And yet, it really pains me to admit that only DmC will remain from Devil My Cry, seeing how many defend this masterpiece, they give up.

I completely agree. All those who, let’s say, speak positively about the new.. ahem.. part, are simply not very familiar (or don’t know the original at all) with the dmc series as a whole. To say that this game will be a masterpiece only based on 2-3 minute trailers and gameplay videos is still unfinished, not even included in alpha test stage, is simply stupid. Nobody knows what the game will be like upon completion of development and subsequent release. But with all this, calling her “sad shit” and “fail” to the point of blushing, foaming at the mouth, is also wrong, as some, especially “ardent” fans of “The Demon Can Cry,” do. There are many prerequisites that the game will be quite interesting; at least 8-10 hours of gameplay are guaranteed. (well, this is my little forecast, but I’m not saying (note) that the game will be like that!) I liked the design of the levels in the game. The concept of the developers of a “living” city is very good and creates its own special atmosphere, and the style of the characters is very harmonious with the environment, which is very, very good... Yes, the game may not be as bad as many oldfags would think at first sight. Yes, maybe it won’t be as spectacular as the first or fourth part (I’m generally silent about the third).. Yes, there is VIRGIL! Yes, the developers still heeded the cries of the fans and at least somehow changed Dante, making him more pleasing to the eye (but I feel that he will be completely different in character and behavior.. alas.. but the trailers only fuel my fears((And I won’t hide , that some, especially obvious and conspicuous amendments, changes, like Dante’s specific lexicon, really upset me... But I hope that the developers will correct all these nuances in better side!). But still, this, damn it, is not the Devil May Cry, I’ll say it again, that everyone was waiting for. This is a game similar in game mechanics, genre and some features, but not dms. They just gave us a natural substitute, nothing more.

And a logical conclusion appears that many buried Devil May Cry in the ground with their own hands.
After all, the new reality, the restart, is pure and hopeless nonsense, deception, fog, a mirage, anything, but not an attempt to make a truly great game. You can continue to judge me, well, then so be it.

For the most part, this is the fault of those responsible (namely the developers and publishers) for the development of the franchise. Since it was our dear friends from Capcom who made fundamental changes in the development of the series, deciding that this so-called “restart” would only benefit it, thinking that the original concept was outdated. Or they most likely simply ran out of ideas and stupidly handed the project over to a studio that had absolutely nothing to do with DMC. For me, I’m not afraid of this word, they inspired this crazy idea on themselves... So they, one might say, dug a hole, and then, when the new part appeared in the world in not yet all its glory, but “many with their with their own hands and buried Devil May Cry in the ground,” shouting that the series is dead, give us back the old Dante, etc. It’s just that many are drawing premature conclusions, and this is stupid and wrong! We need to talk about what kind of game it is when it comes out and at least someone plays it!

So, I want to draw a conclusion: DmC is a game with its own atmosphere and style, which may turn out to be quite a good alternative to our good old Devil May Cry. But this is NOT DEVIL MAY CRY, because, as one user said in the posts above, “This is not the DMC we know. This is a different reality, and Dante is different here.” Just the name, genre, gameplay are partly similar and some features are similar
, but otherwise.. absolutely different games.. That's all!

ZY: By the way, the presence of DmC and the absence of the original product does not mean that the old series is dead! So stop fighting about this, dear citizens! It’s really already over...it’s already over, well!

New life

In this section of the book of my memory1, up to which very little deserves to be read, there is a heading that reads: “Incipit vita nova”2*. Under this heading I find the words that I intend to reproduce in this little book, and if not all, then at least their essence.

For the ninth time since I was born, the sky of light was approaching the starting point in its own rotation, when for the first time the glorious lady who reigned in my thoughts appeared before my eyes, whom many - not knowing what her name was - called Beatrice2 . She had been in this life for so long that the starry sky had moved to the eastern limits by a twelfth of one degree. So she appeared before me almost at the beginning of her ninth year, I already saw her almost at the end of my ninth. She appeared dressed in the noblest color of blood-red, modest and decorous, adorned and girded as befitted her young age. At that moment - I say truly - the spirit of life4, dwelling in the innermost depths of the heart, trembled so powerfully that it was terrifyingly manifested in the slightest beat. And, trembling, he uttered the following words: “Ecce deus fortior me, qui veniens dominabitur mihi”**. At that moment, the spirit of my soul5, living in the high room where all the spirits of the senses carry their impressions, was delighted and, turning mainly to the spirits of sight, uttered the following words: “Apparuit iam beatitudo vestra”6***. At that moment, the natural spirit7, living in the area where our nutrition takes place, began to sob and, crying, uttered the following words: “Heu miser, quia frequenter impeditus ero deinceps”8****. I say that from that time Amor9 began to rule over my soul, which soon completely submitted to him. And then he grew bolder and acquired such power over me thanks to the power of my imagination that I had to fulfill all his wishes. Often he ordered me to go in search of this young angel; and in my teenage years I went away to see her. And I saw her, so noble and worthy of praise in all her deeds that, of course, one could say about her in the words of the poet Homer: “She seemed to be the daughter not of a mortal, but of God.”10 And although her image, which was always with me, gave courage to Amor, who ruled over me, yet she was distinguished by such noble virtue that she never wanted Amor to rule me without the right advice of reason, in those cases when this advice was useful listen. And since the story about feelings and actions is so youth may seem fabulous to some, I am moving away from this subject, leaving aside much that could be extracted from the book from which I borrowed what I am relating, and turning to the words recorded in my memory under more important chapters.

