathing establishments, with rows of huts and beach umbrellas, not only for the people of Chioggia, but also for the thousands of turists who spend their holidays at Sottomarina. Turism is in fact one of the most important economic activities of our town.

People, family groups or friends, rent a hut with a beach umbrella for the whole season. Often in the morning, but always in the afternoon, mums and kids leave their homes in the town and go to the beach, dads too come after the work. Most come on bicycle, and in the evening, going home, the roads are jampacked with bicycles. It s always cooler on the beach than at home in the town, everyone wears a bathing costume and there is nearly always a breeze from the sea. If the mums can t come, grandmu s and grandpa s are always happy to look after the kids.

So almost all the children and youngsters spend most of the summer on the beach with their friends, sunbathing, playing, swimming in the sea. The sea is shallow for a long way out and is safe for the children. What fun it is to be tossed about by the waves with their white seaspray! What a lot of games you can play on the sand: On Saturday and Sunday when all the family is at home, they often have lunch on the beach under the beach umbrella in the shade of the scurching sun which at midday makes the sand burn, bringing with them food prepared at home; sometimes they eat a pizza on the beach in the evening for supper before it gets dark.

At the end of the season all the children have very dark skin and their hair is bleached by the sun and sea water. Sight of the beach - Veduta della spiaggia Fun in the sea water - Divertimento in mare. Avvengono spettacoli di animazione, teatro in lingua e in dialetto, musica, intrattenimento, mostre, ma soprattutto domina la buona cucina. Nel Corso del Popolo vengono installati una decina di caratteristici stand, addobbati con vele multicolori e reti da pesca, che provvedono a cucinare ogni sera quintali e quintali di pesce.

Migliaia di persone ogni sera fanno la fila per sedersi ai tavoli all aperto per consumare, anche fino a mezzanotte, il pesce fritto calamari, seppioline, gamberetti, alici, sarde,. Gli odori del pesce fritto e arrosto si spandono nell aria e si mescolano al vociare allegro della gente, lieta di trascorrere in compagnia le belle serate d estate. Sembra proprio d essere imbarcati su un enorme barca che galleggia sui canali della laguna. L ultima domenica di luglio avviene l altra manifestazione, dal forte carattere simbolico, la Benedizione del mare. Al mattino nella chiesa di S.

Alla fine della Messa il Sindaco consegna delle medaglie d oro ad anziani pescatori, come riconoscenza per il loro lavoro. Prima ci si ferma in laguna, sulla bricola con il capitello della Madonna, a deporvi una corona di fiori. Dalle barche la gente applaude con sentimento, il corteo si scioglie, le barche vanno ognuna per suo conto in gita a far festa, chi in mare, chi in laguna.

Fish is preparing for frying - Si prepara il pesce per la frittura Procession of boats — Corteo di barche. At the middle month for ten days one of the most awaited folkloric-gastronomic events of our region takes place: In the main street about ten or so stands are set up, decorated with multi-coloured sails and fishing nets, they provide an enormous quantity of cooked fish. Every evening thousands of people queue up for a seat at one of the tables to enjoy, up to midnight, fried squid, small cuttle fish, shrimps, sardines, anchovies,.

All the local families spend at least one evening at the Festival, where they meet up with their friends; thousands of tourists come from the beach at Sottomarina or from other towns of the region. In the evening the town appears like a huge kitchen and an enourmous restaurant out in the open. The smell of fried and roast fish spreads in the air mixing with the merry voices of the people, happy to enjoy lovely summer evenings in company.

It seems like being on board a very big ship floating on the canals of the lagoon. And if there is moon-light. On the last Sunday of July another simbolic event takes place, the Blessing of the Sea. Like Venice every year on Ascension day with a special ceremony "The Wedding of the Sea" remembers its dominion of the seas as a strong seafaring republic, Chioggia wants to remember that it depends on fishing and the sea for its wealth and way of living. In the morning in S.

