Antenant lady de Rimini Belochnoe Paolo. Francesca yes Rimini: historical facts, image in works of literature, painting and music
On the border of the areas of Emilia-Romagna and Mark, disturbing the smooth line of the hills of Carpena, stands the castle of Gradara. Classic travelers are not delayed near the old walls, but only accompany the stern silhouette of the medieval fortress under the story of a guide about the tragic history of Love Farn and Paolo. But the old castle is irrebated by the researchers of Italy, scientists and romantics.
View of the castle in Greedar - The Castle of Rocca Di Gradara.
The construction of the castle was started at around the middle of the XII century, when two brothers Pietro and Ridolfo from the marriage traveled the area, before that belonging to Pesaro. Further, the fortress passed from hand to hand until Mighty Giovanni Malatesta da Ruorrukio (the founder of the dynasty in Rimini) finally did not constitute a Grandar castle behind him. In 1299, Pope of Bonifacea VIII provided him with the right of an indefinite ownership of Vary.
Paolo and Francesca (The Story of Rimini) __ Watts, George Frederick (1817-1904)
Of the four sons of Old Giovanni, only one showed care of the continuation of the construction of the castle - Pandolfo. In the courtyard of the fortress, you can see the coat of arms of the Malatest family with his initials. But the romantic old legend is devoted to this passionate patriot, attracting fans of the Italian epic here, and the two brothers: Giovanni on the nickname "cripple" and Paolo "beautiful."
Between the rulers of Rimini and Ravenna existed a long-standing feud. Finally, the discord was settled, and to strengthen the relationship between the houses decided to marry children. The fiance chose the eldest son Malast - Giovanni (Gianchotto). His as the heir and a person's smart guidoa da feast wanted to see his son-in-law, but it would hardly be a beautiful Francesca wanted to marry a lame, ugly Giovanni, besides his fierce temper.
Lajos Gulacsy __paolo and francesca 1903
In order not to upset the transaction, the fathers resorted to tricks: to conclude a marriage contract in Ravenna, the younger brother Giovanni - Handsome Paolo arrived. The young bride took him for the future husband and passionately loved. Nothing unfortunate girl was taken away in Rimini, where he learned about the deception. The bonds of marriage could not cool the passion of Frances to the brother of their legitimate spouse, and the lovers began to meet secretly.
Aristide Croisy__Polo and Francesca (1876)
Anselm Friedrich Feuerbach (1829 1880) __ PAOLO AND FRANCESCA_1864
Paolo and Francesca (from Dante "s Inferno) Reading About Lancelot and Gueenivere. Inspired by This Story, The Kiss.Paolo and Francesca (from the "Dante Divine Comedy" kiss, inspired by the read history about Lancelote and Jinevore.
In my sustain hour we read once
About Lancelote Sweet story;
Some we were, everyone was careless.
Above the books met more than once,
And we pale with secret nodrogan;
But then the story won us.
Slightly we read about how he is Lobzany
Got down to the smile of an expensive mouth,
The one with whom I am bound to Torzan
Kissed, trembling, my mouth.
And the book has become our gallery!
None of us read sheet
Translation ML Lozinsky
Edward Charles Halle (1846-1914) __ PAOLO AND FRANCESCA
Paolo and Francesca 1894 - Sir Frank Dicksee (Frank Bernard Dicksee) (ENGLISH 1853-1928)
Amos Cassioli__ Paolo E Francesca (1870)
William DYCE (1806-1864) __ FRANCESCA DA Rimini, Exh. 1837.
Dante Gabriel Rossetti (1828-1882) __ Paolo and Francesca da Rimini_1867__Watercolours
Alexander MUNRO (1825-1871) __ Paolo and Francesca_marble_1852
Giovanni, being Lord Pesar, was to live at the place of service, but according to the laws of that time, the family (wife and children) lived separately outside the city. Thus, the Generic Castle of Gradara, located 13 km from Pesaro, became for the French and the prison, and the place of dates with the beloved Paolo.
The Dream (Paolo and Francesca), 1909 by Umberto Boccioni
Upon learning of the secret meetings, Giovanni set the lover's surveillance. One day, pretending that he leaves for business, a cunning husband suddenly returned and found the door to the bedroom of his wife locked. A loud knock and cries of an angry spouse found lovers by surprise, but Paolo persuaded the door to open the door. The room was another secret way out, through which I expected to hide the unlucky lover.
Felice Giani__paolo_malateSta_e_francesca_da_polenta_1813.
Gustave Dore: Dante Paolo and Francesca
Anonimo__Polo and Francesca (1804)
Jean Auguste Dominique Ingres (1780-1867) __ Paolo and Francesca_1819
But the banal situation will never be a legend without bloody junction. Maybe the door was too small, and maybe the sword Paolo is too long, and the burst Giovanni saw the younger brother in the bedroom of his wife. In the seizure of anger, Lord Pesaro rushed to the offender with a knife, but Francesca took a fatal blow. Without thinking, she rushed between her lover and her husband, and Dagger, intended Paolo, pierced her her chest. Seeing his wife Dead, Giovanni fell into rage and broken brother.
1805-10 _ PAOLO AND FRANCESCA Discovered by Gianciotto__ Joseph Anton Koch.