When so much time had passed that exactly nine years had passed since the aforementioned appearance of the Most Noble One, on the last of these two days it happened that the miraculous lady appeared before me dressed in dazzling white clothes among two ladies older than her in years. As she passed, she turned her eyes to the direction where I was in embarrassment, and with her indescribable courtliness, which is now awarded in the great century,3 she greeted me so kindly that it seemed to me that I saw all the facets of bliss. The hour when I heard her sweet greeting was exactly the ninth of that day. And since for the first time her words sounded to reach my ears, I was filled with such joy that, as if intoxicated, I withdrew from people; secluded in one of my rooms, I indulged in thoughts about the most courtly lady. When I thought about her, I was seized by a sweet dream, in which a wonderful vision appeared to me4. It seemed to me that in my room I saw a cloud the color of fire5 and in it I discerned the appearance of a certain ruler, terrifying the eyes of those who looked at him. But such as he was, the ruler radiated great joy that aroused admiration. He spoke about many things, but only some words were clear to me; Among them I made out the following: “Ecce dominus tuus”*. In his arms, it seemed to me, I saw a lady sleeping naked, only lightly wrapped in a blood-red bedspread. Looking closely, I recognized her as the lady of saving greeting, who deigned to greet me during the day. And in one of his hands, it seemed to me, Amor was holding something engulfed in flames, and it seemed to me that he uttered the following words: “Vide cor tuum”**. Staying for a short time, it seemed to me that he woke up the sleeping woman and exerted all his strength so that she would eat what was burning in his hand; and she ate timidly. After this, after staying with me for a short time, Amor’s joy turned into bitter sobs; sobbing, he embraced the mistress in his arms and with her - it seemed to me - he began to ascend to heaven. I suddenly felt such pain that my weak sleep was interrupted and I woke up. Then I began to reflect on what I had seen and established that the hour when this vision appeared to me was the fourth hour of the night: from this it is clear that it was the first of the last nine hours of the night. I thought about what had appeared to me, and finally decided to tell about it to many of those who were famous writers of poetry at that time. And since I myself had tried my hand at the art of rhyming, I decided to compose a sonnet in which I would greet all the faithful of Amor, asking them to express what they thought about my vision. And I wrote to them about the dream. Then I began the sonnet beginning: “To souls in love...”9

I will dedicate a legend to loving souls,

In order to receive a worthy answer.

To Amor, their lord, hello! -

4 I send a message to all noble souls.

The shine of the stars did not fade in the sky,

And the night did not touch the limits -

Amor appeared. Don't forget me, no,

8 That fear and trembling, that enchantment!

He held my heart, rejoicing.

The lady rested in his arms,

11 Slightly hidden by the light fabric of the bedspread.

And, having awakened, Amor nourished her

With a bloody heart that burned in the night,

14 But as my master left, he wept.

This sonnet is divided into two parts10: in the first I send a greeting, asking for an answer, in the second I indicate what I am waiting for an answer to. The second part begins: “The radiance of the stars did not fade in the sky...”