Domenico s church, the fishermen s church, mass is celebrated by the Bishop together with other priests, in the presence of the Mayor, naval and military authorities. At the end of mass the Mayor gives gold medals to elderly fishermen in recognition of their work, then the Mayor, the Bishop and other authorities go on board a fishing boat, wich is followed by a procession of other fishing boats full of people, motorboats, sailing-boats and rowing boats. First they stop in the lagoon to lay a wreath of flowers, then the procession continues as far as the mouth of the port, between the two breakwaters; it s a wonderful sight, with all the boats moving forward in formation, cuttig through the green water, white foam and splashes rising up, people and many children crammed together on the bow with the wind in the faces and their hair blowing, the sky blue and the sun hot.

When the boat with all the authorities on board stops, all the rest gather around and sound their sirens at full blast. Then there is silence, the Mayor with the town s banner at his side throws a laurel wreath in the sea and the Bishop prays God to bless the sea: Everyone then claps, the procession breaks up, the boats go off to celebrate, out in the sea or in the lagoon. People is crowding a stand - La gente affolla uno stand. Det finns en annan slags motorcykel som kallas motorcross.

You have to be at least 18 years old to get a driving license for a light motorbike. They exist in different colours for instance yellow, red, blue, black and green. There are also different trade marks like Yamaha. There is another kind of motorbike that is called motor-cross. It is more for freestyle; jumping and tricksing, like somersaults. Many people use motorbikes when they want to travel fast.

There is also a special kind of dresses mad by skin to get less hurt if you fall have an accident. Some people buy those bikes to look cool. For instance we can do it by bike There are even special cycle ways. Children younger than 15 years of age must wear a helmet when they are biking, that is a law in Sweden. Grown ups sometimes choose the bike instead of the car going to work.

And we have to put behind the bike if you are bringing small children. Bilden visar en Saab V Saab fick ekonomiska problem, och har nu lagts ner. Many people go to school and to work by car. SAAB was a Swedish company that made cars. Saab got economical problems and it is no longer there. We have some lovely parks to visit like Phoenix Park, St. Stephens Green and Corkagh Park. When the weather is sunny we go to the beach and make sandcastles and swim in the water. Dublin Zoo is a great place to visit in the Summer.

Some of us go to Summer Camps to play games and make ArtWork. When the weather is not so good we can go shopping and play indoors with our toys or even go to the Swimming Pool. Irish children like us love to go to the Playground and visit Activity Parks during our Summer Holidays.

We spend lots of time playing outside with our friends. We love Summer in Dublin! Oggigiorno le barche da pesca sono grandi, dotate di potenti motori e moderne attrezzature come radar, computer, celle frigorifere.

Neapolitan

Le sue origini sono molto antiche e possono essere circoscritte alla zona di Chioggia. Lo scafo era caratterizzato da forme arrotondate con un alta prua mentre la poppa tozza ed abbassata aveva un grande timone. Questa barca era armata con uno o due alberi muniti di vele. Esse di solito erano colorate di giallo ocra e rosso mattone e presentavano brillanti decorazioni che avevano la funzione di far riconoscere meglio la barca in alto mare. Ogni famiglia sceglieva figure astratte, lettere o immagini che richiamavano il proprio nome. La tecnica per dipingerle era molto semplice: Poi immergevano le vele nell acqua del canale per fissare il colore in modo permanente.

Anche le nere prue dei bragozzi erano ornate con diverse decorazioni di natura religiosa. Lo scopo di queste figure era di ottenere la protezione dei Santi o della Vergine Maria. Children with their small "bragozzi", made at the city museum Bambini con i loro piccoli bragozzi,realizzati al museo civico "Bragozzi" in Chioggia has been a fishing town for many centuries.

Nowadays fishing boats are large, they have powerful engines and modern equipment such as radar, computers and cold stores. Up until eighty years ago they were sailing boats that moved with the force of the wind and sometimes with the help of roars. It was hard and dangerous to be a fisherman then, sailing for days and weeks often at the mercy of the weather. There were so many in the canals of Chioggia that their masts looked like a thick wood. Its origins are very remote and they can be limited to the area of Chioggia. The hull was characterized by rounded shapes with high bow while the squat poop was low and had a big rudder.

