in work
Again ... I wrote ....
Recently ...
viewtopic.php?p=26280#p26280
... I detected this funny picture
Eternity as the P
etrarca-Trionfo-6 Eternity and an
old man as the
Father Time on Petrarca Trionfo 5.
Before there was the content of the Liber primus of Boccaccio ...
1 Prohemium.
2 CAP. I. De Eternitate. ....
Eternity
3 CAP. II. De Chaos.
Somehow there is also Demogorgon
4 CAP. III. De Litigio primo Demogorgonis filio. ..... first child of
Demogorgon
5 CAP. IV. De Pane secundo Demogorgonis filio.
6 CAP. V. De Cloto, Lachesi et Atropu filiabus Demogorgonis.
7 CAP. VI. De Polo sexto Demogorgonis filio.
8 CAP. VII. De Phytone septimo Demogorgonis filio.
9 CAP. VIII. De
Terra ex filiis Demogorgonis octava ....
... Terra 8th child has 5 children
10 CAP. IX. De Nocte prima Terre filia. ............... 5 children of Terra (= Gaia ?)
11 CAP. X. De Fama secunda ex filiis Terre.
12 CAP. XI. De Tartaro IIIo Terre filio.
13 CAP. XII. De Tagete IIIIo Terre filio.
14 CAP. XIII. De Antheo Vo Terre filio.
15 CAP. XIV. De
Herebo VIIIIo Demogorgonis filio, cui fuerunt filii XXI.
.......
.... Herebo 9th child has 21 children
16 CAP. XV. De Amore primo Herebi filio. ............... 20/21 children of Herebo (= Erebos)
etc .... totally the 21 children of Herebo
*********************
Okay, this looks like a riddle
0 Eternity ........ 0 Chaos -------------------- belong together
1 Demorgorgon ------------------------ stands alone
2 Litigius .......... 3 Pan ---------------------- I didn't know, what Litigius is
... 4, 5, 6 Cloto, Lachesi et Atropu -----
ah, I know, that these are the godesses of Destiny ....
...... and I know, that there are Petrarca-Trionfi-editions in which these mean the Petrarca-Trionfo-3 and that is Death in the row Love-Chastity-Death-Fame-Time-Eternity.
.... then it looks, as if "2 Litigius .......... 3 Pan" should be a pair, which means "Fame", but this looks difficult.
Well ... ... :-)
RESTART
Boccaccio, Genealogy .............................................................................. PETRARCA, TR'IONFI
------------------------------------------------------------------------------------------------------------------------------------------------------
0 Eternity ........ 0 Chaos ------------------- belong together ------------------ ETERNITY
1 Demorgorgon ----------------------------- stands alone ----------------------- TIME
2 Litigius ......... 3 Pan ---------------------- I've an idea ------------------------- FAME .......... animals for
air and earth
4, 5, 6 Cloto, Lachesi et Atropu --------- used as Death in France ------- DEATH
7 Polo .............. 8 Phyton ------------------ I've an idea ------------------------- CHASTITY ..... have
no children, I think
9 Terre ............ 10 Heribo ----------------- I've an idea ------------------------- LOVE ............. have
children
EXPLANATIONS
The headline "Genealogy-Trionfi-Thesis" shall mean, that I speak of a specific close relation between Boccaccio's Genealogy text and Petrarca's Trionfi text.
Thesis means, that I didn't found another writer, who had engaged in this question. It also means, that I give the relation some importance, cause we have written in the past the word "Trionfi" possibly a few millions times, and we did overlook this specific relation in our studies.
.....
