Italiano II Il 5 di maggio 2016

Capitolo 2B

SENTIERI textbook

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Direct and indirect object pronouns

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Las Obras1. la data2. il tempo3. vocabolario4. I verbi5. Grammatica

8. Piacere and indirect object pronouns

Cultura La Storia della cultura Italiana

The First Texts: The 13th centuryIn the first half of the 13th century Florence was preoccupied with the development of trade. Then interest began to broaden, especially under the lively influence of Latini.

First Tuscan literature[

13th century Tuscany was in a unique situation. The Tuscans spoke a dialect that closely resembled Latin and afterward became, almost exclusively, the language of literature, and which was already regarded at the end of the 13th century as surpassing other dialects. Lingua Tusca magis apta est ad literam sive literaturam ("The Tuscan tongue is better suited to the letter or literature") wrote Antonio da Tempo of Padua, born about 1275. After the fall of the Hohenstaufen at the Battle of Benevento in 1266, it was the first province of Italy. From 1266, Florence began a political reform movement that led, in 1282, to the appointment of the Priori delle Arti, and establishment of the Arti Minori. This was later copied by Siena (with the Magistrato dei Nove), by Lucca, by Pistoia, and by other Guelph cities in Tuscany with similar popular institutions. The guilds took the government into their hands, and it was a time of social and political prosperity.

In Tuscany, too, popular love poetry existed. A school of imitators of the Sicilians was led by Dante da Majano, but its literary originality took another line — that of humorous and satirical poetry. The entirely democratic form of government created a style of poetry that stood strongly against the medieval mystic and chivalrous style. Devout invocation of God or of a lady came from the cloister and the castle; in the streets of the cities everything that had gone before was treated with ridicule or biting sarcasm. Folgore da San Gimignano laughs when in his sonnets he tells a party of Sienese youths the occupations of every month in the year, or when he teaches a party of Florentine lads the pleasures of every day in the week. Cenne della Chitarra laughs when he parodies Folgore's sonnets. The sonnets of Rustico di Filippo are half-fun and half-satire, as is the work of Cecco Angiolieri of Siena, the oldest humorist we know, a far-off precursor of

Rabelais and Montaigne.

Another kind of poetry also began in Tuscany. Guittone d'Arezzo made art quit chivalry and Provençal forms for national motives and Latin forms. He attempted political poetry, and, although his work is often obscure, he prepared the way for the Bolognese school. Bologna was the city of science, and philosophical poetry appeared there. Guido Guinizelli was the poet after the new fashion of the art. In his work the ideas of chivalry are changed and enlarged. Only those whose heart is pure can be blessed with true love, regardless of class. He refuted the traditional credo of courtly love, for which love is a subtle philosophy only a few chosen knights and princesses could grasp. Love is blind to blasons but not to a good heart when it finds one: when it succeeds it is the result of the spiritual, not physical affinity between teo souls. Guinizzelli's democratic view can be better understood in the light of the greater equality and freedom enjoyed by the city-states of the center-north and the rise of a middle class eager to legitimise itself in the eyes of the old nobility, still regarded with respect and admiration but in fact dispossessed of its political power. Guinizelli's Canzoni make up the bible of Dolce Stil Novo, and one in particular, "Al cor gentil" ("To a Kind Heart") is considered the manifesto of the new movement that bloomed in Florence under Cavalcanti, Dante, and their followers. His poetry has some of the faults of the school of d'Arezzo. Nevertheless, he marks a great development in the history of Italian art, especially because of his close connection with Dante's lyric poetry.

In the 13th century, there were several major allegorical poems. One of these is by Brunetto Latini, who was a close friend of Dante. His Tesoretto is a short poem, in seven-syllable verses, rhyming in couplets, in which the author is lost in a wilderness and meets a lady, who represents Nature and gives him much instruction. We see here vision, allegory, and instruction with a moral object—three elements we find again in the Divine Comedy. Francesco da Barberino, a learned lawyer who was secretary to bishops, a judge, and a notary, wrote two little allegorical poems, the Documenti d'amore and Del reggimento e dei costumi delle donne. The poems today are generally studied not as literature, but for historical context. A fourth allegorical work was the Intelligenza, which is sometimes attributed to Compagni, but is probably only a translation of French poems.In the 15th century, humanist and publisher Aldus Manutius published

Tuscan poets Petrarch and Dante Alighieri (The Divine Comedy), creating the model for what became a standard for modern Italian.

• Brunetto Latini (1220-94): Latini was exiled to Paris from 1260 to 1266 and became a link between France and Tuscany. He wrote the Trèsor (in French) and the Tesoretto and contributed to the development of allegorical and didactic poetry, along with a tradition of rhetoric upon which the "dolce stil nuovo" and Divine Comedy were based.

•• The "dolce stil nuovo" (1270-1310): Although in theory they

continued the Provençal tradition and counted themselves members of the Sicilian School of Federico II's reign, the Florentine writers went their own way. They used all their knowledge of science and philosophy in a delicate and detailed analysis of love. Among them were Guido Cavalcanti and the young Dante.

• The Chroniclers: These were men of the merchant class whose involvement in city affairs inspired them to write tales in the vulgar tongue. Some, such as Dino Compagni (d. 1324), wrote about local conflicts and rivalries; others, like Giovanni Villani (d. 1348), took much wider European events as their subject.

The Three Jewels in the Crown

• Dante Alighieri (1265-1321): Dante's Divine Comedy is one of the great works of world literature, and it was also proof that in literature the vulgar tongue could rival Latin. He had already defended his argument in two unfinished treatises, De vulgari eloquentia and Convivio. But to prove his point it needed the Divine Comedy, "this masterpiece in which Italians rediscovered their language in sublime form" (Bruno Migliorini).

• Petrarch (1304-74): Francesco Petrarca was born in Arezzo, since his father was in exile from Florence. He was a passionate admirer of ancient Roman civilization and one of the great early Renaissance humanists, creating a Republic of Letters. His

philological work was highly respected, as were his translations from Latin into the Vulgate, and also his own Latin works. But it is his love poetry, written in the vulgar tongue, that keeps his name alive today. His Canzoniere had enormous influence on the poets of the 15th and 16th centuries.

• Boccaccio (1313-75): This was a man from the rising commercial classes, whose Decameron has been described as a "merchant's epic" It consists of one hundred stories told by characters who are also part of a story that provides the setting for the whole, much like The Arabian Nights. The work was to become a model for fiction and prose writing. Boccaccio was the first to write a commentary on Dante, and he was also a friend and disciple of Petrarch. Around him gathered enthusiasts of the new humanism.

1. Mangi la carne? Si’, la mangio.2. Bevi il te’ ? Si’, la bevo.3. Mangi il pesce? Si’, lo mangio.4. Bevi il latte? Si’, lo bevo.5. Mangi gli asparagi? No, non li mangio.6. Bevi la birra messicana? No, non la bevo.7. Mangi I carciofi? Si’, li mangio.

Divine Commedy

Divine Comedy"The Divine Comedy" redirects here. For other uses, see The Divine Comedy ..

Dante's Divine ComedyInferno (Hell) · Purgatorio (Purgatory) ·

Paradiso (Heaven)• v t e

Dante shown holding a copy of the Divine Comedy, next to the entrance to Hell, the seven terraces of Mount Purgatory and the city of Florence, with the spheres of Heaven above, in Michelino's fresco

First edition to name the poem Divina Comedia, 1555The Divine Comedy (Italian: Divina Commedia [diˈviːna komˈmɛːdja]) is an

epic poem by Dante Alighieri, begun c. 1308 and completed 1320, a year before his death in 1321. It is widely considered the preeminent work of Italian literature[1] and is seen as one of the greatest works of world literature.[2] The poem's imaginative vision of the afterlife is representative of the medieval world-view as it had developed in the Western Church by the 14th century. It helped establish the Tuscan language, in which it is written, as the standardized Italian language.[3] It is divided into three parts: Inferno, Purgatorio, and Paradiso.

Purgatory (Purgatorio) illustration by Gustave Doré

The Divine Comedy illustration by Gustave Doré

Paradise (Paradiso)On the surface, the poem describes Dante's travels through Hell, Purgatory, and Paradise or Heaven;[4] but at a deeper level, it represents, allegorically, the soul's journey towards God.[5] At this deeper level, Dante draws on medieval Christian theology and philosophy, especially Thomistic philosophy and the Summa Theologica of Thomas Aquinas.[6] Consequently,

the Divine Comedy has been called "the Summa in verse".[7]

The work was originally simply titled Comedìa and the word Divina was added by Giovanni Boccaccio. The first printed edition to add the word divina to the title was that of the Venetian humanist Lodovico Dolce,[8] published in 1555 by Gabriele Giolito de' Ferrari.

Contents  [show] 

Structure and story[edit]

Detail of a manuscript in Milan's Biblioteca Trivulziana (MS 1080), written in 1337 by Francesco di ser Nardo da Barberino, showing the beginning of Dante's Comedy.