Sir Joseph Noel Paton (1821-1901) __ The Murder of Paolo and Francesca
Louis boulanger__paolo_e_francesca_gli_amanti_trafitti_1840.
Paolo and Francesca_1887__ Previati, Gaetano (1852-1920)
Alexandre Cabanel (1823-1889) __death of Francesca Da Rimini and Of Paolo Malatesta _ 1870
It happened in 1289. History is silent, what happened to Giovanni.
Scientists have found a lot of confirmation that the events described really occurred in Gradara between 1285 and 1289. And of course, you need to take into account the legend transmitted from the Father to the Son the residents of Gradara. The legend, which tells about this terrible event and that still in full moon around the castle wanders the ridiculous soul of an unhappy woman. In the premises of the palace, the situation of the XIII century is recreated, including the French bedroom, which has become the scene of the bloody drama.
Bianchi Mose (Italia 1840-1904) __ PAOLO E FRANCESCA 1877.
Souls Paolo and Frances (Dante, "Hell", Song 5) __ Dore (Paul) Gustave (1832-1883)
Perhaps this sad love story would remain outside the walls of the old fortress, if not a contemporary French and Paolo - Dante Aligiery. Traveling with versgil in the circles of hell in the "Divine Comedy", he saw a man and a woman, and did not open the arms in the eternal whirlwind of the Devil Fire. A love passion led them directly to the arms of death, and now they shared the sufferings of Hell, as shared by once love joy.
Gustave Dante * S Illustration to Dante "S Inferno. Plate XVIII: CANTO V_1857
"So I descended, leaving the lap initial;
Down in the second; he is less than that
But large flour in it is heard a moan sad.
And I learned that this circle of torment
For those whom the earthly flesh called,
Who betrayed the mind of the lust authorities. "
Such words begged by the story about the tragic love of FarNI and Paolo Italian poet Dante Aligiery in his great essay of the Divine Comedy (Divina Commedia, 1307-1321).
Paolo and Francesca da Rimini by Dante Gabriel Rossetti (1855)
Paolo and Francesca - Divine Comedy - Hell - Gustave Dore
Jean Baptiste Hugues__Paolo E Francesca (1877)
Very compressed and extremely simply, in just a few pages, the poet tells how he met with the unfortunate loved, "whom will live together and so easily takes the storm ..." Here, in the second round of hell, endless suffering those who have learned the forbidden love, and the shadow itself tells Dante and his conductor poet Vergilia about the cruel fate, comprehended by her with her belo after their death. Now they are here, in hell, in the oppressive darkness will forever remain captives of eternal flour and eternal sadness.
VITALE SALA __DANTE PAOLO E FRANCESCA (1823)
"Oh gentle and benevolent alive,
You visited in the darkness inequate
Of us who have chosen the world of the world;
When we were another king of the universe,
We would pray that he saved you
Sympathetic flour intimate. "
Dante, "Divine Comedy". Translation M. L. Lozinsky
Despite the fact that "He who remembers the Higher Flour, who remembers joyful times," Francesca recalls his story again and tells her Dante, accompanying words by bitter tears.
ARY SCHEFFER (1795-1858) __ The Ghosts of Paolo and Francesca Appear to Dante and Virgil__ 1835
Appearance of Ghosts Paolo and Franni Yes Rimini before Dante and Virgile
She again sees how Paolo kisses her, and what a blissful feeling was tested by, admitting each other in love, and how terrible for it was paid. She knows that in spite of anything in the world will not fade by Paolo, even here, in hell, and he, her beloved, despite the wind, a squall and a stormy shower, will never release his beloved Francesca from his hands ...
"Love, love loving beloved,
I was so powerfully attracted me
That this captivity you see unbreakable. "
Dante, "Divine Comedy". Translation M. L. Lozinsky
It is a pity lovers ... Dante is great, but the son of his era. The killer, Giovanni "cripp" he did not define the sinners.
Pierre Claude Francois Delorme __Paolo E Francesca (1830)
Dante's story about Paolo and Francesca is very small, but a bright and exciting episode of the main work of his life "Divine Comedy". The poet himself could learn this sorrowful story of the mouth of the French nephew - Guido Novello Yes Polenta (Guido Novello Da Polenta, D.1323), Signora Ravenna, who was another Dante and whom the poet found a refuge in the last years of his life (in 1316? 1318-1321).
Castle Gradara, day today
Mighty family owned by the castle of two centuries. One of his valiant representatives was the ruler of Rimini: this is the famous Konotyor Syzismondo Pandolfo, which was called "Romagna Wolf". In 1464, representatives of another powerful family - Sforza attacked the generic nest of Malatest. 42 days the siege of the Gradara continued, and as a result, the previous owners were forced to give up and pass the castle to the winners. In 1493, the main part of the castle decorations was performed. The order about it gave a new owner, Giovanni Sforza.
Giovanni Paolo Sforza with the SFORZA SYMBOL
They were impregnated with the spirit of romanticism, since the young señor really wanted to surprise his bride, the notorious Lucreta Borgia.
My note: Lucretia Borgia - Rock Lady of the Middle Ages.