Litigius (CAP. III. De Litigio primo Demogorgonis filio)
On these premises we must come to the illustrious offspring of the first god of the Gentiles. Litigius, whose first son they want, because he is the first to be born from the womb of Chaos, they want him to be brought forth from an uncertain father. Of whose eduction such a story is recited by Theodontius. For it is written by Pronapidus the poet in the Prothocosmos that when Demogorgon once resided, that he might rest in the cave of Eternity, he felt a commotion in the womb of Chaos, wherefore he was moved and opened the belly of Chaos with his outstretched hand, and, pulling out Litigius, making a commotion, because he had a shameful and dishonorable face, threw it into the winds . Who at once flew up into the air; for he could not descend to the lower, since he was seen to be the lowest of all things, who had taken him from his mother's womb. But then Chaos, exhausted by the sharp toil, when he had no choice but to invoke Lucina, drenched in sweat, seemed to have to be resolved, exhaling endless sighs on fire, insisting on the strong hand of Demogorgon, from which it happened that, having already broken up the dispute, he brought out the three Parcas and the Bread together with them. Then, when that Pan seemed to be more suitable than the others in carrying out his affairs, he made him prefect of his own house and gave him his sisters as footmen. But Chaos, freed from his weight, at Pan's command, gave way to the seat of Demogorgon. But the dispute, which we call by the more popular term Discord, is called by Homer in the Iliad Lis, and Jupiter is called the daughter, which he says, because he was injured by her by Juno about the birth of Eurystheus and Hercules, who was cast from heaven to earth. But Theodontius recites more about Litigius, which, where they will seem more decent to be placed in the proceedings, I will add that they will be omitted here for the present. You have, illustrious king, a ridiculous story, but it has come to the point where it is convenient to remove the bark of fictions from the truth, but first we must answer those who constantly say, what can the poet do to the works of God, or nature, or men to convey this under the cover of fables? Was there no other way for them? Indeed, it was, but as a mare you do not make your face to everyone, so you do not judge things with your heart. Achilles preferred arms to leisure, Aegisthus to idleness in arms, Plato, neglecting philosophy, followed the rest, Phydias to sculpt statues with ease, Apelles to paint pictures with pinnacles. So that the rest of men's studies should be allowed, the poet was pleased to cover up the truth with fables, and Macrobius, writing on the Dream of Scipio, seems to show quite aptly the reason for his choice, when he says: But of the gods I have spoken to the rest, and of the soul they do not vainly turn themselves to fables, nor to amuse themselves, but because they know that the exposition of himself is hostile to nature, open on all sides, which, just as he has hidden his understanding from the ordinary senses of men by a covering of various things, so he willed his mysteries to be handled by the wise by the means of fables. Thus the mysteries themselves are covered with the tunnels of fables, lest even when they have attained this the naked nature of such things should present itself, but the rest are content with summaries only for men who interpret with wisdom, who are aware of the arcane truth. This Macrobius, to whom much more could be said, I think is a sufficient answer for those who inquire. Moreover, especially, the king, it must be known that these fictions are not the only understanding; nay, it may rather be said to be polysene, that is to say, a multiplicity of meaning. For the first sense is perceived through the cortex, and here it is called literal; others by significations by bark, and these are called allegorical. And that what I mean may be more easily understood, let us give an example. Perseus, the son of Jupiter, slew the Gorgon with a poetic device, and the victor flew away into the ether. While reading this, a historical sense is lent. If the understanding of morals is complained of from this reading, the victory of the prudent is shown in vice, and the approach to virtue. Allegorically, if we wish to assume, the elevation of the pious mind to the heavenly pleasures is signified by the scorn of the worldly pleasures. Furthermore, it could also be said anagogically that Christ's ascension to the father of the world is represented by the conquered ruler. However, although these senses are called by various names, they can still all be called allegorical, which is the case for the most part. For allegory is called from allon, which in Latin means foreign, or different, and therefore, however different they are from the historical or literal sense, they can be rightly called allegorical, as has been said. Nevertheless, it is not my intention to develop in all senses the stories that follow, since I have quite arbitrarily explained one of the many, let it be that some day perhaps more will be added. But now I will explain in a few words what I think Pronapidus felt. Indeed, it seems to me that Pronapidus intended to designate the creation of the world, according to the erroneous opinion of those who hold that God produced them from the prepared matter that was created. For Demogorgon sensed that a tumult was taking place in the womb of Chaos, I think nothing else than divine wisdom, which moved it for some reason, such as the maturity of the womb, that is, that the hour of the appointed time had arrived, and thus he took the will to separate the creation and that which were mingled in a certain order, and here he stretched out his hand , that is, that he gave his will the effort to produce a beautiful and orderly work from the shapeless shower, and before other things were plucked out of the laboring womb, that is, the labor of patient confusion. It is evident, therefore, that he did this before other things, that he had separated, of course, that the elements were confused with each other, for hot were opposed to cold, dry to moist, and light to heavy. And when the first act of the god seemed to have removed the dispute by ordering the dissidents, he was called the first son of Demogorgon. He was cast out because of his disgraceful face, because it is disgraceful to quarrel so much; that he had flown to the heights seems rather to lend beauty to the legendary order than to mean anything else. Moreover, he had no means by which he could lift himself up or reach high, since it is evident that he was produced in the lower parts of the world which had already been produced. Homer writes that he was finally cast down from above to the earth because of the fact that Eurystheus was born before Hercules by his labors, as will be told in his own place. But as regards the inner sense, I feel that quarrels always arise among mortals from the movement of the higher bodies. Moreover, it may be said that it was cast down to the earth from above, whereas among the superiors everything is done in a certain and perpetual order, whereas among mortals it is scarcely found that anything is in harmony. Finally, when he says that Chaos is moistened with sweat and emits fiery sighs, I think he means nothing else than the first separation of the elements, so that through sweat we feel water, but through fiery sighs air and fire, and that the bodies are up and down; it became the house and seat of its creator. But when Pana was brought up after Litigium, I believe that the ancients thought that in the separation of the elements the natural nature was the beginning and beginning of the house, that is, of the world, placed in charge of Demogorgon, as if by his work all mortal things were produced by the god so willing. But I think that the parsnips produced at the same birth and the pedicles given to the brother are therefore fictitious, so that it may be understood that nature was produced with these laws in order to procreate or give birth, to nurture and to bring the born to its end. These are the three offices of the Parsimonious, in which they render continuous obedience by nature, as will appear more fully in what follows.