The Divine Comedy is composed of 14,233 lines that are divided into three canticas (Italian plural cantiche) – Inferno (Hell), Purgatorio (Purgatory), and Paradiso (Paradise) – each consisting of 33 cantos (Italian plural canti). An initial canto, serving as an introduction to the poem and generally considered to be part of the first cantica, brings the total number of cantos to 100. It is generally accepted, however, that the first two cantos serve as a unitary prologue to the entire epic, and that the opening two cantos of each cantica serve as prologues to each of the three cantiche. [9][10][11]

The number three is prominent in the work, represented in part by the number of canticas and their lengths. Additionally, the verse scheme used, terza rima, is hendecasyllabic (lines of eleven syllables), with the lines composing tercets according to the rhyme scheme aba, bcb, cdc, ded, ....Written in the first person, the poem tells of Dante's journey through the three realms of the dead, lasting from the night before Good Friday to the Wednesday after Easter in the spring of 1300. The Roman poet Virgil guides him through Hell and Purgatory; Beatrice, Dante's ideal woman, guides him through Heaven. Beatrice was a Florentine woman whom he had met in childhood and admired from afar in the mode of the then-

fashionable courtly love tradition, which is highlighted in Dante's

earlier work La Vita Nuova.The structure of the three realms follows a common numerical pattern of 9 plus 1, for a total of 10: 9 circles of the Inferno, followed by Lucifer contained at its bottom; 9 rings of Mount Purgatory, followed by the Garden of Eden crowning its summit; and the 9 celestial bodies of Paradiso, followed by the Empyrean containing the very essence of God. Within each group of 9, 7 elements correspond to a specific moral scheme, subdivided into three subcategories, while 2 others of greater particularity are added to total nine. For example, the seven deadly sins of the Catholic Church that are cleansed in Purgatory are joined by special realms for the Late repentant and the excommunicated by the church. The core seven sins within Purgatory correspond to a moral scheme of love perverted, subdivided into three groups corresponding to excessive love (Lust, Gluttony, Greed), deficient love (Sloth), and malicious love (Wrath, Envy, Pride).[citation needed]

In central Italy's political struggle between Guelphs and Ghibellines, Dante was part of the Guelphs, who in general favored the Papacy over the Holy Roman Emperor. Florence's Guelphs split into factions around 1300: the White Guelphs and the Black Guelphs. Dante was among the White Guelphs who were exiled in 1302 by the Lord-Mayor Cante de' Gabrielli di Gubbio, after troops under Charles of Valois entered the city, at the request of Pope Boniface VIII, who supported the Black Guelphs. This exile, which lasted the rest of Dante's life, shows its influence in many parts of the Comedy, from prophecies of Dante's exile to Dante's views of politics, to the eternal damnation of some of his opponents.[citation needed]

The last word in each of the three canticas is stelle ("stars").

InfernoGustave Doré's engravings illustrated the Divine Comedy (1861–1868); here Charon comes to ferry souls across the river Acheron to Hell.Main article: Inferno (Dante)The poem begins on the night before Good Friday in the year 1300, "halfway along our life's path" (Nel mezzo del cammin di nostra vita). Dante is thirty-five years old, half of the biblical lifespan of 70 (Psalms 89:10, Vulgate), lost in a dark wood (understood as sin),[12][13][14] assailed by beasts (a lion, a leopard, and a she-wolf) he cannot evade, and unable to find the

"straight way" (diritta via) – also translatable as "right way" – to salvation (symbolized by the sun behind the mountain). Conscious that he is ruining himself and that he is falling into a "low place" (basso loco) where the sun is silent ('l sol tace), Dante is at last rescued by Virgil, and the two of them begin their journey to the underworld. Each sin's punishment in Inferno is a contrapasso, a symbolic instance of poetic justice; for example, fortune-tellers have to walk with their heads on backwards, unable to see what is ahead, because that was what they had tried to do in life:they had their faces twisted toward their haunchesand found it necessary to walk backward,because they could not see ahead of them.... and since he wanted so to see ahead,he looks behind and walks a backward path.[15]

Allegorically, the Inferno represents the Christian soul seeing sin for what it really is, and the three beasts represent three types of sin: the self-indulgent, the violent, and the malicious.[16] These three types of sin also provide the three main divisions of Dante's Hell: Upper Hell, outside the city of Dis, for the four sins of indulgence (lust, gluttony, avarice, anger); Circle 7 for the sins of violence; and Circles 8 and 9 for the sins of malice (fraud and treachery). Added to these are two unlike categories that are specifically spiritual: Limbo, in Circle 1, contains the virtuous pagans who were not sinful but were ignorant of Christ, and Circle 6 contains the heretics who contradicted the doctrine and confused the spirit of Christ. The circles number 9, with the addition of Satan completing the structure of 9 + 1 = 10.[17]

PurgatorioMain article: Purgatorio

Dante gazes at Mount Purgatory in an allegorical portrait by Agnolo Bronzino, painted c. 1530

Having survived the depths of Hell, Dante and Virgil ascend out of the undergloom to the Mountain of Purgatory on the far side of the world. The Mountain is on an island, the only land in the Southern Hemisphere, created by the displacement of rock which resulted when Satan's fall created Hell [18] (which Dante portrays as existing underneath Jerusalem[19]). The mountain

has seven terraces, corresponding to the seven deadly sins or "seven roots of sinfulness."[20] The classification of sin here is more psychological than that of the Inferno, being based on motives, rather than actions. It is also drawn primarily from Christian theology, rather than from classical sources.[21] However, Dante's illustrative examples of sin and virtue draw on classical sources as well as on the Bible and on contemporary events.Love, a theme throughout the Divine Comedy, is particularly important for the framing of sin on the Mountain of Purgatory. While the love that flows from God is pure, it can become sinful as it flows through humanity. Humans can sin by using love towards improper or malicious ends (Wrath, Envy, Pride), or using it to proper ends but with love that is either not strong enough (Sloth) or love that is too strong (Lust, Gluttony, Greed). Below the seven purges of the soul is the Ante-Purgatory, containing the Excommunicated from the church and the Late repentant who died, often violently, before receiving rites. Thus the total comes to nine, with the addition of the Garden of Eden at the summit, equaling ten. [22]

Allegorically, the Purgatorio represents the Christian life. Christian souls arrive escorted by an angel, singing In exitu Israel de Aegypto. In his Letter to Cangrande, Dante explains that this reference to Israel leaving Egypt refers both to the redemption of Christ and to "the conversion of the soul from the sorrow and misery of sin to the state of grace."[23] Appropriately, therefore, it is Easter Sunday when Dante and Virgil arrive.The Purgatorio is notable for demonstrating the medieval knowledge of a spherical Earth. During the poem, Dante discusses the different stars visible in the southern hemisphere, the altered position of the sun, and the various timezones of the Earth. At this stage it is, Dante says, sunset at Jerusalem, midnight on the River Ganges, and sunrise in Purgatory.

ParadisoMain article: Paradiso (Dante)

Paradiso, Canto 3: Dante and Beatrice speak to Piccarda and Constance of Sicily, in a fresco by Philipp VeitAfter an initial ascension, Beatrice guides Dante through the nine celestial spheres of Heaven. These are concentric and spherical, as in Aristotelian and Ptolemaic cosmology. While the structures of the Inferno and Purgatorio were based on different classifications of sin, the structure of the Paradiso is based on the four cardinal virtues and the three theological virtues.The first seven spheres of Heaven deal solely with the cardinal virtues of Prudence, Fortitude, Justice and Temperance. The first three describe a deficiency of one of the cardinal virtues – the Moon, containing the inconstant, whose vows to God waned as the moon and thus lack fortitude; Mercury, containing the ambitious, who were virtuous for glory and thus lacked justice; and Venus, containing the lovers, whose love was directed towards another than God and thus lacked Temperance. The final four incidentally are positive examples of the cardinal virtues, all led on by the Sun, containing the prudent, whose wisdom lighted the way for the other virtues, to which the others are bound (constituting a category on its own). Mars contains the men of fortitude who died in the cause of Christianity; Jupiter contains the kings of Justice; and Saturn contains the temperate, the monks who abided by the contemplative lifestyle. The seven subdivided into three are raised further by two more categories: the eighth sphere of the fixed stars that contain those who achieved the theological virtues of faith, hope and love, and represent the Church Triumphant – the total perfection of humanity, cleansed of all the sins and carrying all the virtues of heaven;

and the ninth circle, or Primum Mobile (corresponding to the Geocentricism of Medieval astronomy), which contains the angels, creatures never poisoned by original sin. Topping them all is the Empyrean, which contains the essence of God, completing the 9-fold division to 10.Dante meets and converses with several great saints of the Church, including Thomas Aquinas, Bonaventure, Saint Peter, and St. John. The Paradiso is consequently more theological in nature than the Inferno and the Purgatorio. However, Dante admits that the vision of heaven he receives is merely the one his human eyes permit him to see, and thus the vision of heaven found in the Cantos is Dante's personal vision.The Divine Comedy finishes with Dante seeing the Triune God. In a flash of understanding that he cannot express, Dante finally understands the mystery of Christ's divinity and humanity, and his soul becomes aligned with God's love:But already my desire and my willwere being turned like a wheel, all at one speed,by the Love which moves the sun and the other stars.[25]

Earliest manuscriptsAccording to the Italian Dante Society, no original manuscript written by Dante has survived, although there are many manuscript copies from the 14th and 15th centuries – more than 825 are listed on their site.[26]

Earliest printed editions

First printed edition, 11 April 1472.

Illustration of Lucifer in the first fully illustrated print edition. Woodcut for Inferno, canto 33. Pietro di Piasi, Venice, 1491.

The first printed edition was published in Foligno, Italy, by Johann Numeister and Evangelista Angelini da Trevi on 11 April 1472. [27] Of the 300 copies printed, fourteen still survive. The original printing press is on display in the Oratorio della Nunziatella in Foligno.Early printed editionsDate Title Place Publisher Notes

1472 La commedia Foligno

Johann Numeister and Evangelista Angelini da Trevi

First printed edition

1477 La commedia Venice Wendelin of

Speyer

1481

Comento di Christophoro Landino fiorentino sopra la Comedia di Dante Alighieri

Florence

Nicolaus Laurentii

With Cristoforo Landino's commentary in Italian

1491

Comento di Christophoro Landino fiorentino sopra la Comedia di Dante Alighieri

Venice Pietro di PiasiFirst fully illustrated edition

1506

Commedia di Dante insieme con uno diagolo circa el sito forma et misure dello inferno

Florence

Philippo di Giunta

1555 La Divina Comedia di Dante Venice Gabriel Giolito First use of

"Divine" in title

Dante Alighieri

Beatrice "Bice" di Folco Portinari[1] (pronounced Italian: [be.aˈtriːtʃe], 1266–1290) was a Florentine woman who has been commonly identified as the principal inspiration for Dante Alighieri's Vita Nuova, and is also commonly identified with the Beatrice who appears as one of his guides in the Divine Comedy (La Divina Commedia) in the last book, Paradiso, and in the last four cantos of Purgatorio. There she takes over as guide from the Latin poet Virgil because, as a pagan, Virgil cannot enter Paradise and because, being the incarnation of beatific love, as her name implies, it is Beatrice who leads into the Beatific vision.Scholars have long debated whether the historical Beatrice is intended to be identified with either or both of the Beatrices in Dante's writings. She was apparently the daughter of the banker Folco Portinari, and was married to another banker, Simone dei Bardi. Dante claims to have met a "Beatrice" only twice, on occasions separated by nine years, but was so affected by the meetings that he carried his love for her throughout his life.