Currently, the castle owns a private person. He himself does not live there, but the castle staff willingly introduce you to the sights of the medieval citadel. It will be possible to inspect the courtyard, the rest of the ladies, the front halls and, of course, the bedroom of Frances with a secret move, through which her favorite Paolo did not have time to hide. Not only in the fear of deceased, but in all the premises of the palace diligently recreated the situation corresponding to the distant XIII century. The chapel preserved a glossy plenual image made of terracotta. Tourists show considerable interest in torture cameras, hidden over thick powerful castle walls.
Antoine ETEX__Polo and Francesca (1864)
"Kohl, Mrs., in your hands, I will die
Then I am glad: I do not want to have
Worthy of honor, rather die,
In addition to you per minute kissing. "
Pierre de Ronsard (Pierre de Ronsard, 1524-1585)
With amazing exposure and perseverance, Rachmanins are developing the picture (the prolobe duration of more than twenty minutes) from one downward secondant intonation. In the first tacks, Opera she is deaf and duskly at Clarinet and Valvenennial French Clarinets, and between the first and soon, the intervals reminiscent of the initial turnover of the theme of the medieval Catholic anthem "Dies Irae", which subsequently appealed many times in his work subsequently Rachmaninov:
Prologue disintegrates into three sections that form three large waves of consistent, continuous increase: orchestral accession, the first circle of hell and the second round of hell. The principle of wave-like development is maintained within each of the sections. So, the introduction is made up of two detailed constructions. After the first wave, based on chromatic passages, simultaneously passing in different voices of the orchestra, is a fugato, the theme of which covers the range of both primary votes and combines them into one melodic line:
Sound tissue is gradually compacted, and on the top of this second wave, whole chord complexes are slowly chromatically, as if soles and moans of the stons of the hellish swirl shower merge into one formidable howl.
In the first circle of hell, a drawing of chromatic passages and a tonal plan is changing (the main tonality of this section is E-Moll, unlike the entry where D-Moll is dominant). An orchestral sound is joined by a choir singing without words with a closed mouth (initially Rachmaninov wanted to create a detailed choir stage in the prologue and asked for her librettist to write for her about thirty stanza text, which could be divided between different groups of choir (see his letter to m . Tchaikovsky dated 28 August 1898). Subsequently, he refused this intention that was associated with a change in the overall plan of the opera, which took place in a more compact, symphony generalized form.). This technique used by Rachmaninov is still in Cantate "Spring", finds a wide and diverse use here. Thanks to different receptions of sound recovery, the tempeckery of a wordless singing chop is changing. In the second round of hell, the choir sings open mouth to the vowel "A", which gives him a brighter sound. However, here the party is devoid of melodic independence and is based only on a weathered harmonic sounds. The only time choir speaks on his own in an epilogue, where he chants in unison phrase, sounded like a fatal tragic Motto: "There is no greater chagrin how to remember the time happy in misfortune."
The movement is gradually accelerating, the belligence is increasing all the time, reaching a powerful climax at the moment when the ghosts of convicts convicted on eternal torments are swirling in front of Virgilia and the horror of Dante. Then it is a formidable busheering of hellish vortices gradually subsides and the ghosts of Franni and Paolo appear. Coloring music becomes more transparent. The cello theme of FarNI, which produces a particularly bright, soothing impression that makes a particularly light, soothing impression that after a long undivided domination of minor tonalities here (though, for a short time) a major arises (it is interesting to note that the first holding of this topic is given in Des-Dur - The tonality of the last, culmination section of the scene of Frances and Paolo.). Against the background of soft outstretched chords of wooden winds and strings with flickering tremolo violins and ringing challenges of the harp Francesca and Paolo sing a sad phrase, which the chorus repeats the epilogue: "There is no greater grief ..." Melodically, this phrase, based on the modified fugato-based topic Orchestral accession, resembles ancient Russian church tunes. It can catch some features of similarities with the main theme of the third piano concert, the proximity of which to intonations of the bannyan intelligence was noted more than once. This similarity is enhanced by tonal generality (D-Moll) and the same "ambitimate" melodies deployed within the reduced quarts between the VII and III steps of the Harmonic Minor:
As a quiet, the sad complaint is the smoothly descending sequence of violins (and then the Oboy Solo), built on the same phrase, at the end of the prolobe.
Two opera pictures are among themselves in contrasting. Each of them gives a complete portrait of one of the main actors. The first picture, drawing by the harsh and gloomy image of the Musha Frances - Lunchotto Malatets, is essentially monologular. Cardinal is present at the beginning of this picture silently (the rudiment of his musical characteristic is only a choral sequence of chords, sounding in the orchestra at the moment when it is removed from the scene.). The party of the same French, which comes to the orders of a spouse, who is preparing for a campaign, is limited to several short replicas.