New Life: Contents 1 Settlements 1.1 Voronezh region 1.2 Orenburg region ... Wikipedia

New life- New Life: Contents 1 Settlements 1.1 Belarus 1.2 Russia 1.3 U ... Wikipedia

Dante Alighieri

Dante, Alighieri- Dante Alighieri Dante Date of birth: May 30, 1265 Date of death: September 13 or 14, 1321 Occupation: poet ... Wikipedia

Dante and his "Divine Comedy" in popular culture- Dante Alighieri and, in particular, his masterpiece “The Divine Comedy” have been sources of inspiration for many artists, poets and philosophers for seven centuries. The most typical examples are given below... Wikipedia

Dante Alighieri- (Dante, abbreviated from Durante Alighieri, 1265 1321) the greatest Italian poet. Originally from Florence, he belonged to the city's middle-class nobility; his ancestor was the knight Kachchagvida, who died in the second crusade in 1147. By the name of his wife... ... Literary encyclopedia

Dante Alighieri- (Dante Alighieri) (May 1265, Florence, ≈ 14.9.1321, Ravenna), Italian poet. He came from an old noble family. In D.'s most famous youthful poems, he was influenced by Provence. troubadours, Sicilian poets and the Dolce style school... Great Soviet Encyclopedia

DANTE ALIGHIERI- (Dante Alighieri) (1265 1321) Italian poet of pan-European and global scale, thinker and politician late Middle Ages, humanist, founder of Italian literary language. Peru D. belongs to: grandiose philosophical... ... History of Philosophy: Encyclopedia

DANTE- Alighieri (Dante Alighieri) (1265 1321) Italian poet of pan-European and world scale, thinker and politician of the late Middle Ages, humanist, founder of the Italian literary language. Peru D. belongs to: grandiose... ... The latest philosophical dictionary

DANTE Alighieri- (Dante Alighieri) (1265 1321) Italian poet, creator of the Italian literary language. In his youth, he joined the Dolce school of Nuovo style (sonnets praising Beatrice, autobiographical story New Life, 1292 93, edition 1576); philosophical and... Big encyclopedic Dictionary

Books

  • New life. The Divine Comedy, Dante Alighieri. No dust jacket. The book contains the biographical work “New Life” (trans. A. Efros) and Dante’s most significant work “The Divine Comedy” (trans. A. Lozinsky), accompanied by... Buy for 1100 rubles
  • New Life, Dante Alighieri. "New Life" by Dante Alighieri is the youthful work of the great poet, which created his fame as a poet-prophet. Falling in love with Beatrice for him is an event of cosmic proportions and sacred history.…

The work “New Life” was written by Dante Alighieri between 1292 and 1293. In “New Life” the poet spoke about his great love for the young beauty Beatrice Portinara, who was married to Simone dei Barde and died before she was twenty-five years old in June 1290. The main part of “New Life” is poetry. From my youth lyrical dictionary Dante selected 25 sonnets, 3 canzones, 1 ballata and 2 poetic fragments for the New Life. The poems seem to be grouped around the second canzone, “Young Donna in the Splendor of Compassion,” which is the compositional center of the book. In addition to all this, the poems are divided into four groups, each of which represents four different directions of Tuscan lyricism. “New Life” consists of thoughtful compositions intertwined with each other and forming one whole. It has a "plan", a "plot" and a "plot movement". The storyline is designed in such a way that it is in a certain way connected with the number nine, which will play an important role organizational role also in The Divine Comedy. The poetic part of the work contains quite a few prosaic moments in which Dante, as it were, explains the connection between the sonnets and canzones he selected, events that seemed to have happened to him in his own past. It would be wrong to consider La Vita Nueva a novel that tells only about Dante’s love for the young maiden Beatrice. Real reality passes through a certain aesthetic barrier and reveals a “voluptuous new style,” and the poetics included in the plot of “New Life” is one of the factors in the movement of the plot. “New Life” is a kind of treatise on poetry in the vernacular.

The plot of “New Life” is simple, but difficult to separate from the extra-plot material. At the very beginning of the book it tells how Dante met Beatrice, that he was nine years old and she was about nine. Next we talk about the origin of love in the terminology of medieval philosophy. The features of the poet’s special thinking and the power of the poet’s poetic thinking and imagination are demonstrated. Love, one might say great love, becomes the most vivid memory of Dante’s youth and predetermines the direction and nature of his further work.

The next meeting of the poet and beautiful lady occurs nine years later. Again, the number nine and its multiple base - the number three - in all of Dante's works accompanies the appearance of Beatrice. It happened on one of the streets of Florence. The lady's bow, which impressed the poet in love, is one of the characteristic motifs of the “voluptuous new style.”

The main theme of the sonnets of the second cycle (chap. XIII-XVI) is the painful torment of unrequited love. In this cycle, Dante repeats the ideas and images of Guido Cavalcanti, with the only difference that the tragic conflict of unrequited love finds a solution here. Earthly love for an earthly woman in “New Life” is just one of the stages in spiritual development man and humanity, to whom the book is dedicated.