BiographyThe tradition that identifies Bice di Folco Portinari as the Beatrice loved by Dante is now widely, though not unanimously, accepted by scholars. Boccaccio, in his commentary on the Divine Comedy, was the first one to explicitly refer to the young woman; all later references are dependent on his unsubstantiated identification. Clear documents on her life have always been scarce, helping make even her existence doubtful. The only hard evidence is the will of Folco Portinari from 1287 which says " ..item d. Bici

filie sue et uxoris d. Simonis del Bardis reliquite ..., lib.50 ad floren"—essentially a bequest to his daughter who was married to Simone dei Bardi. Folco Portinari was a rich banker, born in Portico di Romagna. He moved to Florence and lived in a house near Dante where he had six daughters. Folco also gave generously to found the hospital of Santa Maria Nuova.

DANTE

Dante was an Italian poet and moral philosopher best known for the epic poem The Divine Comedy, which comprises sections representing the three tiers of the Christian afterlife: purgatory, heaven, and hell. This poem, a great work of medieval literature and considered the greatest work of literature composed in Italian, is a philosophical Christian vision of mankind’s eternal fate. Dante is seen as the father of modern Italian, and his works have flourished since before his 1321 death.

Durante degli Alighieri (Italian: [duˈrante deʎʎ aliˈɡjɛːri]), simply called Dante (Italian: [ˈdante], UK /ˈdænti/, US /ˈdɑːnteɪ/; c. 1265 – 1321), was a major Italian poet of the Late Middle Ages. His Divine Comedy, originally called Comedìa (modern Italian: Commedia) and later christened Divina by Boccaccio, is widely considered the greatest literary work composed in the Italian language and a masterpiece of world literature.[1]

In the late Middle Ages, the overwhelming majority of poetry was written in Latin, and therefore accessible only to affluent and educated audiences. In De vulgari eloquentia (On Eloquence in the Vernacular ), however, Dante defended use of the vernacular in literature. He himself would even write in the Tuscan dialect for works such as The New Life (1295) and the aforementioned Divine Comedy; this choice, although highly unorthodox, set a hugely important precedent that later Italian writers such as Petrarch and Boccaccio would follow. As a result, Dante played an instrumental role in establishing the national language of Italy. Dante's significance also extends past his home country; his depictions of Hell, Purgatory, and Heaven have provided inspiration for a large body of Western art, and are cited as an influence on the works of John Milton, Geoffrey Chaucer, William Shakespeare, and Lord Alfred Tennyson, among many others. In addition, the first use of the interlocking three-line rhyme scheme, or the terza rima ,

is attributed to him.

Dante has been called "the Father of the Italian language".[

2]

In Italy, Dante is often referred to as il Sommo Poeta ("the Supreme Poet") and il Poeta; he, Petrarch, and Boccaccio are also called "the three fountains" or "the three crowns".

Contents  

Life[Dante was born in Florence, Italy. The exact date of his birth is unknown, although it is generally believed to be around 1265. This can be deduced from autobiographic allusions in the Divine Comedy. Its first section, the Inferno, begins, "Nel mezzo del cammin di nostra vita" ("Midway upon the journey of our life"), implying that Dante was around 35 years old, since the average lifespan according to the Bible (Psalm 89:10, Vulgate) is 70 years; and since his imaginary travel to the nether world took place in 1300, he was most probably born around 1265. Some verses of the Paradiso section of the Divine Comedy also provide a possible clue that he was born under the sign of Gemini: "As I revolved with the eternal twins, I saw revealed, from hills to river outlets, the threshing-floor that makes us so ferocious" (XXII 151–154). In 1265, the sun was in Gemini between approximately May 11 and June 11.[3]

Portrait of Dante, from a fresco in the Palazzo dei Giudici, FlorenceDante claimed that his family descended from the ancient Romans (Inferno, XV, 76), but the earliest relative he could mention by name was Cacciaguida degli Elisei (Paradiso, XV, 135), born no earlier than about 1100. Dante's father, Alaghiero[4] or Alighiero di Bellincione, was a White Guelph who suffered no reprisals after the Ghibellines won the Battle of Montaperti in the middle of the 13th century. This suggests that Alighiero or his family may have enjoyed some protective prestige and status, although some suggest that the politically inactive Alighiero was of such low standing that he was not considered worth exiling.[5]

Dante's family had loyalties to the Guelphs, a political alliance that supported the Papacy and which was involved in complex opposition to the Ghibellines, who were backed by the Holy Roman Emperor. The poet's mother was Bella, likely a member of the Abati family.[4] She died when Dante was not yet ten years old, and Alighiero soon married again, to Lapa di Chiarissimo Cialuffi. It is uncertain whether he really married her, since widowers were socially limited in such matters, but this woman definitely bore him two children, Dante's half-brother Francesco and half-sister Tana (Gaetana). When Dante was 12, he was promised in marriage to Gemma di Manetto Donati, daughter of Manetto Donati, member of the powerful Donati family.[4] Contracting marriages at this early age was quite common and involved a formal ceremony, including contracts signed before a notary. But by this time Dante had fallen in love with another, Beatrice Portinari (known also as Bice), whom he first met when he was only nine. Years after his marriage to Gemma he claims to have met Beatrice again; he wrote several sonnets to Beatrice but never mentioned Gemma in any of his poems. The exact date of his marriage is not known: the only certain information is that,

before his exile in 1301, he had three children (Pietro, Jacopo and Antonia).[4]

Dante in Verona, by Antonio CottiDante fought with the Guelph cavalry at the Battle of Campaldino (June 11, 1289).[6] This victory brought about a reformation of the Florentine constitution. To take any part in public life, one had to enroll in one of the city's many commercial or artisan guilds, so Dante entered the Physicians' and Apothecaries' Guild. In the following years, his name is occasionally recorded as speaking or voting in the various councils of the republic. A substantial portion of minutes from such meetings in the years 1298–1300 was lost during World War II, however, so the true extent of Dante's participation in the city's councils is uncertain.Gemma bore Dante several children. Although several others subsequently claimed to be his offspring, it is likely that only Jacopo, Pietro, Giovanni and Antonia were his actual children. Antonia later became a nun, taking the name Sister Beatrice.

Education and poetryThis section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (December 2015) (Learn how and when to remove this template message)

Not much is known about Dante's education; he presumably studied at home or in a chapter school attached to a church or monastery in Florence. It is known that he studied Tuscan poetry and that he admired the compositions of the Bolognese poet Guido Guinizelli—whom in Purgatorio XXVI he characterized as his "father"—at a time when the Sicilian school (Scuola poetica Siciliana), a cultural group from Sicily, was becoming known

in Tuscany. His interests brought him to discover the Provençal poetry of the troubadours, such as Arnaut Daniel, and the Latin writers of classical antiquity, including Cicero, Ovid and especially Virgil.

Statue of Dante at the Uffizi, FlorenceDante said he first met Beatrice Portinari, daughter of Folco Portinari, at age nine, and claimed to have fallen in love with her "at first sight", apparently without even talking with her. He saw her frequently after age 18, often exchanging greetings in the street, but never knew her well. In effect, he set an example of so-called courtly love, a phenomenon developed in French and Provençal poetry of prior centuries. Dante's experience of such love was typical, but his expression of it was unique. It was in the name of this love that Dante left his imprint on the dolce stil novo (sweet new style, a term which Dante himself coined), and he would join other contemporary poets and writers in exploring never-before-emphasized aspects of love (Amore). Love for Beatrice (as Petrarch would show for Laura somewhat differently) would be his reason for poetry and for living, together with political passions. In many of his poems, she is depicted as semi-divine, watching over him constantly and providing spiritual instruction, sometimes harshly. When Beatrice died in 1290, Dante sought refuge in Latin literature. The Convivio chronicles his having read Boethius's De consolatione philosophiae and Cicero's De Amicitia. He then dedicated himself to

philosophical studies at religious schools like the Dominican one in Santa Maria Novella. He took part in the disputes that the two principal mendicant orders (Franciscan and Dominican) publicly or indirectly held in Florence, the former explaining the doctrines of the mystics and of St. Bonaventure, the latter expounding on the theories of St. Thomas Aquinas.At 18, Dante met Guido Cavalcanti, Lapo Gianni, Cino da Pistoia and soon after Brunetto Latini; together they became the leaders of the dolce stil novo. Brunetto later received special mention in the Divine Comedy (Inferno, XV, 28) for what he had taught Dante: Nor speaking less on that account I go With Ser Brunetto, and I ask who are his most known and most eminent companions. Some fifty poetical commentaries by Dante are known (the so-called Rime, rhymes), others being included in the later Vita Nuova and Convivio. Other studies are reported, or deduced from Vita Nuova or the Comedy, regarding painting and music.

Illustration for Purgatory (Purgatorio) by Doré

Illustration for Paradiso (of The Divine Comedy) by Paul Gustave Louis Christophe Doré

Illustration for Paradiso (of The Divine Comedy) by Paul Gustave Louis Christophe DoréFlorence and politics

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Further information: Guelphs and GhibellinesDante, like most Florentines of his day, was embroiled in the Guelph–Ghibelline conflict. He fought in the Battle of Campaldino (June 11, 1289), with the Florentine Guelphs against Arezzo Ghibellines;[6][7] then in 1294 he was among the escorts of Charles Martel of Anjou (grandson of Charles I of Naples, more commonly called Charles of Anjou) while he was in Florence. To further his political career, he became a pharmacist. He did not intend to practice as one, but a law issued in 1295 required nobles aspiring to public office to be enrolled in one of the Corporazioni delle Arti e dei Mestieri, so Dante obtained admission to the Apothecaries' Guild. This profession was not inappropriate, since at that time books were sold from apothecaries' shops. As a politician he accomplished little, but held various offices over some years in a city rife with political unrest.