This boat was armed with one or two masts fitted with sails. The sails usually were coloured in ocher yellow and brick red and they had bright decors. These decors had the function of better recognition of the boat in the open sea. Each family choose abstract shapes, letters and images that recalled its name. The painting technique was very simple: In this way they fixed the colour permanently.

The black hull also was adorned with various decorations of religious nature. The purpose of these paintings was to obtain the protection of the Saints or the Virgin Mary. Ma per sfuggire il gran caldo molti passano dei periodi di vacanza sulle montagne della nostra regione, dove stare al fresco, respirare aria pura, fare lunghe passeggiate nei boschi o sui sentieri che portano ai rifugi alpini o anche salire sulle vette. Ecco alcune impressioni di bambini della scuola Gregorutti che sono stati in un rifugio di montagna con un bel gruppo di famiglie amiche.

Ma quando sei arrivato su, che bei panorami, con le cime contro il cielo, sembra di toccare il cielo! Quanti bei fiori di tutti i colori sui prati verdi! Alla mattina presto le marmotte uscivano dalle loro tane e si mettevano sulle rocce, noi le osservavamo stupiti ed emozionati dalla finestra del rifugio. Sui prati d alta montagna - On the high meadows.

Arrampicarsi sulle rocce - Climbing the rocks. However to escape the heat many spend their holidays in the mountains of our region where you can enjoy a cooler climate, breathe pure air, take long walks in the woods or on trails leading to mountains huts or even climb the peaks. Our mountains are very beautiful and fascinating landscapes, they are about a two hours drive from Chioggia. In summer you can find snowfields and glaciers there. Here are some impressions of Gregorutti school children who have been in a mountain hut with a nice group of families.

But when you get up there and see the beautiful views with the peaks against the sky it s like touching the sky. How many beautiful flowers of all colours on green meadows! We had fun playing, we went to look for edelweiss and eventually we found them, we didn t gather them because they are protected flowers. It s nice to touch snow in summer, we made snowballs. The water which came from the glacier was icy! In the morning marmots came from their dens and sat on the rocks, we observed them from the window of the refuge, amazed and excited. We also saw from afar wild goats hopping on the screes".

In lontananza il ghiacciaio Ready to leave. Far in the back the glacier. We are 40 teachers and students in the school. There are one to three teachers in every class. Every student gets one pencil, one rubber and one ruler in the beginning of the term. We got the subjects swedish, english, mathematics and music in our classroom. In every classroom there are one projector and three computers. We are a school without school uniforms. In every classroom without the handicraft there is a white board.

There are 15 to 30 students in every class. School meals At our school we have free school meals. The little kids are eating around At least once a week we have fish. Four people work in the kitchen Each person s meal will costs 8 sek 0,82 euro for the school. Physical education We have P. Total we have 90 minutes a week. In the winter we are in the gymnasium and playing games, handball, floor ball and so on. And sometimes on the winter we go skating on a ice rink and we also go skiing outside the school.

In the summer we are out and have athletics and play football, rounders, orienteering and so on. Sometimes the best pupils in our class compete in a city championship. For example this year our class came on first place in running relay. School photo Each year we take school photo. Each class take one common photo to and every pupil take one single photo as will come in a school book with address and phone number in.

Every pupil get one book home for free. The book is in colour. On the playground it also is 7 swings, 4 basketball hoops and 2 Ping- Pong tables. They usually play hide and seek and build huts. Behind the school there is a football ground. There we have P. E in the summer. On the winter we go sledding. There are 16 teachers and 2 Special Needs N. Assistants in the school and almost children. There are boys and girls in the classes from Junior Infants to 1st class and then the boys leave and there are only girls in the rest of the classes. We wear a uniform in our school 3 days a week and a school tracksuit the other 2 days.