The central third part of the “New Life” (poems chapters XIX-XXXIV) is definitely a poetic exaltation of Beatrice. Having abandoned the manner of Cavalcanti, here Dante turns to a style similar to that of Guinicelli. Honing, moving between and developing his “voluptuous style”, Dante gradually comes to a completely new “beautiful style” of “Commedia”. Dante, in poetry, seems to emphasize the involvement of the earthly Biatrice in spiritual world:

Love says: "Daughter of dust there is no

So beautiful and pure at the same time..."

But I looked - and my lips were repeating,

That in it the Lord reveals the otherworldly world.

(Translation by A. Efros)

Beatrice's death is described as something out of the ordinary, as a catastrophe on a cosmic scale, as something that the human brain refuses to understand. The description of what happened is reminiscent of the style of the Gospels; stylistic threads are drawn between Beatrice and Christ. In “New Life”, love for a woman develops into a tart religious feeling that inspires a person. The poet’s dream about the death and ascension of Beatrice is not presented by him as some kind of revelation; on the contrary, he emphasizes that this dream is just his fantasy.

In the sonnets of the fourth cycle (chap. XXV-XXXVIII), Dante brings love closer to a more human feeling. Here a lady appears, hereafter referred to as “noble and compassionate.” Sympathy arises between her and the poet, gradually developing into love. The love story of Dante and the “noble lady” is imbued with psychological significance. At first it seems to the poet that he fell in love with her deceased beloved, but then he begins to understand that this is a completely different earthly love, promising him the joy of a shared feeling. In Dante's soul, a struggle begins between the heart and the mind, which protects the memory of Beatrice. Passion, it would seem, begins to win, but in the end reason wins. This victory is shown in the Conclusion, consisting of nine chapters (XXXIV-XLII), framing three sonnets. Real love for the “compassionate lady” is artistically necessary in “New Life”: against the background of the rejection of ordinary happiness, the world-historical significance of the ideal love for Beatrice and the poetics that led to the “Comedy” is revealed.

The wonderful vision that ends “New Life” shows how little its plot and the poetics of “Stylnovism” had in common with traditional religious consciousness. The vision draws a line between Beatrice, the former center inner world Dante at the time of writing “New Life”, and Beatrice, who became the center of the Universe. At the same time, the “angelized” Beatrice always continues to remain for Dante a beautiful woman whom he loved with youthful love. “New Life” aesthetically substantiates ethics, which is based on interest in human personality and her spiritual world. This work ends with the poet’s unprecedented prayer to grant him the strength to erect a monument to his beloved, the likes of which no other person has ever had. The creator of “New Life” was preparing to become the creator of “Comedy”: “to achieve this, I work as much as I can” (“New Life”, XLII).

The most significant work to come out of the school of Italian " sweet new style”, became Dante’s “New Life”. The “new style” not only developed in it, but was also overcome.

In the New Life, Dante spoke of his great love for Beatrice Portinari, a young Florentine lady who was married to Simone dei Bardi and died in June 1290, when she was not yet twenty-five years old. Dante wrote “New Life” in 1292 or early 1293. Speaking about “new life,” Dante had in mind his love, but he also interpreted this love as a huge objective force that renews the world and all of humanity.

The basis of “New Life” is formed by poems. From his youthful lyrics, Dante selected 25 sonnets, 3 canzonas, 1 ballata and 2 poetic fragments for “New Life”. The poems of “New Life” are symmetrically grouped around the second canzone “Young Donna in the Splendor of Compassion,” which forms the compositional center of the book. In addition, the poems are divided into four groups, representing four different modes of Tuscan lyricism.

The content of Dante's “New Life” is compositionally thought out and internally extremely holistic. It has a clear plan, a "plot" and even a movement of the "plot". An analysis of the book shows that its construction is associated with the number 9, which will play a big role in the Divine Comedy. Symmetry and the “magic of numbers” were inherited by the New Life from medieval ideas about balance and isolation work of art. But basically this book of Dante is constructed in a new way, and its internal structure is not static, but dynamic.

The poetic core of “New Life” is surrounded by prosaic pieces. Dante analyzes them life circumstances, prompted him to write this or that poem, and explains the connections that exist between the sonnets and canzones he selected, the sequence of events that allegedly occurred in his own past. The story of Dante's love for Beatrice dei Bardi is passed through the "New Life" through the prism of the aesthetics of the "sweet new style." “New Life” is not only a story about Dante’s love, but also something like a theoretical treatise on poetry in the vernacular.

The plot of “New Life” is simple. At the beginning of the book it is said that the poet first saw Beatrice when he was nine years old and she was about nine. Then the origin of love is also spoken of in terms of late medieval philosophy. Great love became the main impression of Dante’s youth, which determined the nature of all his further work.