Three scenes for which this picture disintegrates is one inextricable integer. They are combined by the continuous development of two topics associated with Lankotto. One of them, based on energetic and elastic marching rhythm, characterizes him as a cruel and merciless warriol:
This topic is widely developed in the orchestral entry to the first picture and in its opening scene with cardinal. The conclusion of the picture is also built on the same topic, but in the c-moll tonality, and not Cis-Moll. At the beginning of the second stage, when Lunchotto remains alone, covered by heavy jealous suspicions, in the orchestra there is another topic, a gloomy pathetic character, which is terribly sounding in thrombones into an octave, enhanced by four horn, against the background of tremory strings:
Episodes of a declamation character alternate in the party Lunchotto with more completed ariosis buildings. In the second stage, this is a memory of the fatal deception, the victim of which Frances and Lunchotto himself were the victim ("Your father, yes, the father of all the Wine!"), Oppressive doubts and flour of jealousy. In the third stage - Passionate Molver to Francesca (I want to love your love! "), A stormy explosion of an unrequited feeling of love for her, mixed with despair and hopelessness. Here, again, with a great expressive force, a pathetic theme of love and jealousy is sounded, but in another orchestral design (unison strings instead of trombones and horn), which informs it a softer lyrical color. Followed by a section based on dotted marching rhythms of the first, "militant" topic Lunchotto ("Oh, sloped, go down from the heights of yours ...") (according to Zhukovskaya's testimony, Rakhmaninov was used here for the first piano prelude, which did not enter The cycle of Prelude Op. 23.), Which also changes its character here, resembling a slow, heavy tread march.
Rachmaninov, however, does not give these ariosis buildings a completely complete form, organically including them in a common stream of development. Thus, the first of these episodes does not end with a stable cadenzing constructing in its main tonality of C-Moll, and directly transforms into a subsequent speech section with a movable, unstable tonal plan and freely developing orchestra support. Some, especially accentuated expressively replicas acquire the importance of refuge dramatic climax. This is an angry exclamation Lunchotto "Curse!" In the second scene, underlined by a tonal shift in the D-Moll (this tonality, dominated in the Prolog, the picture first appears for the first time.) And an unexpected formidable explosion of orchestral tempering:
Similarly, this word is distinguished by the word unwittingly escaping from the mouth of Lunchotto, further, in the scene with France.
In general, this picture is a magnificent sample of a through dramatic opera scene, in which vocal and orchestral means of expressiveness are subordinated to a single artistic purpose and serve as a complication of a complex psychological image in all its internal contradictions and the confrontation of spiritual deposits and passions.
The second picture transfers us to a completely different world, the personification of which is the bright and pure image of Frannit. Its theme, episodically held in the prologue and the first picture, receives a wide development here, while maintaining its clear and solid expressive character with all modifications. This is one of the poetic lyrical melodies Rakhmaninov, wonderful in its "spatial" length, latitude and freedom of breathing. Pouring out of a high vertex, it smoothly and slowly lowers in diatonic steps more than two octaves, with gradual rhythmic braking and expansion of the intervals between the sounds (Example 90A). An option for this topic is a melodic construction from the sequence chain (Example 90B):
The whole coloring of music in this picture, as if illuminated by soft and gentle radiance, creates a sharp contrast to the previous one and highlights it among the gloomy and ominous environment in which it is given in the opera. This contributes to the means of a tonal harmonic, orchestral and textual plan. If in the prologue and the first picture, the solid chain of minor tonalities gave music a dawn color, here, on the contrary, the clear and light major is almost invariously dominated, only occasionally overshadowed by passing deviations in the minor sphere (the main tonality of the second picture - AS-DUR, E-DUR and DES-DUR. Note that AS-DUR is the point of the greatest distance from the D-Moll, which begins and ends the opera.). The tool is light and transparent, the sound of strings and high wooden, the copper group is used extremely economically and carefully. Special integrity color is distinguished by the entry to the second picture, built on the topic of Frances, which sounds most of the flute, at times doubled by the gobone or clarinet, against the background of easily pegless accompanying of the Violinic violins and occasionally the joining Pizzicato string bass. Only for a short moment Tutti appears, after which the orchestral soundness is again cutting and goes out.
The scene of France and Paolo, very clear in its construction, consists of three parts. The first part is the episode of reading with young beloved stories about the beautiful Ginevra and Lancelote, interrupted by passionate replicas Paolo. The musical unifying moment of this section serves the topic of French, passing in the orchestra as a permanent refragment. The middle of the entire scene constitutes Arioso FarRNI "Let not be given to us to know the lobsies." Music of this Arioso, imbued with serene lyrical rest, captivates the purity of the color, openwork ease and the fineness of the pattern. Exclamation of Paolo "But that to me paradise with his redness of impassive", emphasized by a sudden tonal shift from E-DUR in D-Moll, a change in the tempo and texture of orchestra, violates this state of detached contemplative bliss, and a small transient construction leads to the final section of the scene - Duet French and Paolo in Des-Dur (it is possible that this tonality was chosen not without the influence of Romeo and Julietta Tchaikovsky.).
It was this section that caused the dissatisfaction of Rakhmaninov, writing Morozov: "... I have an approach to a love duet; There is a conclusion of a love duet, but the duet itself is absent. " And indeed, the transition from the "Blue" Arioso FarND to the triumphant des-dur of the last section seems too short and rapid. It felt not only the author himself, but some of the listeners and critics (so, Engel noted that "in an excellent love duet as if there was no worthy of his climax.").)
In addition to this constructive miscalculation, the scene of Francen and Paolo does not fully make the impression to which the composer sought, due to the insufficiently faithful and accurate choice of expressive means. The music of this scene is beautiful, poetic and noble, but somewhat cold with expression. She lacks that internal tension and the forces that are necessary for the embodiment of the Immortal Episode of the Divine Comedy, named by the Dante Soviet researcher "hardly the most passionate hymn love in all world literature."
