The Scorpion and the Frog

220px-Tortoise_and_Scorpion

An 1847 illustration of “The Scorpion and the Turtle” from the Persian Kalilah and Dimna, an ancient fable which might have inspired The Scorpion and the Frog.

Wikipedia Entry

The Scorpion and the Frog

  A scorpion and a frog meet on the bank of a stream and the 
scorpion asks the frog to carry him across on its back. The 
frog asks, "How do I know you won't sting me?" The scorpion 
says, "Because if I do, I will die too."

  The frog is satisfied, and they set out, but in midstream,
the scorpion stings the frog. The frog feels the onset of 
paralysis and starts to sink, knowing they both will drown, but has just enough time to gasp "Why?" 

		Replies the scorpion: "Its my nature..."

Dante’s “Inferno”

Dante’s Commedia

  • it is a work of Italian medieval literature, named the Divine Commedia by another Italian poet, Boccaccio, to emphasize the subject matter of the work, the realms of the afterlife: hell, purgatory and paradise, but also to signal the elevated style in which it is written.
  • Dante claims that he is directly inspired by God, and the visionary experience of the poet is taken at face value by the early commentators.
  • the three realms of the Commedia‘s three parts are as follows: down in the depths of Hell in the Inferno, up the mountain of Purgatory in the Purgatorio, and through the ever-higher spheres of Heaven in the Paradiso.
  • the Commedia is made up of one hundred chapters that Dante calls cantos(literally, “songs”), divided into three groups of thirty-three; the extra is added to the Inferno, which opens with an introductory canto. The numerological structure of the poem is also revealed in the landscape of each part. Hell is divided into nine circles, each containing a different category of sinners receiving their own proper form of punishment. (taken from the Norton edition)
  • the Roman poet Virgil is the pilgrim’s guide, as well as the poet’s, (literally and metaphorically) because of his Aeneid.
  • In keeping with Christian doctrine, the souls in the underworld (of theInferno) have no material bodies, yet their shades retain the appearance of the bodies they had while alive. The punishments they suffer in Hell leave marks on their immaterial flesh.

 

342px-The_Vestibule_of_Hell_and_Souls_Mustering_to_Cross_the_Acheron_Blake

The Vestibule of Hell and the Souls Mustering to Cross the Acheron (1847)

by William Blake

Sandro Botticelli’s depiction of Dante’s Inferno

Salvador Dalí’s paintings of Dante’s Inferno

Canto I in Italian

Norton’s Map of the Inferno

Robert Browning’s “My Last Duchess”

Agnolo_Bronzino,_ritratto_di_Lucrezia_de'_Medici

Portrait of Lucrezia de’ Medici (16th c.)

by Agnolo Bronzini

My Last Duchess (1842)

by Robert Browning

That’s my last Duchess painted on the wall,

Looking as if she were alive. I call

That piece a wonder, now: Frà Pandolf’s hands

Worked busily a day, and there she stands.

Will ‘t please you sit and look at her? I said

‘Frà Pandolf’ by design, for never read

Strangers like you that pictured countenance,

The depth and passion of its earnest glance,

But to myself they turned (since none puts by

The curtain I have drawn for you, but I)

And seemed as they would ask me, if they durst,

How such a glance came there; so, not the first

Are you to turn and ask thus. Sir, ‘t was not

Her husband’s presence only, called that spot

Of joy into the Duchess’ cheek: perhaps

Frà Pandolf chanced to say, ‘Her mantle laps

Over my lady’s wrist too much,’ or ‘Paint

Must never hope to reproduce the faint

Half-flush that dies along her throat:’ such stuff

Was courtesy, she thought, and cause enough

For calling up that spot of joy. She had

A heart — how shall I say? — too soon made glad,

Too easily impressed; she liked whate’er

She looked on, and her looks went everywhere.

Sir, ‘t was all one! My favour at her breast,

The dropping of the daylight in the West,

The bough of cherries some officious fool

Broke in the orchard for her, the white mule

She rode with round the terrace — all and each

Would draw from her alike the approving speech,

Or blush, at least. She thanked men, — good! but thanked

Somehow — I know not how — as if she ranked

My gift of a nine-hundred-years-old name

With anybody’s gift. Who’d stoop to blame

This sort of trifling? Even had you skill

In speech — (which I have not) — to make your will

Quite clear to such an one, and say, ‘Just this

Or that in you disgusts me; here you miss,

Or there exceed the mark’ — and if she let

Herself be lessoned so, nor plainly set

Her wits to yours, forsooth, and made excuse,

— E’en then would be some stooping; and I choose

Never to stoop. Oh, sir, she smiled, no doubt,

Whene’er I passed her; but who passed without

Much the same smile? This grew; I gave commands;

Then all smiles stopped together. There she stands

As if alive. Will ‘t please you rise? We’ll meet

The company below then. I repeat,

The Count your master’s known munificence

Is ample warrant that no just pretence

Of mine for dowry will be disallowed;

Though his fair daughter’s self, as I avowed

At starting, is my object. Nay, we’ll go

Together down, sir. Notice Neptune, though,

Taming a sea-horse, thought a rarity,

Which Claus of Innsbruck cast in bronze for me!

The Graphic Comic

Making Paradise Lost Graphic

comics:

Juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer.

The Graphic Comic

From Scott McCloud’s Understanding Comics