Our tracksuit is navy and yellow and our uniform is a navy dress or skirt, a check shirt and a blue jumper. In our school we have a PE Hall with lots of things to play with like balls, beans bags, skipping ropes and so much more. We also have a big yard with lots of pictures drawn on it and a lovely garden where we grow vegetables. In our school we have a GAA team and a cross country team too. Chi saranno i nostri compagni? E le nostre maestre? Qualcuno ha ritrovato le amiche e gli amici della scuola materna, abbiamo visto le nostre maestre, belle dolci e simpatiche.

I primi giorni eravamo tutti assieme in un unica classe, con tutte le maestre. Le maestre ci hanno offerto tante caramelle giganti di carta crespa colorata con sopra un cartellino con scritto in stampato maiuscolo il nome di ciascuno: Abbiamo fatto tanti e divertentissimi giochi. Poco alla volta ci siamo conosciuti meglio, abbiamo fatto amicizia, abbiamo cominciato ad imparare tante cose. Possiamo proprio dirlo ad alta voce: In Italy, every region has a school-calendar that provides for at least two hundred school-days from September to June.

For our children the first day of school is in the middle of September, when the weather is still warm. This is a very cheerful and lively day: The first day of school is a special day for the children that come to the primary school for the first time. Here we have their words describing the anxiety, fear and emotions reminding that day.

We stayed next to our mothers worried because we were not still able to write and read! Will we be good? Who will become our classmates? And our teachers too? Then, when the children older than us went inside the school with their teachers, and we remained in the playground…we were very glad!

Some of us met their infant school classmates and then we saw our teachers, they looked very nice. The school looked nice and very big, so did the playground full of trees, swings and slides to climb on…. We will have lots of fun! During the first period we were all together in one class, with all the teachers. We played lots amusing games. La coltivazione della vite ha una grande importanza nell agricoltura italiana, per la produzione di uva da vino, ma anche di uva da tavola.

Con l uva nera, specialmente quella del tipo "fragola", qui a Chioggia facciamo una specie di crema d uva dolce che in dialetto chiamiamo "sugoli": Una volta i "sugoli" erano un dolce tipico della gente povera. Alcune donne li preparavano e andavano di strada in strada a venderli. Qualche volta le maestre li fanno anche a scuola con i bambini. Le maestre ci divisero in tre gruppi. Il giorno dopo, tutti portammo un cucchiaino e gustammo gli speciali sugoli fatti da noi. Ci facemmo anche una foto… con la bocca sporca di rosso-viola!

Italy is a big wine grower, part of it is sold abroad. Many Italian quality wines, both white and red, are famous all over the world. The vineyards are important resource in our region Venetian for the production of wine grapes but also for eating grapes. We can see these cultivations in the plains and hillsides. September is the vintage time and many years ago this event was great fun for the farmers because wine was made at home. Nowadays we buy wine in bottles or cartons at the supermarket. Kids and adults like this sweet a lot.

In ancient time this pudding was a typical sweet of the poor people. A pupil of 5th class tells us this nice experience: Our teachers divided us in three groups. The first group took off the grapes from the bunches and put it in a big pot; the second opened the grapes and removed the seeds; the third crashed with their hands the grapes and released the juice. We had to add sugar and flour to the juice and to cook the mixture, stirring constantly.

The day after we brought a spoon to school because we had to taste our pudding. Children at Marchetti school have tasted "sugoli" Bambini alla scuola Marchetti hanno assaggiato i sugoli. When autumn comes many Swedes like to go out into the nature, looking for mushrooms. What most people are picking are chanterelles, funnel-shaped chanterelles and ceps. The first mushrooms that pop up in the autumn are the chanterelles. You can pick the funnel-shaped chanterelles almost until the snow comes. The top of the chanterelles is yellow and also under.