One of the critics wrote, pointing to insufficient, in his opinion, the expressive brightness of the scene of Frances and Paolo: "We need a continuous, soul penetrating Cantilene, like Tchaikovsky ...". Later Asafiev, speaking of the embodiment of Dante's images in music, developed the same parallel between Rakhmaninov and Tchaikovsky: "Drawing Francescape in bright colors, Rachmaninov stands closer to her ideal appearance of a young Italian woman, but drawing a Francescu in the darkness of hell, as a shadow that remembers About the last, Tchaikovsky turns out to be stronger in respect of expressiveness and relief ... ".
In the guise of Rakhmaninovskaya French, there is something from strict female and soft, light tones on the frescoes B. Jotto, Dante contemporary. Its musical image with all its poetic purity and spirituality does not create due on the power of contrast to the ominous-tragic figure of Lunchotto and the barking opera with a gloomy picture of hellish abyss, filled with moans and screams of doomed languishing in it. Contrary to the idea of \u200b\u200bthe composer of the scene, Frances and Paolo did not become a genuine climax of action. The relative brevity of this picture (according to the composer's own counting, the second picture along with the epilogue lasts twenty-one minutes with the total duration of the opera in one hour and five minutes.) Determines some monotony of the overall color of the opera, one-sided predominance in it heavy, gloomy tones, as a result of which many of it Wonderful pages often remained unnoticed and undervalued.
Another refurbishment article.
Heroine involved
Amazing thing - fame. Some years and years beveling to no avail in order to declare himself, and someone's gift does not need worldwide fame falls on the shoulders unexpectedly and sticks, and the circumstances of this inadvertent gaining immortality can be very unpleasant.
So, in one not very beautiful, but for sure not established day at the end of the thirteenth century, a certain noble Italian sygride in anger of jealousy did realized his wife in one movement of his hand: killed her, pushing a sword. If exactly, the unfortunate People's memory left himself, and the poet, but it is already trivia, because if it was not for the murder himself, there would be nothing to write to the poet.
(Paolo, France, Dante and Vergilius - Illustration of the "Divine Comedy")
The most insightful readers have already understood that the poet was Dante, an angry Italian master - no one else like Giovanni (Gianchotto) of Malatest on the nickname chrome, and his unfortunate sacrifice - Francesca da Rimini, nee, da + meter.
According to the researchers, all this story is likely to be most likely, in the interval between February 1283 (when Paolo returned to Rimini) and 1284th year. In any case, in the 1286th Gianchotto married re-confirmed by documentary evidence, and it was hardly done right immediately after his crime.
Trail in art
The story of Paolo and Frances today is one of the most famous love tragedies in the world. However, in contrast to such tears, as "Othello, Venetian Maur" or "Romeo and Juliet", this story appeared to the world not in the form of a separate literary work. For the first time, the reader faced a couple of unfortunate lovers in the "Divine Comedy" of Dante, where their story is considered in the fifth song "Hell".
It must be said that the attitude of Dante to the killed, judging by the "Divine Comedy", can be defined as ambiguous. He placed them not in paradise and not even in purgatory - but still not directly to hell, but at the very beginning the path to him. The poet clearly sympathized with them, but could not openly approve a married betrayal - the society would not understand, and the problems with him at Dante was even debt.
Festive courts
Pretty banal, it would seem, the topic of married treason, few of the creative people left indifferent in this case. The history of Paolo and Frances commented on Boccaccio, Gabriele D'Annunzio was attached to her, could not pass by the writers and poets Baocker, Gayia, a block, composers Tchaikovsky and Rachmaninov, as well as numerous artists and illustrators - for example, Engra and Dore. 
Whether the poetic talent of Dante is to blame, or there is something special in this household murder on the basis of jealousy, but the fact remains: human minds still do not calm down on this day.
For example, in June 1992, a public revision of the history of Paolo and Frances was held in Ravenna. The event was designed to restore the circumstances as close as possible to the reality, led to the tragedy, and was the most real court over Gianchotto - with prosecutors, a lawyer, and everyone that relies on the court. True, there was not the most accused, but it was already little things, given that the investigation of the murder was late for some six to seven centuries.
By the way, this initiative was terribly outraged by Florence, which many centuries already gnawed with equals due to Dante. Recall that the first one sent the great poet to life exile, and the second, on the contrary, shelted him, and the Divine Comedy was launched in Florence, but was completed in Ravenna. None of the cities give up their positions in the Battle of heritage and, especially, the dust of the poet is not going, so not see the shakes and mutual claims of the end-edge to this day.
So, the Florentine public did not slow down to declare the event with profanation aimed at the wreck of one of the most beautiful poetic works of humanity, and also demanded that the remains of the Great Poet alone. The fact is that all the action passed on Saint Francis Square in the polustener of meters from the grave of Dante. Ravenna, however, he spat on the claim, so the event took place.
In May 2010, another lawsuit was held over Gianchotto. This time it happened in Rimini, in Palazzo Arena, which is located on Piazza Cavour in the very center of the city. The process and this time was open, but was not as an independent action, but within " International Days of Memory French Yes Rimini "Conducted since 2007 and include seminars for students and teachers, a medieval fair in the city center, excursions with relevance to this story places, as well as much more.
