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Petrarca: ‘nel laberinto intrai, né veggio ond’ esca’ / ‘I entered the labyrinth, and I see no way out’

Dante: ‘Incipt vita nuova’ / ‘Here begins my new life’

“Where does the difference between the past and the future come from?”

“Mine? Before you and after you.”

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“From hell he sent her curses, And in paradise he could not forget her — But barefoot, in a hairshirt, With a lighted candle he did not walk again Through his Florence — beloved, Perfidious, based, longed for…”

Dante, Anna Akhmatova, tr. Ronald Meyer

“My memory weighs down hard upon my shoulder, When I’m in paradise I’ll weep for earth”

In Paradise, Marina Tsvetaeva, tr. Rupert Moreton

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Alexander McQueen - Fall/Winter 1996 “Dante” / Mylene Farmer - Je te rends ton amour

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Dante’s experience at the bottom of hell, unlike his experience at the summit of heaven, will remain forever truly, terribly sui generis.

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--Jorge Luis Borges, on Dante's Commedia, from "Beatrice's Last Smile"

I'm obsessed with the line: "the eternal turning away of the face" -- how an omission in Longfellow's translation becomes an interpretation...

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Angela Carter, The Bloody Chamber and Other Stories; ‘The Lady of the House of Love'

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i really love all of jonathan's stay at the count's castle and one of my favorite things about it is his gradual attachment to his bedroom. he grows to feel some amount of comfort and safety in it, even as he knows that safety is largely an illusion. in different circumstances... it might have been his home.

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when the violence is not a metaphor <3

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hannibal literally had me taking a yale course on dante, what kind of absolute insanity

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no metaphors or descriptors. hell is like hell.

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oh i'll go NUTS

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“Heathcliff trespasses everywhere: he is the double of the dead Earnshaw son for whom he is named, the double of Nelly who is both inside and outside the family, the double of Edgar in his love for Catherine, the double of Hindley as a tyrannical master, the double of Hareton as an excluded savage, the double of Isabella in her volatile rebelliousness, the double of his son, his second, and the double of the father who brings home an unaccountable booty from elsewhere.

And, he is also the double of his most obvious opposite, Lockwood, in a way that finally punctuates the indifference of antagonists, the irrelevance of counting, the generality of antagonism. For just as the condition of possibility of the narrative is the intrusion of the foreigner Lockwood, the condition of possibility of the story is the incorporation of the exotic Heathcliff.”

(The Order of Forms, Anna Kornbluh)

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hello. 

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The lesson of Wuthering Heights, of Greek tragedy and, ultimately, of all religions, is that there is an instinctive tendency towards divine intoxication which the rational world of calculation cannot bear. This tendency is the opposite of Good. Good is based on common interest which entails consideration of the future. - Georges Bataille, Literature and Evil

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“Jacques Blondel is right to compare the following two passages from Sade and Emily Brontë: ‘How sensual is the act of destruction,’ says one of the executioners in Justine, ‘I can think of nothing which excites me more deliciously. There is no ecstasy similar to that which we experience when we yield to this divine infamy.’ ‘Had I been born where laws are less strict and tastes less dainty,’ says Heathcliff, ‘I should treat myself to a slow vivisection of those two, as an evening’s amusement.’”

— Georges Bataille, excerpt of ‘Emily Brontë’ Literature and Evil (tr. Alastair Hamilton), 1957.