It is cm high and grows in both hardwood forests and softwood forests. The top of the funnel-shaped chanterelles is light or dark browngrey. It can be cm and it grows in mossy softwood forests. The top of the ceps is light brown but it can also be dark brown. It is cm high and it grows in hardwood forests and in softwood forests. Den smakar mest salt. You eat it with potatoes, dill-sauce and flat bread. The adults use to drink snaps with the fermented herring. Fermented herring is herring that has been preserved by fermentation during a year.

The taste is salty. The season for fermented herring is August. This is how you eat fermented herring.

Fermented herring as baby food Fermented herring in a tin Fermented herring. We have horseriding, tennis, basketball, Gaelic-football, hurling, camogie, darts, cycling, rugby, swimming, boxing, martial arts, golf, cross-country and athletics. These sports are very famour in Ireland. Dublin won the all Ireland GAA football final this year.

Katie Taylor is a famour woman boxer. She is in her 20s and she is very pretty and beautiful. Rory McIlroy is a famour golfer, he is in his 20s too. Most of all Sport is about fun, not winning all the time. If you lose do not be sad. When the Celts came to Ireland as the last ice age was receding, they brought with them a unique culture, their own language, music, script and unique pastimes. One of these pastimes was a game now called hurling.

It features in Irish folklore to illustrate the deeds of heroic mystical figures and it is chronicled as a distinct Irish pastime for at least 2, years. The ball or "sliotar" is similar in size to a hockey ball but has raised ridges. Hurling is played on a pitch that can be up to m long and 90m long. The goalposts are similar to those used on a rugby pitch, with the crossbar lower than in rugby and slightly higher than a soccer one.

You may strike the ball on the ground, or in the air. Unlike hockey, you may pick up the ball with your hurley and carry it for not more than four steps in the hand. After those steps you may bounce the ball on the hurley and back to the hand, but you are forbidden to catch the ball more than twice. To get around this, one of the skills is running with the ball balanced on the hurley To score, you put the ball over the crossbar with the hurley or under the crossbar and into the net by the hurley for a goal, the latter being the equivalent of three points.

Nel nasce la tradizione di ringraziare la Madonna per la protezione ricevuta o anche per una guarigione avvenuta. Spesso i pescatori si recavano a piedi scalzi al santuario della Madonna della Navicella per donare una tavoletta di legno dipinta a ricordo del salvataggio portentoso: In basso si trova la scritta P. Per Grazia Ricevuta oppure Ex Voto.

An ancient "tolela" A. The fishermen aboveall were responsible for this form of local art, characterised by the semplicity of the representations. The tablets were brought into the churches, you can see them in the church of S. Domenico, the fishermen s church with its enormous wooden crucifix. They prayed to her to seek protection for the fishermen and healing of the sick.

The tradition to thank the Virgin Mary for favours was born in Below there is written: Le castagne vengono consumate fresche arrostite o lesse o secche; se ne ricava farina per fare dolci e castagnaccio, un tempo cibo prelibato per il popolo. Ecco come un bambino della scuola Gregorutti racconta una gita in un piccolo paese in mezzo ai boschi di castagni. Dal finestrino dell autobus si vedevano colori stupendi di un panorama meraviglioso: Lungo la strada ho visto alberi bellissimi; era arrivato l autunno! I suoi colori meravigliosi che variano dal rossiccio al verde marrone giallo.

Arrivati a Combai la guida ci ha introdotto nel bosco, si sentiva il calpestio e lo scalpiccio delle foglie sotto le nostre scarpe. Ho guardato in alto, gli alberi erano alti ed enormi con il tronco massiccio e robusto e le foglie volteggiavano, erano come ballerine in una danza bellissima e i colori erano stupendi. La guida ci ha spiegato e mostrato i vari cambiamenti del castagno. Il castagno giovane ha il tronco liscio e grigio, mentre il castagno vecchio ha il tronco rugoso e marrone scuro. Poi abbiamo osservato i ricci e le castagne.