One in two faces
Coordinator "Days ...", Professor of Urbinsky University, journalist and sociologist Ferrushco Farina has been engaged in the phenomenon of Franni da Rimini. He believes that today it is impossible to talk about one heroine, since there are already two different FarNIs. One is the real, what she was and what presented it to the Public Court of Dante Aligiery: an unfortunate example of how should not come in the marital life. An ordinary woman, no angel in the flesh. Farina writes: " She was never beautiful, and the first time artists were so depicted - with rather unpleasant facial features».
(According to researchers, the woman on the right is the real Francesca and Polenta da Rimini)
The second Francesca is the fruit of the fantasy readers of the Divine Comedy. The wrong wife, what at all times it was with an excess, turned into an excellent lady, beauty and generally the ideal of his beloved, which may compete with the Danatrice and Petrarca laur. " In fearless clever, and bold beauty turned her to an endThe XVII century - from the same time she finally separated from the "Divine Comedy" and became in human perception with an independent character».
It was not
Paradoxically, but despite the fact of married treason, Francescu is often identified with the concepts of "loyalty" and "eternal love", while in the period of the merger of Italy, it has become almost a symbol of freedom in some patriots. In general, the Don Quixote attributed to his dulcally unprecedented qualities and admirers of our heroine retocated many details of the tragedy, which was originally not in risen.
For example, a commodity idea is a violent marriage. In general, yes, the marriage of FarRRS pursued political goals: her father, the ruler Ravenna, wanted to curtail with Malast and throw it, thus bridge from his possessions in Rimini, and even further, in Montefeltro. However, there is no evidence that Francesca fainted from disgusting to her husband or that at the time of the wedding was firmly in love with the devices or anyone else.
Treason, French immediately after the wedding, too, in all likelihood, the folk folklore, because at the time of death in the French and chrome there was a teenage daughter. It is unlikely that lovers managed to hide for more than a decade. And the story with the hatch, through which allegedly climbed the mistress for a long time and firmly married Paolo beautiful, and does not stand any criticism at all.
Who did not have time, he was late
In general, it is stupid to deny: it didn't speculate on this tragedy only lazy. What the city authorities who came by the time in the decline of Rimini could not be income to earn the Frenchman darent, voiced back in the nineteenth century a French journalist Charles Irirty. He was listened to his idea, and everything turned out as it should: a native of the polenta today is firmly associated with Rimini, and not with his small homeland and not even equal.
(Gradara, Franch Room. Photo Gradara.org)
The neighboring gradar was infused and "placed" the tragedy into his magnificent castle, although there is no evidence that the story happened there is no. Sanarcandgelo-Di-Romagna In recent years, the right of graders in recent years is openly challenging the right of action, but the Byzantine buildings, in which, in the opinion of local historians, did not have an action, and the city castle belonged to the city of Malast, was built. Much later. In addition, he has a rather inconspicuous appearance and does not have the famous hatch, which is unreasonably paid so close attention.
In a word, each of the cities drags the blanket against himself - because the legend attracts tourists, and tourists bring money. A quote from another great poet is applied to the tourists themselves: "Ah, it's not difficult to deceive me, I am deceive to deceive." Actually, the "Divine Comedy" is the only written source telling about this story - just a literary work. Dante was a poet, so there can be no serious evidence in this case and speech.
Politics
Meanwhile, recently among historians, the version that the murder of France was made at all is not at all of jealousy, but on banal political reasons. There was a very difficult situation in politics at that time and too much in the go was the so-called marriages of strategic importance. For example, in the family of da penal in this plan of one French case, it was not limited to: her native brother was married to Maddalen, younger sister all the same Paolo and Gianchotto.
Giovanni Malast was definitely interested in removing the path of the younger brother, who was already marked at that time, the Roman dad. And what will afford his own wife - the case is the tenth, long if another find another. Moreover, the organizations on the protection of women from domestic violence and just the concepts of "women's rights" in those days were not found. In fact, it is quite possible that there was no love connection between Paolo and France at all, but I simply needed some kind of "decent »Cause for fratricide.
An important evidence that the murder of Paolo and France could be political, is, by the way, the most lack of documentary sources. From 1295, Malatesta will become the full owners of Rimini for a long time, which gives them complete power over the archives and the opportunity to push everything in them that the soul wishes - first of all, of course, compromising on themselves.
However, all your mouth will not shine. Dante's fifth song "Hell" wrote not yet coming to Ravenna, where he could hear her from the mouth of close relatives of Frances. This means only one thing: the story of the two unfortunate has already managed to get enough publicity at that time, in order for her to recognize the poet on the other end of the country.
In short, until the time of time is invented, find out exactly what it happened at the end of the thirteenth century in the Malast family, it is not possible. On this and finish.
Most love stories are so banal that they go to the past, as soon as they betray the Earth of the body of people who survived them. But it is worth getting stories a bloody junction - and she has every chance of becoming a legend. So happened to Romeo and Juliet, as well as with Paolo and France, which will be spent today.
At the beginning of the XIII century, the most influential dynasties of the Romagna region in Italy were Polent and Malast. In the 1239th year, Rimini lived the ruler named Malasta, and Belakeko, and he had four children: Chrome Giovanni, Malatisino, Paolo, beautiful and Maddalena.