Polus (CAP. VI. De Polo sexto Demogorgonis filio), automatic translation
Moreover, they say that Polus was the son of Demogorgon, and Pronapidus affirms this in the Protocosmos, reciting such a story from this: that while Demogorgon was otherwise standing on the waves in his seat, and had composed a sparrow out of the mud of exile, he named it Polus. He, scorning his father's cave and indolence, flew up into the air, and as he was still soft, he was fused into a flying body so great that it encompassed everything that had been composed by his father before. But he had not yet adorned himself with any one, when he was assisting the maker of the ball of light with his father, and seeing a great number of embers flying from this side to the blow of the smith's hammer, he gathered them all together in his pocket, and carried them to his house, and decorated it with all of them. I should have laughed, illustrious king, when I saw such a foolish order of the composed world; but the veil of this fiction is thin enough. For it follows that in the rest of the Pronapides the opinion of those who willed was that all things were produced from the earth by the divine mind enclosed in the earth, while the pole, which I understand to be heaven, was made from the extensible earth, and brought forth into the greatest and all-encompassing body. Now that he decorated his house with embers emanating from the light, I think this was said because the shining rays of the sun made the stars in the sky composed of stars, lacking light by their nature, to make them bright. Now the pole is called, as I think, from some of its more important parts. For it is certain, as my venerable preceptor Andalus and the ancient authors of astrology affirm, that the whole heaven is circumscribed about two poles, the one of which is nearer to us called the Arctic, and the opposite the Antarctic; yet some call him Pollux, for I see no reason.
Phyton (CAP. VII. De Phytone septimo Demogorgonis filio), automatic translation
According to the testimony of Pronapidus, Phyton was the son of Demogorgon and of the earth, from the birth of which he himself recites such a story. For he says that Demogorgon, constantly afflicted with darkness, climbed the Acroceraunus mountains, and from them he pulled out a huge and fiery mass, and first rounded it with tongs, and then solidified it with a hammer in the Caucasus mountain. after this he had carried it beyond Taprobane, and had sunk that bright ball six times in the waves, and had rotated it around as many times by the winds, and this was so that it could never be diminished in its circumference, or that it might be damaged by rust, and that it might be carried swiftly on all sides. He immediately raised himself on high, entered the house of Polis, and filled the whole seat of his father with light. But from its immersions, the water before the sweet took on the bitterness of the salt, and the air was affected to perceive the rays of light from the rotations. But Orpheus, who was almost the oldest of all poets, as Lactantius writes in the book of Divine Institutions, thought that this Phyton was the first great and true god, and that all things were produced and created by him. Perhaps this was the first place he sought for him in the work, as he testifies to such an assertion, that Orpheus himself, not noticing it less, I think, or because he could not conceive in his mind that anyone had been born, wrote: Prothogonos Phyton perimetheus neros iyos. Which in the Latin verse sounds: Phyton, born in the beginning, was born in the long air. And so he was not the first, as he had said, if he was born of air. Moreover, Lactantius, where above, calls Phanetus. But now the cost is waiting for the order, so that we can see what the fiction covers, which will appear almost clearly when the meaning of the names is explained. Ugucio, in the book of terms, says that Phyton is the sun, and that this name was asked of him by Phyton, who was overcome by the serpent. Thus also Paulus, in the book which he entitles Collections, says: Phanos or Phanet is the same as apparition. For this is what Lactantius calls Phyto. Indeed, the name of the Sun best suits him, for he is the one who appears as he rises, but when he ceases, there will be no appearance of other mortal creatures, or even of the stars. Therefore Pronapides wants to show the creation of the sun. About which, in order to follow the opinion of those who want all things to be made of earth, he brings forward that the god or the divine mind of the earth took matter from the mountains of Acroceraunus, thinking that the fiery earth was more suitable for composing a luminous body. Now that he had rounded this mass with tongs, I understand the divine art, by which the sun-god made the globe so spherical, that its surface was humped without any superfluity. In the same way, the hammer may be said to be the intent of the supreme artist, who, on Mount Caucasus, that is, on the top of the sky, formed that body so solid that no part of it seems to be dissolved or diminished. From there he says that he was brought beyond Taprobane, to show where he thinks he was created; for the eastern island of Taprobanes is opposite to the enemy of the river Ganges, on which side the sun rises for us at the equinoxes; He says, however, that he sank there six times in waves, imitating the action of the smiths who immerse that hot iron in water to make it hard. And in this I think that Pronapid meant the perfection and eternity of this body, for six is indeed a perfect number, making itself from all its parts, from which he wants us to understand the perfection of both the artist and the artificer. But the fact that it was rotated six times, I think by the perfect number of rotations, is intended to describe its circular and unfailing motion, from which it was found that it never exceeded or stopped. As for the sinking of the huge and fiery body, and the water at first being sweet, I think it was said for no other reason than to show that, as physicists approve, the waters of the sea and the surface are salt because of the continuous beating of the boiling rays of the sun.