Dante Alighieri, detail from Luca Signorelli's fresco, Chapel of San Brizio, Orvieto Cathedral

After defeating the Ghibellines, the Guelphs divided into two factions: the White Guelphs (Guelfi Bianchi)—Dante's party, led by Vieri dei Cerchi—and the Black Guelphs (Guelfi Neri), led by Corso Donati. Although the split was along family lines at first, ideological differences arose based on opposing views of the papal role in Florentine affairs, with the Blacks supporting the Pope and the Whites wanting more freedom from Rome. The Whites took power first and expelled the Blacks. In response, Pope Boniface VIII planned a military occupation of Florence. In 1301, Charles of Valois, brother of King Philip IV of France, was expected to visit Florence because the Pope had appointed him peacemaker for Tuscany. But the city's government had treated the Pope's ambassadors badly a few weeks before, seeking independence from papal influence. It was believed that Charles had received other unofficial instructions, so the council sent a delegation to Rome to ascertain the Pope's intentions. Dante was one of the delegates.

Exile and death

Pope Boniface quickly dismissed the other delegates and asked Dante

alone to remain in Rome. At the same time (November 1, 1301), Charles of Valois entered Florence with the Black Guelphs, who in the next six days destroyed much of the city and killed many of their enemies. A new Black Guelph government was installed, and Cante de' Gabrielli da Gubbio was appointed podestà of the city. In March 1302, Dante, a White Guelph by affiliation, along with the Gherardini family, was condemned to exile for two years and ordered to pay a large fine.[8] Dante was accused of corruption and financial wrongdoing by the Black Guelphs for the time that Dante was serving as city prior (Florence's highest position) for two months in 1300. [9] The poet was still in Rome in 1302 where the Pope, who had backed the Black Guelphs, had "suggested" that Dante stay. Florence under the Black Guelphs therefore considered Dante an absconder. [10] Dante did not pay the fine, in part because he believed he was not guilty and in part because all his assets in Florence had been seized by the Black Guelphs. He was condemned to perpetual exile; if he returned to Florence without paying the fine, he could have been burned at the stake. (In June 2008, nearly seven centuries after his death, the city council of Florence passed a motion rescinding Dante's sentence.)[11]

A recreated death mask of Dante Alighieri in Palazzo Vecchio, FlorenceHe took part in several attempts by the White Guelphs to regain power, but these failed due to treachery. Dante, bitter at the treatment he received from

his enemies, also grew disgusted with the infighting and ineffectiveness of his erstwhile allies and vowed to become a party of one. He went to Verona as a guest of Bartolomeo I della Scala, then moved to Sarzana in Liguria. Later he is supposed to have lived in Lucca with a woman called Gentucca, who made his stay comfortable (and was later gratefully mentioned in Purgatorio, XXIV, 37). Some speculative sources claim he visited Paris between 1308 and 1310, and other sources even less trustworthy took him to Oxford: these claims, first occurring in Boccaccio's book on Dante several decades after his death, seem inspired by readers who were impressed with the poet's wide learning and erudition. Evidently, Dante's command of philosophy and his literary interests deepened in exile and when he was no longer busy with the day-to-day business of Florentine domestic politics, and this is evidenced in his prose writings in this period, but there is no real evidence that he ever left Italy. Dante's Immensa Dei dilectione testante to Henry VII of Luxembourg confirms his residence "beneath the springs of Arno, near Tuscany" in March 1311.

In 1310, Holy Roman Emperor Henry VII of Luxembourg marched into Italy at the head of 5,000 troops. Dante saw in him a new Charlemagne who would restore the office of the Holy Roman Emperor to its former glory and also retake Florence from the Black Guelphs. He wrote to Henry and several Italian princes, demanding that they destroy the Black Guelphs. Mixing religion and private concerns in his writings, he invoked the worst anger of God against his city and suggested several particular targets that were also his personal enemies. It was during this time that he wrote De Monarchia, proposing a universal monarchy under Henry VII.

Statue of Dante in the Piazza di Santa Croce in Florence, Enrico Pazzi, 1865At some point during his exile, he conceived of the Comedy, but the date is uncertain. The work is much more assured and on a larger scale than anything he had produced in Florence; it is likely he would have undertaken such a work only after he realized his political ambitions, which had been central to him up to his banishment, had been halted for some time, possibly forever. It is also noticeable that Beatrice has returned to his imagination with renewed force and with a wider meaning than in the Vita Nuova; in Convivio (written c.1304–07) he had declared that the memory of this youthful romance belonged to the past.

An early outside indication that the poem was under way is a notice by Francesco da Barberino, tucked into his Documenti d'Amore (Lessons of Love), written probably in 1314 or early 1315. Speaking of Virgil, Francesco notes in appreciative words that Dante followed the Roman classic in a poem called "Comedy" and that the setting of this poem (or part of it) was the underworld; i.e., hell.[12] The brief note gives no incontestable indication that he himself had seen or read even the Inferno or that this part had been published at the time, but it indicates composition was well under way and

that the sketching of the poem might have begun some years before. (It has been suggested that a knowledge of Dante's work also underlies some of the illuminations in Francesco da Barberino's earlier Officiolum [c. 1305–08], a manuscript that came to light only in 2003.[13]) We know that the Inferno had been published by 1317; this is established by quoted lines interspersed in the margins of contemporary dated records from Bologna, but there is no certainty as to whether the three parts of the poem were each published in full or, rather, a few cantos at a time. Paradiso seems to have been published posthumously.

In Florence, Baldo d'Aguglione pardoned most of the White Guelphs in exile and allowed them to return. However, Dante had gone too far in his violent letters to Arrigo (Henry VII) and his sentence was not revoked.In 1312 Henry assaulted Florence and defeated the Black Guelphs, but there is no evidence that Dante was involved. Some say he refused to participate in the assault on his city by a foreigner; others suggest that he had become unpopular with the White Guelphs, too, and that any trace of his passage had carefully been removed. Henry VII died (from a fever) in 1313, and with him any hope for Dante to see Florence again. He returned to Verona, where Cangrande I della Scala allowed him to live in certain security and, presumably, in a fair degree of prosperity. Cangrande was admitted to Dante's Paradise (Paradiso, XVII, 76).

In 1315, Florence was forced by Uguccione della Faggiuola (the military officer controlling the town) to grant an amnesty to those in exile, including Dante. But for this, Florence required public penance in addition to a heavy fine. Dante refused, preferring to remain in exile. When Uguccione defeated Florence, Dante's death sentence was commuted to house arrest on condition that he go to Florence to swear he would never enter the town again. He refused to go, and his death sentence was confirmed and extended to his sons. He still hoped late in life that he might be invited back to Florence on honorable terms. For Dante, exile was nearly a form of death, stripping him of much of his identity and his heritage. He addressed the pain of exile in Paradiso, XVII (55–60), where Cacciaguida, his great-great-grandfather, warns him what to expect:

Mural of Dante in the Uffizi Gallery, by Andrea del Castagno, c. 1450... Tu lascerai ogne cosa diletta

... You shall leave everything you love most:

più caramente; e questo è quello strale

this is the arrow that the bow of exile

che l'arco de lo essilio pria saetta.

shoots first. You are to know the bitter taste

Tu proverai sì come sa di sale

of others' bread, how salty it is, and know

lo pane altrui, e come è duro calle

how hard a path it is for one who goes

lo scendere e 'l salir per l'altrui scale ...

ascending and descending others' stairs ...

As for the hope of returning to Florence, he describes it as if he had already accepted its impossibility (in Paradiso, XXV, 1–9):

Se mai continga che 'l poema sacro

If it ever comes to pass that the sacred poem

al quale ha posto to which both heaven and

mano e cielo e terra, earth have set their handsì che m'ha fatto per molti anni macro,

so as to have made me lean for many years

vinca la crudeltà che fuor mi serra

should overcome the cruelty that bars me

del bello ovile ov'io dormi' agnello,

from the fair sheepfold where I slept as a lamb,

nimico ai lupi che li danno guerra;

an enemy to the wolves that make war on it,

con altra voce omai, con altro vello

with another voice now and other fleece

ritornerò poeta, e in sul fonte

I shall return a poet and at the font

del mio battesmo prenderò 'l cappello ...

of my baptism take the laurel crown ...

Alighieri accepted Prince Guido Novello da Polenta's invitation to Ravenna in 1318. He finished Paradiso, and died in 1321 (aged 56) while returning to Ravenna from a diplomatic mission to Venice, possibly of malaria contracted there. He was buried in Ravenna at the Church of San Pier Maggiore (later called San Francesco). Bernardo Bembo, praetor of Venice, erected a tomb for him in 1483.

Dante's tomb in Ravenna, built in 1780

Cenotaph in Basilica of Santa Croce, Florence

On the grave, some verses of Bernardo Canaccio, a friend of Dante, dedicated to Florence:parvi Florentia mater amoris"Florence, mother of little love"

Legacy[

The first formal biography of Dante was the Vita di Dante (also known as Trattatello in laude di Dante), written after 1348 by Giovanni Boccaccio;[14] Although several statements and episodes of it have been deemed unreliable on the basis of modern research, an earlier account of Dante's life and works had been included in the Nuova Cronica of the Florentine chronicler Giovanni Villani.[15]

Florence eventually came to regret Dante's exile, and the city made repeated requests for the return of his remains. The custodians of the body in Ravenna refused, at one point going so far as to conceal the bones in a false wall of the monastery. Nonetheless, a tomb was built for him in Florence in 1829, in the basilica of Santa Croce. That tomb has been empty ever since, with Dante's body remaining in Ravenna, far from the land he had loved so dearly. The front of his tomb in Florence reads Onorate l'altissimo poeta—which roughly translates as "Honor the most exalted poet". The phrase is a quote from the fourth canto of the Inferno, depicting Virgil's welcome as he returns among the great ancient poets spending eternity in limbo. The ensuing line, L'ombra sua torna, ch'era dipartita ("his spirit, which had left us, returns"), is poignantly absent from the empty tomb.On April 30, 1921, in honor of the 600th anniversary of Dante's death, Pope Benedict XV promulgated an encyclical named In praeclara summorum, calling him one "of the many celebrated geniuses of whom the Catholic faith can boast" and the "pride and glory of humanity".[16]

In 2007, a reconstruction of Dante's face was undertaken in a collaborative project. Artists from Pisa University and engineers at the University of Bologna at Forlì constructed the model, portraying Dante's features as somewhat different from what was once thought.[17][18]

A celebration was held for the 750th anniversary of his birth, in 2015. [19][20]

Works

(Purgatorio), and Paradise (Paradiso); he is first guided by the The Divine Comedy describes Dante's journey through Hell (Inferno), PurgatoryRoman poet Virgil and then by Beatrice, the subject of his love (and of another of his works, La Vita Nuova). While the vision of Hell, the Inferno, is vivid for most modern readers, the theological niceties presented in the other books require a certain amount of patience and knowledge to appreciate. Purgatorio is arguably the most lyrical of the three, referencing more contemporary poets and artists than Inferno; Paradiso is the most heavily theological, and the one in which, many scholars have argued, the Divine Comedy's most beautiful and mystic passages appear (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa"—"at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142).