The general victory in the war with Guido and Montefeltro Malast and and yes the author of the heads of the dynasties decided to strengthen the marriage union. According to the persuasion, on his daughter, the eldest son of Malatet, Giovanni criple, was supposed to marry. Parents of the girl understood that she would not agree to marry chrome, and went to the trick.
On the wedding day, the young handsome Polaol, the younger brother Giovanni, authorized to marry his power of attorney appeared to Francesca. The girl fell in love with a young man at first glance and agreed to become his wife. What was the mountain of young French, when the deception revealed. Moreover, it turned out that Paolo was already married to another by calculation.
Love, love loving loved ones
I was so powerfully attracted me
That this captivity you see unbreakable.
Love together for death was led;
In Caine there will be our days the extermination. "
Such a speech from their mouths have flowed.
A few years later, Francesca gave birth to a legless her daughter, and Paolo, appointed by the Governor of Florence, became a frequent guest in the house with her senior brother and his wife, in the Castle of Gradara. During one of their secret meetings, the brother Malatisino was found and told about the shown Giovanni. He, pretending that he leaves for business, suddenly returned to the castle and personally found Paolo and Frances to the kisses. Those read the love story of Lancelot and Guinevra and were drunk so that they kissed. It was at that moment the furious Giovanni broke into the room.
In my sustain hour we read once
About Lanchelote Sweet Story
Some we were, everyone was careless.
Above the books met more than once,
And we pale with a secret nodrogan
Just we read about how he lobzany
Grown to smile expensive mouth,
He, with whom I forever, be a terzan
Kissed, trembling, my mouth.
And the book has become our gallery!
None of us did not read the sheet.
Paolo wanted to run through a secret move, but did not have time. Giovanni rushed to his brother with a knife, Francesca closed his beloved and took a blow to the chest. As a result, both lover were killed by blind jannitude Giovanni.
The legend also glaces that still in the full moon around the Castle of Gradar wanders the restless soul of the unfortunate French.
Dante Gabriel Rosetti, "Paolo and Francesca", 1855
But if it were not for the great contemporary of Paolo and France - Dante Aligiery - the legend of the inlentible pair could remain a legend. But the poet set them on the pages of his "Divine Comedy". So, traveling with versgil in the circles of hell, he met Francescu and Paolo in the second round, where the cruel exorbitant punishment of those who have known forbidden love during life. The shadow of Frances, without leaving the passionate arms of Paolo, told the chief hero on their suffering in the Adov Vortex.
This romantic, although a bit of a banal story of the Italian epic, displayed in a great work, inspired a lot of artists and sculptors to recreate the images of Paolo and Frances. In the iconographic tradition, they are depicted in several hypostasses: while reading a love book, in a kiss, killed or already in the hell of Dante Aligiery. In the most dramatic plots there is also a legitimate angry husband French.
Anselm Friedrich Feyerbach, "Paolo and Francesca", 1864
Lajos Gulacsy, "Paolo and Frances", 1903
William Dick, "Francesca from Rimini", 1837
Gutano Preview, "Paolo and Francesca", 1887
Dante Gabriel Rosetti, "Paolo and Francesca from Rimini", 1867
Edward Charles Hull, "Paolo and Francesca"
Felice Jiani, "Paolo and Francesca", 1813
Jean August Dominic Ingres, "Paolo and Francesca", 1819
Amos Kassioli, "Paolo and Francesca", 1870
Joseph Anton Koch, "Ovregate Paolo and France
Unknown artist, "Paolo and Francesca", 1804
Alexander Cabannel, "Death of Frances and Paolo" (1870)
Ser Joseph Noel Paton, "Murder Paolo and France
Ari Schaffer, "Perfume Paolo and Frances are Dante and Vergilia", 1835
Bianchi Mosel, "Paolo and Frances", 1877
George Frederick Watts, "Paolo and Giovanni"
"Soul Paolo and Frances"
Pierre Claude Francois Delorma, "Paolo and Francesca", 1830
Umberto Bocchioni, "Sleep (Paolo and Francesca)", 1909
Vitaly Sala, "Paolo and Francesca", 1823
material prepared: Julia Sidimyantseva
History Paolo and France: Paolo and Frances, Love Story, Excerpt Divine Comedy
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In 1200, two families, and Polenta from Ramini and Malatesta from Rimini, were the most influential in the political life of the Romagna region. In 1239, Rimini's ruler was Malatesta Da Verucchio (Malatesta da Verucchio), who had four children: Giovanni (Giovanni), on nicknamed Gianchotto-Chrome, as it was ugroen and had vices at birth, Malatisino (Malatestino), Paolo beautiful (Malatestino) Paolo Il Bello) and Maddalena (Maddalena).
In small age, the children of Malatets were politically educated and always accompanied the Father in various negotiations. Particularly differed in this Gianchotto and Paolo. Both, in 1265, fought against Guido Da Montefeltro (Traversari) against Guido Da Montefeltro (Traversari) with the support of da pen. In 1275, deciding to celebrate the victory and consolidate the Union, the heads of the families agreed to breed: the firstborn Malatte, Gianchotto, had to be taught under the crown of daughter daughter, Francesca. The intuitive Parents Frances understood that the daughter would never want to marry the cripping, and then it was decided to enter a misleading daughter: young and beautiful Paolo had to marry Francesca by proxy from his older brother, and to inspire that he is her real husband.