Dopo il pranzo abbiamo mangiato le caldarroste, caldissime e bollenti. Ci lasciavano le mani nere e scottavano sotto le nostre dita mentre le sbucciavamo. Si era fatto tardi, era l ora del ritorno. The chestnut trees are tall and their fruits the chestnuts are contained in spiny very sharp husks.

The chestnuts can be eaten just picked, roasted or boiled, or after drying, flour to prepare pies and cakes, such as castagnaccio chestnuts cake is obtained; the castagnaccio was for a long time a delicacy for poor people. This is how a child tells us about the school trip in a small town in the middle of the chestnut woods. Tuesday, October 26th, with my classmates, I went on a trip to Combai, a small town in The Veneto hills. Through the bus window you could see beautiful colours of a wonderful view: Along the way I saw many beautiful trees; autumn had arrived!

Its beautiful colours range from reddish to brown, yellow, green. When we were in Combai the guide took us into the wood, you could hear the pattering and the tramping of leaves under our shoes. Under our feet there was a carpet of green, yellow and orange leaves; my favourites are the green ones because they remind me of summer, now over. I looked up, the trees were tall and huge with strong and solid trunks; the leaves twirled in the air like dancers in a delightful dance; the colours were fantastic.

The guide explained and showed us how to determine the age of chestnut trees. A young chestnut tree has a smooth grey trunk, while an old tree has a wrinkled and dark brown one. Then we saw heaps of chestnuts still in their husks.

After lunch, we ate roasted chestnuts, very, very hot. As we peeled them, they scorched our fingers and blackened our hands. It was late, it was time to return. In the bus while my friends chatted I thought about the beautiful day I had spent. Den trivs bra i skogen, hyggen och myrar. The moose change horn regularly. The moose often run out on the roads and can easily get hit by cars and trucks. The moose is grey, brown and black and the legs are brown and grey. It can be almost 3 meters and usually it ways kilos.

The moose has very good auditory and olfactory. The moose often lives together whit another moose. The colour is doing so they can easily adapt to their environment. They thrive in the forest, on clearings and marshes. They eat leaves, twigs, trees, conifers, heather and apples. The moose gets calves, often in May or June. In the autumn there is hunting for mooses. It is celebrated on the 31st October each year.

One of the most important things we do at Halloween is dress up in costumes. The costumes can be scary and some people dress up as witches, ghosts and goblins. Children really enjoy dressing up and have lots of fun at Halloween. Every Halloween, children go trick or treating. They go from door to door collecting sweets and treats.

If the person says trick, they must sing a song or say a poem. If the person says treat, they get loads of lovely treats, such as, sweets, chocolates, crisps, lollipops and fruit. The children must bring a bag or basket with them so they can collect their treats! During Halloween, we buy pumpkins.

We cut off the top of the pumpkin and scoop out the inside. We then carve a scary face in the pumpkin, eyes, nose and mouth. Sometimes we put a candle in it so the scary face lights up! Toffee apples, monkey nuts and bairin breac are other popular foods we eat at Halloween. Bairin breac is a traditional Irish Halloween cake. It is sweetened bread with raisins and sultanas. On Halloween night, we light bonfires. Bonfires are controlled outdoor fires. They can be very dangerous so it is extremely important that children go to the bonfire with their parents.

Many people sit around the bonfire telling scary stories! Halloween can be a frightful but enjoyable event for everyone! Raggiunto il picco, l acqua si ritira e tutto torna normale, salvo i danni arrecati. Le acque alte eccezionali mettono a rischio addirittura gli edifici di Venezia e degli altri centri lagunari. Ecco come ne parlano alunni di una classe terza della scuola Gregorutti. The phenomenon often occurs in autumn and varies from year to year. Some years there is high water almost every day for weeks at a time. With the tide the water rises for six hours and falls for other six hours: You can t use a car, you have to wear rubbers boots and walk on gangplanks, shops and houses have to be protected.