Dante, poised between the mountain of purgatory and the city of Florence, displays the incipit Nel mezzo del cammin di nostra vita in a detail of Domenico di Michelino's

painting, Florence, 1465.With its seriousness of purpose, its literary stature and the range—both stylistic and thematic—of its content, the Comedy soon became a cornerstone in the evolution of Italian as an established literary language. Dante was more aware than most early Italian writers of the variety of Italian dialects and of the need to create a literature and a unified literary language beyond the limits of Latin writing at the time; in that sense, he is a

forerunner of the Renaissance, with its effort to create vernacular literature in competition with earlier classical writers. Dante's in-depth knowledge (within the limits of his time) of Roman antiquity, and his evident admiration for some aspects of pagan Rome, also point forward to the 15th century. Ironically, while he was widely honored in the centuries after his death, the Comedy slipped out of fashion among men of letters: too medieval, too rough and tragic, and not stylistically refined in the respects that the high and late Renaissance came to demand of literature.

He wrote the Comedy in a language he called "Italian", in some sense an amalgamated literary language mostly based on the regional dialect of Tuscany, but with some elements of Latin and other regional dialects. He deliberately aimed to reach a readership throughout Italy including laymen, clergymen and other poets. By creating a poem of epic structure and philosophic purpose, he established that the Italian language was suitable for the highest sort of expression. In French, Italian is sometimes nicknamed la langue de Dante. Publishing in the vernacular language marked Dante as one of the first (among others such as Geoffrey Chaucer and Giovanni Boccaccio) to break free from standards of publishing in only Latin (the language of liturgy, history and scholarship in general, but often also of lyric poetry). This break set a precedent and allowed more literature to be published for a wider audience, setting the stage for greater levels of literacy in the future. However, unlike Boccaccio, Milton or Ariosto, Dante did not really become an author read all over Europe until the Romantic era. To the Romantics, Dante, like Homer and Shakespeare, was a prime example of the "original genius" who sets his own rules, creates persons of overpowering stature and depth, and goes far beyond any imitation of the patterns of earlier masters; and who, in turn, cannot truly be imitated. Throughout the 19th century, Dante's reputation grew and solidified; and by 1865, the 600th anniversary of his birth, he had become established as one of the greatest literary icons of the Western world.

Dante Alighieri, attributed to Giotto, in the chapel of the Bargello palace in Florence. This oldest picture of Dante was painted just prior to his exile and has since been heavily

restored.

New readers often wonder how such a serious work may be called a "comedy". In the classical sense the word comedy refers to works which reflect belief in an ordered universe, in which events tend toward not only a happy or amusing ending but one influenced by a Providential will that orders all things to an ultimate good. By this meaning of the word, as Dante himself wrote in a letter to Cangrande I della Scala, the progression of the pilgrimage from Hell to Paradise is the paradigmatic expression of comedy, since the work begins with the pilgrim's moral confusion and ends with the vision of God.

Statue of Dante Alighieri in Verona

Dante's other works include Convivio ("The Banquet"),[21] a collection of his longest poems with an (unfinished) allegorical commentary; Monarchia,[22] a

summary treatise of political philosophy in Latin which was condemned and burned after Dante's death[23][24] by the Papal Legate Bertrando del Poggetto, which argues for the necessity of a universal or global monarchy in order to establish universal peace in this life, and this monarchy's relationship to the Roman Catholic Church as guide to eternal peace; De vulgari eloquentia ("On the Eloquence of Vernacular"),[25] on vernacular literature, partly inspired by the Razos de trobar of Raimon Vidal de Bezaudun; and La Vita Nuova ("The New Life"),[26] the story of his love for Beatrice Portinari, who also served as the ultimate symbol of salvation in the Comedy. The Vita Nuova contains many of Dante's love poems in Tuscan, which was not unprecedented; the vernacular had been regularly used for lyric works before, during all the thirteenth century. However, Dante's commentary on his own work is also in the vernacular—both in the Vita Nuova and in the Convivio—instead of the Latin that was almost universally used. References to Divina Commedia are in the format (book, canto, verse), e.g., (Inferno, XV, 76).

Direct and indirect object Pronouns

Italian Direct objects A direct object is the direct recipient of the action of a verb.

I invite the boys.  Whom do I invite?  

The boys.

He reads the book. 

 What does he read? 

 The book.

The nouns boys and books are direct objects. They answer the question what? or whom? Verbs that take a direct object are called transitive verbs. Verbs that do not take a direct object (she walks, I sleep) are intransitive.

Direct object pronouns replace direct object nouns.I invite the boys.  I invite them.

He reads the book.  He reads it.

In Italian the forms of the direct object pronouns (i pronomi diretti) are as follows:

SINGULAR PLURALmi me ci us

ti you (informal) vi you (informal)

La you (formal m. and f.)

Li you (form., m.)

Le you (form., f.)

lo him, it li them (m. and f.)

la her, it le them (f.)

A direct object pronoun is placed immediately before a conjugated verb. LAW OF POSITION

Se vedo i ragazzi, li invito. (If I see the boys, I’ll invite them.)Compra la frutta e la mangia. (He buys the fruit and eats it.)

In a negative sentence, the word non must come before the object pronoun.

Non la mangia. (He doesn’t eat it.)Perchè non li inviti? (Why don’t you invite them?)

Object pronouns follow the infinitives and are attached –

The object pronoun is attached to the end of an infinitive. Note that the final –e of the infinitive is dropped.È importante mangiar la ogni giorno. (It is important to eat it every day.)

È una buon’idea invitarli.

It’s a good idea to invite them.

It is possible, but not necessary, to elide singular direct object pronouns in front of verbs that begin with a vowel or forms of avere that begin with an h. However, the plural forms li and le are never elided.M’ama, non m’ama. (Mi ama, non mi ama.). (He loves me, he loves me not.)Il passaporto? Loro non l’hanno (lo hanno). (The passport? They don’t have it.)

A few Italian verbs that take adirect object, such as ascoltare, aspettare, cercare, and guardare, correspond to English verbs that are used with prepositions (to listen to to wait for, to look for, to look at).

I see her.= io la vedo.

I want to see her.= io voglio vederla. Io la voglio vedere.

Oggi in Italia pagina 191

L1. la carne Mangi la carne? Si’, la mangio.2. il te’ Bevi il te’ ? Si’, lo bevo.

Chi cerchi? – Cerco il mio ragazzo.

Lo cerco già da mezz’ora!

(Who are you looking for? – I’m looking for my boyfriend.

I’ve been looking for him for half an hour!)

Object pronouns are attached to ecco to express here I am, here you are, here he is, and so on.

Dov’è la signorina? – Eccola!

(Where is the young woman? – Here she is!)

Hai trovato le chiavi? – Sì, eccole! (Have you found the keys? –

Yes, here they are!)Previous page | 1 | 2

Numbers in ItalianDetails of how to count in Italian with cardinal and ordinal numbers.Key to abbreviations: m = masculine, f = feminine

22 ventidue ventiduesimo

23 ventitré ventitreesimo

24 ventiquattro ventiquattresimo

25 venticinque venticinquesimo

26 ventisei ventiseiesimo

27 ventisette ventisettesimo

28 ventotto ventottesimo

29 ventinove ventinovesimo

30 trenta trentesimo

40 quaranta quarantesimo

50 cinquanta cinquantesimo

Numeral Cardinal Ordinal

0 zero

1 uno (m) una (f) primo

2 due secondo

3 tre terzo

4 quattro quarto

5 cinque quinto

6 sei sesto

7 sette settimo

8 otto ottavo

9 nove nono

10 dieci decimo

11 undici undicesimo

12 dodici dodicesimo

13 tredici tredicesimo

14 quattordici quattordicesimo

15 quindici quindicesimo

16 sedici sedicesimo

17 diciassette diciassettesimo

18 diciotto diciottesimo

19 diciannove diciannovesimo

20 venti ventesimo

21 ventuno ventunesimo

60 sessanta sessantesimo

70 settanta settantesimo

80 ottanta ottantesimo

90 novanta novantesimo

100 cento centesimo

200 duecento duecentesimo

300 trecento trecentesimo

400 quattrocento quattrocentesimo

500 cinquecento cinquecentesimo

600 seicento seicentesimo

700 settecento settecentesimo

800 ottocento ottocentesimo

900 novecento novecentesimo

1.000 mille millesimo

10.000 diecimila diecimillesimo

100.000 centomila centomillesimo

1.000.000 un milione millionesimo

1.000.000.000 un miliardo milliardesimo

I NUMERI

0 1 2 3 4 5 6 7zero

zeroone

unotwo

duethree

trefour

quattrofive

cinquesix

seiSeven

sette

8 9 10 11 12 13 14 15eightotto

ninenove

tendieci

elevenundici

twelvedodici

thirteentredici

fourteenquattordici

fifteenquindici

16 17 18 19 20sixteen

sediciseventeen

diciassetteeighteen

diciottonineteen

diciannoveTwenty

Venti

21 22 30 31 40twenty-one

ventunotwenty-two

ventiduethirty

trentathirty-one

trentunoforty

quaranta

50 60 70 80 90fifty

cinquantasixty

sessantaseventy

settantaeighty

ottantaninety

novanta

100 101 200 300one hundred

centoone hundred and

onecentouno

two hundredduecento

three hundredtrecento

1,000 2,000 1,000,000 2,000,000one thousand

milletwo thousand

due milleone million

un milionetwo million

due milione

Più = plusPer = timesUguale= equalsMeno = minus÷

Conjugating regular Italian verbs ending with ERE in the present tense

Infinitive – “…A verb form that functions as a substantive while retaining certain verbal characteristics, such as modification by adverbs, and that in English may be preceded by to, as in To go

willingly is to show strength or We want him to work…” 1

There are three main categories of Italian Verbs known as 1st, 2nd and 3rd conjugation. Here is the most obvious, initial difference;

1st Conjugation verbs are verbs that end with the letters ARE in the infinitive form.