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Seeing the window of a young and energetic young man, the girl was fascinated and without delay gave consent to marriage. The next morning she understood what lies next to the unpleasant and ugly old man, it was Gianchotto. It is also known that since 1269, Paolo was already married to pay on the last heir of Jadzolo Castle (Ghiaggiòlo) in the Forley of Orabil Beatrice (Orabile Beatrice).
Despite the disappointment and deception, Francesca gave birth to a jankotto daughter, Concordia (Concordia), who, after the murder of the mother and the second wedding of his father, was sent to the Monastery of Santarcanj Di Romagna (Santarcangelo di Romagna).
After some time in 1282, Paolo, thanks to his innate diplomacy, was appointed Roman dad Martin IV Governor of Florence, and Jankotto at that time became the mayor of the city of Pesaro. In 1283, Paolo returned to Romel. And, settling near Gradara, became a frequent guest in the castle at Jankotto, meeting also with his wife. During one of their such meetings, the young were caught by the rupture of Malatestino Dell'OCCHIO, the younger brother Paolo and Gianchott. He told his older brother about what he saw. After that, Gianchotto pretended to go to Pesaro. But suddenly returned to the castle, he found Francescu and Paolo together in the room.
Reading Lancelot's love story and Guinera, the young were filled with an infinite passion and ... kissed. At this time, a furious jankotto flew into the room and exposed his sword. Paolo tried to flee through the hatch, but clinging to clothes, could not complete his escape. At that moment, when Gianchotto decided to put the sword in his brother, Francesca got up between them and was killed with Paolo. So, blinded with jealousy and anger, Gianchotto killed both.
There are no confirmation sources about events and the exact location of what happened, there are only legends and stories of people transmitted from generation to generation. Numerous studies have been conducted with respect to this exciting story. But many statements refer to the fact that the silence of murder could be in the interests of preserving relations between the ruling families or dictated by political jealousy, since Gianchotto felt a strong envy to his brother for his brilliant career.
This love story inspired many artists and poets of different times to create their masterpieces. The tragic love Paolo and France was the singing of Dante Aligiery in the "Divine Comedy", the song V, "hell":
| 73 | I started like this: "I would like to answer |
| From these two who are together | |
| And so easily carrying this storm. " | |
| 76 | And I my leader: "Let the wind feed them |
| Closer to us; And let love pray | |
| Their eyes are yours; They will interrupt the flight. " | |
| 79 | Seeing that their wind to us would be angry: |
| "About the soul of grief! - I appeared. - Here! | |
| And respond if he allows! " | |
| 82 | Like pigeons on the sweet call of the nest, |
| Supported by the wavelength | |
| Razing wings, rushing without difficulty, | |
| 85 | So they, graze in the oppressive MGL |
| Leave Didona mournful swarm | |
| On my exclamation, friendly. | |
| 88 | "Oh gentle and benevolent alive, |
| You visited in the darkness inequate | |
| Of us who have chosen the world of the world; | |
| 91 | When we were another king of the universe, |
| We would pray that he saved you | |
| Sympathetic flour intimate. | |
| 94 | And if you have a conversation for us, |
| We are glad to talk and listen to themselves, | |
| While the silence is a whirlwind, as it is now. | |
| 99 | I was born above the shores, |
| Where are the waves like a tired messenger, | |
| Meet with passing rivers. | |
| 100 | Love burns tender hearts |
| And he captured the body incomparable, | |
| Erissed so scary at an end of the end. | |
| 103 | Love, love loving loved ones |
| I was so powerfully attracted me | |
| That this captivity you see unbreakable. | |
| 106 | Love together for death was led; |
| In Caine there will be our days the extermination. " | |
| Such a speech from their mouths have flowed. | |
| 109 | Brief shadows crushed spectator, |
| I headed my head in Tuske on the chest. | |
| "What are you thinking about?" - asked the teacher. | |
| 112 | I started like this: "Oh, who knew anyone, |
| What is the burden and dream | |
| They led to this bitter way! " | |
| 115 | Then, the word turned to the mischief, |
| Said: "Francesca, your complaint | |
| I will hide with tears, compassion. | |
| 118 | But tell me: between the sigh of gentle days, |
| What was love you | |
| Locked hearing a secret call of passions? " | |
| 121 | And she she: "He will suffer from the highest flour, |
| Who joyful remembers times | |
| In misfortunes; Your leader is a lie. | |
| 124 | But if you know before the first grain |
| Znoschetic love you are full of thirst, | |
| Words and tears grow in full. | |
| 127 | In my sustain hour we read once |
| About Lanchelote Sweet story; | |
| Some we were, everyone was careless. | |
| 130 | Above the books met more than once, |
| And we pale with secret nodrogan; | |
| But then the story won us. | |
| 133 | Slightly we read about how he is Lobzany |
| Got down to the smile of an expensive mouth, | |
| He, with whom I forever, be a terzan | |
| 136 | Kissed, trembling, my mouth. |
| And the book has become our gallery! | |
| None of us read sheets. " | |
| 139 | Spirit spoke, Tommy Scary Burn, |
| Other sobbing, and flour their hearts | |
| My man was covered with mortal later; | |
| 142 | And I fell, how the dead man falls. |