After reaching its peak the water recedes and everything returns to normal, except for any damage caused by the flood. Exceptional high water is a threat to the buildings in Venice and other towns situated in the lagoon. The most frightening was on 4thNovember , when the tide reached centimeters from average sea level, Venice was really in danger. To defend itself from high water, mobile dikes at the three harbour mouths where sea water enters the lagoon are being built MOSE to be set up when the tide is too high.

For the children high water isn t only a bad thing. This is what third year pupils of the Gregorutti primary school say. The town looks like it has fallen into the open sea: For those who live in the town centre there is no way out and it is hard to find a safe place to park your car: Boats in the lagoon toss and turn, the lagoon seems to threaten the town, while the column of Vigo directs the traffic of the waves.

But for us children high water means wanting to jump and splash like when you press grapes, to stand on the gangplanks like on a surf-board,. Then just as it came it disappears very quickly, and the enjoyment disappears too, mysteriously swallowed up into nothing. Lo tirarono fuori dalla rete e lo misero nella barca senza preoccuparsi di coprirlo. Dopo aver cenato, i pescatori, ubriachi cominciarono a scherzare con il ragazzo e gli chiesero di andare a svegliare il pescatore che dormiva in barca.

Sopravvissero solo il ragazzo e il suo cane. Nessuno dei pescatori aveva avuto rispetto di una persona defunta. So the legend starts: They dragged it into their boat. In the meanwhile the weather changed to bad, so they decided to take refuge in a CASONE2 and left the body in the boat without covering it. The fishermen had dinner. Soon they were drunk, laughed at the boy, then told him to call the person lying in the boat. The only surviving were the boy and the dog. The fishermen were punished because they went out fishing on that night instead of staying at home as respect for their deads.

It is enclosed by artificial dam. Inside fish is raised. You eat it with boiled potatoes or mushed potatoes. You usually also have lingonberry-jam and brown sauce to go with it. Det finns olika sorter som smakar lite olika. All the berries grow on bushes r plants. The berries grow wildly in the forest or are planted in the garden. Lingonberry is a red little berry growing on a plant in the forest. There are berries in a raceme. You often make jam of lingonberries which you can have with Swedish meatballs. Blueberries are small blue berries looking very much like lingonberries.

It is a plant growing in the forest but it can also grow on bushes in the garden. People usually eat bluberry jam in yoghurt or on pancakes. It grows wildly in the forest or on bushes in the garden. You mostly make jam or lemonade out of raspberries. Strawberries you eat a lot of, especially in summer when you can have hem fresh. There are different kinds of strawberries tasting a bit differently. Wild Strawberries is a little plant with around 10 berries on each plant.

People plant them at home in gardens but they also grow wildly in the forest. Black and red currants grow in gardens on bushes around 1 meter high. They grow in racemes and are ready to eat early in the summer. Lingonberries Blueberries Wild Strawberries. There are many things to see and do in our Capital City. You can visit all the animals in Dublin Zoo in Phoenix Park. Did you know that Phoenix Park is the largest walled park in Europe? There are lots of places to shop in Dublin City — the most popular street is Grafton Street — here you will see a statue of Molly Malone — the famous song of Dublin City.

The River Liffey flows through the city and you can go on boat-trips and tours along the water. If you like Music there is plenty to hear in Dublin. Alcuni, specie i dolci, sono ormai diffusi in tutta Italia.

Utente:Nemo bis/Elenco titoli/Registro

Attenti ai denti quando lo mangiate, potete farvi male ai denti! Simile, ma senza uvette ed arancini, ecco il pandoro, un soffice dolce ricoperto di zucchero filato, originario di Verona. La mangiate col formaggio e la frutta secca o la spalmate sul pane. Come diciamo in Italia: When we talk about food In Italy every region follows its traditions, tied to its own territory and to its legends, or common beliefs, which dwell in that area. However, some the Christmas food, especially cakes, have become typical throughout the whole of Italy.

Hello friends from Ireland and Sweden! Mind your teeth when you eat it! You can get toothache! There is torrone coated with chocolate too…yummy!

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