2nd Conjugation verbs are verbs that end with the letters ERE in the infinitive form.

3rd Conjugation verbs are verbs that end with the letters IRE in the infinitive form.

(These ending are “Infinitive endings”)

To illustrate how to conjugate an ERE verb, I like to use a math equation as an example but first here are the conjugated endings for

ERE verbs;

To conjugate = infinitive verb – infinitive ending = verb stem + conjugated ending = conjugated verb. Example;

Vedere (To See) - ere = Ved + iamo (ending for we) = Vediamo (We see)

Vedere conjugated in the present tense IoTuLui/LeiNoiVoiLoro

VedoVediVedeVediamoVedeteVedono

I seeYou seeHe/She/It seesWe seeYou all see(All of YOU) seeThey see

Regular –ARE verbs

Subject Pronoun

IoTuLui/LeiNoiVoiLoro

Ending

oieiamoeteono

talian Englishabitareaiutareamareascoltareaspettarebaciarebastarecamminarecantarecausarecenarechiamarecominciareconservareconsiderareconsigliarecostarecontrollarecrollarecucinarecuraredesideraredimenticaredisegnaredisturbarediventaredomandareentrareevitarefumaregiocaregiraregridareguardareguidareimmaginareimparare

to liveto helpto loveto listen toto wait forto kissto be enoughto walkto singto causeto have dinnerto callto startto keepto considerto adviseto costto controlto collapseto cookto take care ofto desireto forgetto drawto disturbto becometo askto enterto avoidto smoketo playto go aroundto shoutto look atto driveto imagineto learn

incontrareindossareindovinareingrassareiniziareinsegnareinviareinvitarelamentarelasciarelavorarelavareliberarelicenziarelottaremandaremangiaremeritarenuotareordinareorganizzareosarepagareparcheggiareparlareparteciparepassarepensarepesareportarepranzareprenotarepreoccupareprepararepresentareprestareprovareraccomandareraccontare

to meetto wearto guessto put on weightto startto teachto sendto inviteto complainto leaveto workto washto freeto dismissto struggleto sendto eatto deserveto swimto orderto organiseto dareto payto parkto talkto participate into spend (time)to thinkto weighto taketo have lunchto bookto worryto prepareto presentto lendto tryto recommendto tell

realizzarerecitareregalarerestarericordareriposarerubaresalutaresalvaresbagliarescapparesognaresperarespiegarestudiaresuonaresuperaretagliaretiraretelefonaretornaretrovareviaggiarevisitare

to realiseto actto give as a presentto stayto rememberto restto robto say hello/goodbyeto saveto make a mistaketo run awayto dreamto hopeto explainto studyto play (a musical instrument)to overtaketo cutto pullto telephoneto go backto findto travelto visit

 

Regular –ere Verbs

accadere

to happen

accendere

to turn on

assistere

to assist/to attend

assumere

to assume

attendere

to waitcadere

to fall

chiedere

to ask

chiudere

to close

comprendere

to understand

concludere

to concludecondividere

to share

convincere

to convince

consistere

to consist

conoscere

to knowconfondere

to confusecorreggere

to correct

correre

to runcredere

to believe

crescere

to grow

decidere

to decide

difendere

to defend

discutere

to discuss

distinguere

to distinguish

dividere

to divide

esistere

to exist

godere

to enjoyincludere

to include

insistere

to insist

leggere

to read

mettere

to put

nascondere

to hide

perdere

to loose

permettere

to allow

piangere

to cry

prendere

to take

pretendere

to pretend/to claim

promettere

to promise

ridere

to laughrisolvere

to resolve

rispondere

to answer

rompere

to break

scendere

to descend

scrivere

to write

sorridere

to smile

spingere

to push

succedere

to happen

temere

to fear

vedere

to see

vendere

to sell

vivere

to live

ricevere

to receive

-Regular IRE verbs

he infinitives of all regular verbs in Italian end in –are, –ere, or –ire and are referred to as first, second, or third conjugation verbs, respectively. In English the infinitive (l'infinito) consists of to + verb.amare to love   temere to fear   sentire to hearVerbs with infinitives ending in –ire are called third conjugation, or –ire, verbs. The present tense of a regular –ire verb is formed by dropping the infinitive ending –ire and adding the appropriate endings to the resulting stem. There is a different ending for each person.Characteristics of the Third Conjugation• Many –ire verbs add, between the root and

declination, the suffix isc to the first, second, and third person singular and third person plural of the indicative and subjunctive present tense, and to the second and third person singular and third person plural of the present imperative tense:

• finire io finisco• tu finisci• egli finisce

essi finisconoche io finiscache tu finiscache egli finiscache essi finiscanofinisci   finisca   finiscono

There are two sets of endings for – ire verbs.

-ISC verbsThe first set takes the following endings:- isco- isci- isce- iamo- ite- iscono

You pronounce the second and third ones like “eeshe” and “eeshay”.So the conjugation of finire is:

[io] finisco – I finish / am finishing[tu] finisci – you [familiar] finish / are finishing[Lei/lei/lui] finisce – you [formal] / she / he finishes / is finishing[noi] finiamo – we finish / are finishing[voi] finite – you finish / are finishing

[loro] finiscono – they finish / are finishingThese endings sound difficult to pronounce but they are not too bad when you get used to them!

The stress is on -is and – isc in the first three persons of the verb, on the “a” of the ending in the noi form and the i of the ending in the voi form. It is on –is in the loro form.The other type of – ire verb is easier, with the endingREGULAR - IRE VERBS- o- i- e- iamo

- ite- ono

So the conjugation of partire is:

[io] parto – I leave / am leaving[tu] parti – you [familiar] leave / are leaving[Lei/lei/lui] parte – you [formal] / she / he leaves / is leaving[noi] partiamo – we leave / are leaving[voi] partite – you leave / are leaving[loro] partono – they leave / are leaving

The stress is on the first syllable in the first three persons of the verb. It is on the a of the ending in the noi form, the i of the ending in the voi form and the first syllable in the loro form.How do you know which set of endings a verb takes? A good dictionary should give you an indication if the verb goes like finire. Other than that, as with everything else, you learn as you go along!

See if you can insert the verb correctly in these sentences.

1. Ma [io] non [capire] ________! 2. Giorgio [Partire] __________ alle tre.3. Oggi loro [pulire] __________ la casa. 4. Mario [offrire] _________ un caffè a Maria.5. Tu [seguire] _________ il calcio?6. Quando [finire] __________ la lezione?7. Cosa _(FARE)____________ i ragazzi? 8. [Noi] [aprire] __________ la finestra.9. Voi [capire] __________ l’italiano?

10. Gli uomini [costruire] __________ le case.

I RISPOSTI

1. Ma [io] non [capire] _ capisco_______! 2. Giorgio [Partire] _____parte_____ alle tre.3. Oggi loro [pulire] _____puliscono_____ la casa. 4. Mario [offrire] ____offre_____ un caffè a Maria.5. Tu [seguire] _____segui____ il calcio?6. Quando [finire] ___finisce_______ la lezione?7. Cosa _(FARE)____fanno________ i ragazzi? 8. [Noi] [aprire] ___apriamo_______ la finestra.9. Voi [capire] _____capite_____ l’italiano? 10. Gli uomini [costruire] costruiscono le case.

COMMON THIRD-CONJUGATION VERBSacconsentire to agree, to acquiesceaprire to openassorbire to soakbollire to boilcoprire to covercucire to sewdormire to sleep

fuggire to fleementire to liemorire to dieoffrire to offerpartire to leaveriaprire to reopenscoprire to discover, to uncoversentire to hear, to feel, to smellseguire to followservire to servesfuggire to escapesoffrire to sufferConjugating regular Italian verbs ending with IRE in the present tense

Infinitive – “…A verb form that functions as a substantive while retaining certain verbal characteristics, such as modification by adverbs, and that in English may be preceded by to, as in To go

willingly is to show strength or We want him to work…” 1

There are three main categories of Italian Verbs known as 1st, 2nd and 3rd conjugation. Here is the most obvious, initial difference;

1st Conjugation verbs are verbs that end with the letters ARE in the infinitive form.

2nd Conjugation verbs are verbs that end with the letters ERE in the infinitive form.

3rd Conjugation verbs are verbs that end with the letters IRE in the infinitive form.

(These ending are “Infinitive endings”)

To illustrate how to conjugate an IRE verb, I like to use a math equation as an example but first here are the conjugated endings for IRE verbs;

Subject Pronoun

IoTuLui/LeiNoiVoiLoro

Ending

oieiamoiteono

To conjugate = infinitive verb – infinitive ending = verb stem + conjugated ending = conjugated verb. Example;

Servire (To Serve) - ire = Serv + iamo (ending for we) = Serviamo (We see)

Servire conjugated in the present tense IoTuLui/LeiNoiVoiLoro

ServoServiServeServiamoServiteServono

I serveYou serveHe/She/It servesWe serveY'all serveThey serve

There is one exception with the 3rd conjugation on how it is handled in the present tense for some regular verbs. That is, there are some verbs

that you have to insert the letters "ISC" after the infinitive root and before the present indicative ending for Io, Tu, Lui/Lei and Loro.

Therefore, we conjugate these verbs as follows;

-ISC VERBS

Example; Capire (To Understand) - ire = Cap + isc = capisc + ono (ending for they) = Capiscono (They understand)

Capire conjugated in the present tense Io

tu

Lei lui lei

Noi

VOI

Loro

loro

Capisco

Capisci

Capisce

Capiamo we understand

Capite You all understand

Capiscono ALL OF YOU understand

THEY Understand

I understandYou understandHe/She/It understands

Regular -IRE verbs-

DORMIRE = to sleepDormo dormi dorme dormiamo dormite dormono

Aprire=to openOffrire=to offerPartire=to leaveSeguire=to follow to take the course of…Sentire=to feel, hearServire=to serve

-IRE vers that take -ISC forms

Capire=to understandCapisco capisci capisce capiamo capite capiscono

Finire=to finishUbbidire= to obeyObbidire= to obeyPreferire= to preferPulire= to cleanRestituire= to give back Riferire= to report, relate Spedire= to send Suggerire= to suggest

Italiano II SINTIERI

COMPITI per venerdi’ - domani!