Dante's meeting with Beatrice. Artist G. Holliday, 1883

A new significant meeting between the poet and the beautiful lady took place nine years later. The number nine and its multiple base - the number three - invariably accompanies the appearance of Beatrice in all of Dante's works. This time the poet met her on one of the narrow streets of Florence. The lady’s bow and the impression it makes on the lover is one of the characteristic motifs of the poetry of the “sweet new style.” In none of the poems of the first cycle does this kind of motif stand out, because the poems of this cycle are written in the old, Gwittonian manner. The poems are not yet completely perfect, but they are necessary in the composition of “New Life”. Overcoming Gwittonianism in “New Life” allows us to present the “new style” as an expression of true love for Beatrice, as opposed to the imaginary and fictitious love for the “screen lady”.

The main content of the sonnets of the second cycle (chap. XIII - XVI) is the torment of unrequited love. Here Dante echoes many ideas and images Guido Cavalcanti. But the tragic love conflict, insoluble for Cavalcanti, finds the possibility of resolution in “New Life”. For Dante, earthly love for an earthly woman is just one of the stages in the spiritual development of man and humanity.

Third, central part“New Life” (poems chapters XIX – XXXIV) is the poetic apothesis of Beatrice. Having abandoned the manner of Cavalcanti, Dante here turns to a style similar to that of Guinicelli. Developing and deepening some philosophical motives, he raises the “new style” to such a height that already foreshadows the “beautiful style” Divine Comedy" Beatrice is both an earthly woman who walks the streets of Florence, and at the same time not just a woman. Dante persistently emphasizes the involvement of the earthly Beatrice in the higher, heavenly world:

Love says: "Daughter of dust there is no
So beautiful and pure at the same time..."
But I looked - and my lips were repeating,
That in it the Lord reveals the otherworldly world.
(Translation by A. Efros)

Beatrice's death is depicted as a cosmic catastrophe affecting all of humanity. Dante's style takes on the intonations of biblical prophets. He draws imagery from the Apocalypse and the Gospels, and his book contains daring stylistic parallels between Beatrice and Christ. The ascension of Beatrice transforms the poet. In “New Life”, love for an earthly woman develops into a truly religious feeling that deifies a person. The dream about the death and ascension of Beatrice is not presented to Dante as a revelation, but the “New Life” is structured in such a way that the poet’s dream comes true. Poetic fantasy, thus, turns out to be a means of penetration into the highest secrets of the universe.

In the third cycle of the New Life, Dante does not abandon the principles of the “sweet new style,” but outlines the possibility of entering an even wider world. Many researchers, analyzing the “New Life,” point to its greater religiosity compared to the work of Cavalcanti. It is expressed, in particular, by the “angelization” of Beatrice. Dante's thinking is more popular and national than Averroist philosophy Cavalcanti and Guinicelli.

In the sonnets of the fourth cycle of the “New Life” (chap. XXV - XXXVIII), Dante “humanizes” love. Here a lady appears, whom the poet calls “noble” and “compassionate.” Sympathy arises between her and the poet, gradually developing into love. Her story is described briefly, but with deep psychologism. The poet thinks at first that he loves the deceased beloved in the “compassionate lady,” but then he understands: this is a different love. Unlike before, she promises him the joy of shared feelings. However, reason rebels against Dante’s new attraction, jealously guarding the memory of Beatrice. A struggle begins in Dante's soul. Second love almost wins at one time. Ultimately, however, constancy of reason wins out in “New Life.” This victory is shown in the Conclusion, consisting of nine chapters (XXXIV - XLII), framing three sonnets. Although later, in the treatise “The Symposium”, Dante personified philosophy in the “compassionate lady”, in “New Life” she appears as a living woman. The motive of love for a “compassionate lady” is artistically necessary in “New Life”: against the backdrop of the rejection of ordinary happiness, the sublime meaning of ideal love for Beatrice is revealed.

Dante and Beatrice in Paradise on the banks of the Lethe River. Illustration for the “Divine Comedy” Artist C. Rojas, 1889

The wonderful vision that ends the New Life draws a line between Beatrice, who was the center of Dante’s inner world at the time of writing the New Life, and Beatrice, who became the center of the Universe. But the “angelized” Beatrice always continues to remain for Dante a beautiful woman whom he loved with youthful love. “New Life” ends with Dante’s prayer to grant him the power to erect a monument to his beloved, the like of which no other person has ever had. The creator of “New Life” was preparing to become the creator of the “Divine Comedy”: “to achieve this, I work as much as I can” (“New Life”, XLII).