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Spinoza: filosofia pratica by Gilles Deleuze

By Gilles Deleuze

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It was to be, he realized, an act of poetry, but a kind of poetic work never seen before, for which he would have to 28 ALDO SCAGLIONE invent the language, the metrical form, the genre, and much of the cultural background. For that there was need of a new grammar, a grammar of a language never seen, not a given style, a dialect, or Latin, and not even the volgare illustre. The Aeneid could, and did, give him an inspiration through the dynamic moral allegory of Aeneas's journey through life and, in Book 6, the underworld.

For even if the protagonist might ask his question as guilelessly as Benvenuto would have him do, we must remember that it is the poet who has engineered the little scene which has the immediate result of reminding the reader of the limita­ tions of Virgil's efficacy in a Christian dispensation. 4) Foolish Virgil: Teeth as Text and Virgil's Insufficient Gloss. The concluding action of the twenty-first canto of the Inferno forces us to an unaccustomed understanding. For the first and only time in the Commedia Virgil is explicitly (rather than tacitly) shown to have made a mistake in judgment.

V. Mengaldo in his art. "constructio" in the Enciclopedia dantesca, then reprinted in Mengaldo, Linguistica e retorica di Dante (Pisa: Nistri-Lischi, 1978), "Idee dantesche sulla constructio,'" pp. 281-288. 5) Cf. Mengaldo 1978, p. 284. 6) Pagani, La teoría linguistica di Dante: De vulgari eloquentia. Discussioni, scelte, proposte (Naples: Liguori, 1982), p. 229. Boethius's text in a serviceable version is also available, with an English translation, in A. , Godfrey of Fontaine's Abridgment of Boethius of Dacia's Modi significandi sive Quaestiones super Priscianum majorem (Amster­ dam: J.

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