Direct and indirect object pronouns

1. Sentences using the greaty law of position of object pronouns

1. I open the refrigerator.

I open it.

2. I read the letters.

I read them.

3. Do they see me?

No, they don’t see you.

4. They never invite us.

5. Good evening doctor, I’ll see you tomorrow.

6. Mr. and Mrs. Bianca, they are calling you on the phone.

7. Are you looking for the recipe?

Yes, I look for it.

8. Are you looking at the cookbook?

Yes, I’m looking at it.

Direct object pronounsItalian Language Lessons Italian Direct Object Pronouns

A direct object is the direct recipient of the action of a verb.I invite the boys.  Whom do I invite?  The boys.He reads the book.  What does he read?  The book.The nouns boys and books are direct objects. They answer the question what? or whom? Verbs that take a direct object are called transitive verbs. Verbs that do not take a direct object (she walks, I sleep) are intransitive.

Direct object pronouns replace direct object nouns.

I invite the boys.  I invite them.He reads the book.  He reads it.

In Italian the forms of the direct object pronouns (i pronomi diretti) are as follows:

SINGULAR PLURALmi me ci us

ti you (informal) vi you (informal)

La you (formal m. and f.)

Li you (form., m.)

Le you (form., f.)

lo him, it li them (m. and f.)

la her, it le them (f.)

A direct object pronoun is placed immediately before a conjugated verb.

Se vedo i ragazzi, li invito. (If I see the boys, I’ll invite them.)

Compra la frutta e la mangia. (He buys the fruit and eats it.)

In a negative sentence, the word non must come before the object pronoun.

Non la mangia. (He doesn’t eat it.)

Perchè non li inviti? (Why don’t you invite them?)

The object pronoun is attached to the end of an infinitive. Note that the final –e of the infinitive is dropped.

È importante mangiarla ogni giorno. (It is important to eat it every day.)È una buon’idea invitarli. It’s a good idea to invite them.

It is possible, but not necessary, to elide singular direct object pronouns in front of verbs that begin with a vowel or forms of avere that begin with an h. However, the plural forms li and le are never elided.

M’ama, non m’ama. (Mi ama, non mi ama.). (He loves me, he loves me not.)Il passaporto? Loro non l’hanno (lo hanno). (The passport? They don’t have it.)A few Italian verbs that take a direct object, such as ascoltare, aspettare, cercare, and guardare, correspond to English verbs that are used with prepositions (to listen to to wait for, to look for, to look at).

Chi cerchi? – Cerco il mio ragazzo. Lo cerco già da mezz’ora!(Who are you looking for? – I’m looking for my boyfriend. I’ve been looking for him for half an hour!)

Object pronouns are attached to ecco to express here I am, here you are, here he is, and so on.

Dov’è la signorina? – Eccola! (Where is the young woman? – Here she is!)

Hai trovato le chiavi? – Sì, eccole! (Have you found the keys? – Yes, here they are!)

Direct object nouns and pronouns answer the question what? or whom? Indirect object nouns and pronouns answer the question to whom? or for whom?

In English the word to is often omitted: We gave a cookbook to Uncle John.—We gave Uncle John a cookbook. In Italian, the preposition a is always used before an indirect object noun.

Abbiamo regalato un libro di cucina allo zio Giovanni. (We gave a cookbook to Uncle John.)

Perché non regali un profumo alla mamma? (Why don’t you give Mother some perfume?)

Puoi spiegare questa ricetta a Paolo? (Can you explain this recipe to Paul?)

Indirect object pronouns (i pronomi indiretti) replace indirect object nouns. They are identical in form to direct object pronouns, except for the third person forms gli, le, and loro.

SINGULAR PLURALmi (to/for) me ci (to/for) usti (to/for) you vi (to/for) youLe (to/for) you (formal m. and f.)

Loro (to/for) you (form., m. and f.)

gli (to/for) him loro (to/for) themle (to/for) her

Indirect object pronouns, like direct object pronouns, precede a conjugated verb, except for loro and Loro, which follow the verb.

Le ho dato tre ricette. (I gave her three recipes.)

Ci offrono un caffè. (They offer us a cup of coffee.)

Parliamo loro domani. (We’ll talk to them tomorrow.)

Che cosa regali allo zio Giovanni? (What are you giving Uncle John?)Gli regalo un libro di cucina. (I'll give him a cookbook.)

Indirect object pronouns are attached to an infinitive, and the –e of the infinitive is dropped.

Non ho tempo di parlargli. (I have no time to talk to him.)

If the infinitive is preceded by a form of dovere, potere, or volere, the indirect object pronoun is either attached to the infinitive (after the –e is dropped) or placed before the conjugated verb.

Voglio parlargli. Gli voglio parlare. I want to talk to him.

Italian indirect pronoun and Italian verb “piacere”Italian indirect object pronoun.All type of pronoun, a little word used instead of a noun, in Italian take mostly the place before the verb, but with the modal or “servili” verbs it is possible to place them also after the verb in the infinitive e.g. Can you help me? = Puoi aiutarmi? or Mi puoi aiutare? And also Can I speak to her? = Posso parlarle? Or Le posso parlare?Pronomi indiretti > The indirect pronoun ( when the Italian verb uses “a” = “to” after):

Mi = a me To me

Ti = a te To you

Gli = a lui To him

Le = a lei To her

Ci = a noi To us

Vi = a voi To you

Gli = a loro To them

.There are some typical Italian verbs that used the indirect pronoun:Parlare aScrivere aDire aTelefonare aPiacere aBastare aServire aEsempi: Quando mi telefoni? Ti telefono domani = When will you phone me? I’ll

phone you tomorrow (Attention: In Italian we use present tense, not future tense!) Quando telefoni a Paola? Le telefono oggi = When will you telephone Paola? I’ll phone her today E tu ? Quando scrivi a tuo padre? Gli scrivo subito = And you? When will you write to your father? I’ll write to him immediately.

Il verbo piacereMind: the Italian verb “Piacere” (= to like) is mostly used in the 3rd person singular or plural (= piace when is referred to a singular noun or to a verb in infinitive; piacciono when the noun is plural) and the person who has the feeling is expressed by a pronoun: the indirect object pronoun E.g.

Mi Piace + sing. noun Mi Piacciono + pl. noun

Ti Piace + sing. noun Ti Piacciono + pl. noun

Gli / Le Piace + sing. noun Gli / Le Piacciono + pl. noun

Ci Piace + sing. noun Ci Piacciono + pl. noun

Vi Piace + sing. noun Vi Piacciono + pl. noun

Gli Piace + sing. noun Gli Piacciono + pl. noun

So:

Ti ( = you singular) piace la pasta? Do you like pasta (singular noun)?

Sì, mi piace molto Yes, I like it very much

Vi (= you plural) piace la pasta? Do you like pasta?

Sì, ci piace molto Yes, we like it very much

Ti ( = you singular) piacciono gli spaghetti? Do you like spaghetti (spaghetti is a plural noun)?

Sì, mi piacciono Yes, I like spaghetti

Vi (= you plural) piacciono gli spaghetti? Do you like spaghetti?

Sì ci piacciono Yes, we like spaghetti

  And also: Ti piace la montagna? No, non mi piace, preferisco il mare (=the sea or the seaside). Ti piace l’opera? Sì, mi piace, ma preferisco il balletto Ti piacciono gli orologi di Bulgari? Sì, (mi piacciono), ma per me sono troppo costosi (= too expensive) Ti piacciono le uova (= eggs)? No, non mi piaccionoThere are other 2 important verbs that we use like “Piacere” in the 3rd person + indirect pronoun:• The verb “servire” (= to need/ to be of use) e.g. Ti serve nulla/qualcosa? = Is

there anything you need?• The verb “ bastare” (= to be enough) e.g. Ti basta questo vino? = It’s enough this

wine for you?look out for• The verb “mancare” (=to miss/to lack) e.g. Mi manchi! = I miss you! but Mi

manca il coraggio = I lack courageNow do the exercise

Piacere from SENTIERI TEXTBOOK pagina 65!

Indirect object + verb + subject. Not your usual sentence structure, but in the case of piacere (to please, to like) that's the way it works in Italian, and here's why: In English, you say that A likes B. In Italian, though, the same meaning is understood in different terms: B pleases A. Here are some examples:

Agli italiani piace il calcio. (Italians like soccer. Literally: Soccer is pleasing to Italians.)

Ai professori piace insegnare. (Professors like teaching. Literally: Teaching is pleasing to professors.)

Mi piacciono le carote. (I like carrots. Literally: Carrots are pleasing to me.)

Note that in these examples, piacere is conjugated to match the subject of the sentence; in the first example, agli italiani piace il calcio, piacere is conjugated in the third person singular form, to match with calcio (soccer) and not with agli italiani (all Italians).

Other verbs that follow this construction of inversion and behave similarly to piacere are listed below.

VERBS THAT ACT LIKE PIACEREbastare—to be sufficient, to suffice

dispiacere—to displease, to upsetmancare—to be lacking, to missoccorrere—to require, to needservire—to serve, to be of use

Italian indirect pronoun and Italian verb “piacere”Italian indirect object pronoun.All type of pronoun, a little word used instead of a noun, in Italian take mostly the place before the verb, but with the modal or “servili” verbs it is possible to place them also after the verb in the infinitive e.g. Can you help me? = Puoi aiutarmi? or Mi puoi aiutare? And also Can I speak to her? = Posso parlarle? Or Le posso parlare?Pronomi indiretti > The indirect pronoun ( when the Italian verb uses “a” = “to” after):

Mi = a me To me

Ti = a te To you

Gli = a lui To him

Le = a lei To her

Ci = a noi To us

Vi = a voi To you

Gli = a loro To them

.There are some typical Italian verbs that used the indirect pronoun:

Parlare aScrivere aDire aTelefonare aPiacere aBastare aServire a

Esempi: Quando mi telefoni? Ti telefono domani = When will you phone me? I’ll phone you tomorrow (Attention: In Italian we use present tense, not future tense!)

Quando telefoni a Paola? Le telefono oggi = When will you telephone Paola? I’ll

phone her today E tu ?

Quando scrivi a tuo padre? Gli scrivo subito = And you? When will you write to your father? I’ll write to him immediately.

Il verbo piacereMind: the Italian verb “Piacere” (= to like) is mostly used in the 3rd person singular or plural (= piace when is referred to a singular noun or to a verb in infinitive; piacciono when the noun is plural) and the person who has the feeling is expressed by a pronoun: the indirect object pronoun E.g.

Mi Piace + sing. noun Mi Piacciono + pl. noun

Ti Piace + sing. noun Ti Piacciono + pl. noun

Gli / Le Piace + sing. noun Gli / Le Piacciono + pl. noun

Ci Piace + sing. noun Ci Piacciono + pl. noun

Vi Piace + sing. noun Vi Piacciono + pl. noun

Gli Piace + sing. noun Gli Piacciono + pl. noun

So:

Ti ( = you singular) piace la pasta? Do you like pasta (singular noun)?

Sì, mi piace molto Yes, I like it very much

Vi (= you plural) piace la pasta? Do you like pasta?

Sì, ci piace molto Yes, we like it very much

Ti ( = you singular) piacciono gli spaghetti? Do you like spaghetti (spaghetti is a plural noun)?

Sì, mi piacciono Yes, I like spaghetti

Vi (= you plural) piacciono gli spaghetti? Do you like spaghetti?

Sì ci piacciono Yes, we like spaghetti

  And also: Ti piace la montagna? No, non mi piace, preferisco il mare (=the sea or the seaside).

Ti piace l’opera? Sì, mi piace, ma preferisco il balletto.

Ti piacciono gli orologi di Bulgari? Sì, (mi piacciono), ma per me sono troppo costosi (= too expensive)

Ti piacciono le uova (= eggs)? No, non mi piacciono

There are other 2 important verbs that we use like “Piacere” in the 3rd person + indirect pronoun:

• The verb “servire” (= to need/ to be of use) e.g. Ti serve nulla/qualcosa? = Is there anything you need?

• The verb “ bastare” (= to be enough) e.g. Ti basta questo vino? = It’s enough this wine for you?

look out for• The verb “mancare” (=to miss/to

lack) e.g. Mi manchi! = I miss you! but Mi manca il coraggio = I lack courage

Completa con gli elementi mancanti:

Maria, (piacere) ___ piace la pasta al pesto?Sì, ___ ______ molto.

 Ragazzi, (piacere) ___ piacciono gli spaghetti aglio, olio e peperoncino?

No, non ___ ______! Luca, (piacere) ___ ______ i pocket coffee?Sì, ___ ______ da morire (= tantissimo)! 

Scusa Monica, sai se a Elena oggi (servire) ______ la macchina?Sicuramente non ___ _______ : deve rimanere a casa tutto il giorno

 Perché Paolo è triste?

(mancare) ___ ______ la sua famiglia 

Mamma, mi dai i soldi per ricaricare il cellulare?Va bene,  (bastare) ___ ______ 20 euro?

 Hai trovato i soldi per comprare il motorino?

No, (mancare) ___ ______ ancora 150 euro 

Luisa guadagna tantissimo, eppure i soldi non (bastare) ___ ______ mai , così li chiede sempre ai genitori. (sembrare a me) ___ ______ assurdo!

• I like it - Mi piace• It's very important to be able to say what

you like and what you don't like. In English, “to like” is an active verb, as in “I like strawberries.” Italians use the verb piacere (to be pleasing) to say they like something. But attenzione! In Italian it gets turned around like this:

• I like snow. (To me snow is pleasing.)

Mi piace la neve.

"Snow" is singular, so piace is singular. If what we like is in the plural, like "strawberries," piacere will get conjugated in the plural (in this case, third person plural). Mi piacciono queste fragole.

To me these strawberries are pleasing [I like these strawberries.]

This can all be very confusing for new Italian speakers, but if you think about the fact that when you like something, it’s pleasing to you, it will make more sense.

So "I like" becomes mi piace. In her lesson on mi piace Daniela explains that mi (to me) is really just a contraction of a me (to me). A me is used when we want

to emphasize the person, as opposed to the object the person likes, as in this hit song by Nina

A me piace così -A me piace così

I like it like that. -I like it like that

Remember that mi is an indirect object meaning "to me." Whatever or whoever is doing the pleasing (for example, strawberries) on the other hand, becomes the subject of the sentence (and governs the conjugation of piacere). 

You may hear Italians say: a me mi piace. Now that you know that mi is short for a me, you may sense that it's wrong because it's a repetition. In fact, it's bad grammar. Still, people say it because it emphasizes just about everything in the sentence. It's sort of like saying, "Me, I like it."

So, what if I want to tell a person I like him or her?

Mi piaci.

You please me. [I like you.]

Although mi piaci or mi piace can just refer to liking someone in general, more

often than not, it’s about finding the other person attractive. To say that someone is generally likable or agreeable without alluding to their attractiveness, Italian uses a word that doesn’t have a direct English equivalent:

simpatico (agreeable, likable).

If you say mi sei simpatico or, as is more common in the south, mi stai simpatico (you're agreeable to me, you’re likable to me), you’re essentially telling the person you like him!

It’s safer than mi piaci in many situations. 

Let’s take an example from our favorite commissioner, Manara. He’s convinced his new colleagues don’t like him, but there’s a job to do. Sentite, che io non vi sto simpatico l'ho capito perfettamente, però, abbiamo un caso molto complicato da risolvere.

Listen, I understand perfectly that you don't like me, however, we've got a very complicated case to solve.

In a nutshell: In English the person doing the liking is the subject, and the thing or person one likes is the object. In Italian the person or thing that pleases is the subject, and the person who does the liking, or who’s pleased, is the object! 

Look around you and see what you like and what you don’t like. Saying it out out loud in Italian will give you practice conjugating the verb piacere. Remember that when you don’t like something, just put non in front of mi: Non mi piace questo vino.

•

AVERE

AVERE bisogno di + infinitive

They need to leave at 5:00 tomorrow.Hanno bisogno di partire alle cinque domani.

I am cold, I need a jacket.Ho freddo, ho bisogno di una giacca.

I understand the question and I am right.Io capisco la domanda e ho ragione.

I am hungry and I need to eat right now.Io ho fame e ho bisogno di mangiare adessoin subito.

How old are you?

I am 75 years old today! Quanti anni hai?

Io ho settantacinque anni oggi.

I am very tired. I need to go to bed!

Io ho sonno. Ho bisogno di andare a letto!

I want to take a bath and then go to bed because I am very sleepy.

Io voglio fare il bagno e poi vado a letto perche ho sonno.

Basics on idioms With FARE

An idiom is an expression that cannot be translated litteraly from English to Italian or vice versa. For example the expression "faccio il biglietto" litteraly translated from Italian to English would read: "I do the ticket". However, what the person is really trying to say is: I am buying a ticket. I Do the ticket makes no sense in English!

Below are some common idioms with the verb "fare" which means to do or make.

fare i compiti to do one's homework

fare il biglietto to purchase a ticket

fare la fila / la coda stand in line/wait in line

fare la spesa to go grocery shopping

fare le spese to go shopping mall

fare vedere to show someone something

fare una domanda to ask a question

fare una fotografia to take a picture

fare una passeggiata to take a walk

fare colazione to have breakfast

fare un viaggio to take a trip

fare un capello in quattro to split hairs

farsi la barba to shave

farsi coraggio to take heart

fare castelli in aria to daydream

fare fingere to pretend, make believe

fare male to be painful, to ache

fare di tutto to do everything possible

fare del proprio meglio to do one's best

farsi degli amici to make friends

fare alla romana to split the check

fare il pieno to fill up the gas tank

fare passare to let through

Once you know these expressions, all you have to do is conjugate the verb "fare" and then write the rest of the expression and now you have an idiom!

Here is the conjugation of "fare" :

Faccio = I makeFai = You (singular) make Fa = He/She makesFacciamo = We make Fate = You (plural) makeFanno = (all of) YOU make / They make

Let's say I wanted to express the following in Italian: "we wait in line",I find my expression "to wait in line" which is "fare la fila."

Now I go to the "we" form of fare which is "facciamo." Then I add the rest of the phrase which is "la fila". You put it together and get" Facciamo la fila = We wait in line.

Now you try:

I do my homework =

We pretend =

They take a trip =

You (singular) have breakfast =

He goes shopping =

Fare is also used in many expressions relating to the weather (note that in the following translations, "it" is an impersonal subject and does not have an equivalent in Italian):

Che tempo fa? (How is the weather?)

Fa bel tempo. (The weather is nice.)

Fa cattivo tempo. (The weather is bad.)

Ha fatto caldo. (It has been warm.)

Qui fa sempre freddo. (It's always cold here.)

In primavera fa sempre fresco. (In spring it's always cool.)

Besides idiomatic expressions, and expressions relating to the weather, the verb fare is used in a number of proverbs:

Fare e disfare è tutt'un lavorare. (It's all go, it's a hard life.)Chi la fa l'aspetti.

(You will get as good as you gave.)

Chi fa da sé fa per tre. (If you want something done, do it yourself.)

Non fare agli altri ciò che non vorresti fosse fatto a te. (Do as you would be done by.)

Tutto fa brodo. (Every little bit helps.)

Chi non sa fare, non sa comandare. (A bad worker is a bad master.)

IDIOMATIC EXPRESSIONS WITH FAREfare i compiti to do one's homeworkfare il biglietto to purchase a ticketfare la fila / la coda stand in line / wait in linefare la spesa to go grocery shoppingfare le spese to go shoppingfare vedere to show someone somethingfare una domanda to ask a questionfare una fotografia to take a picturefare una passeggiata to take a walkfare colazione to have breakfastfare un viaggio to take a trip

fare un capello in quattro to split hairsfarsi la barba to shavefarsi coraggio to take heartfare castelli in aria to daydreamfare fingere to pretend, make believefare male to be painful, to achefarsi in la to step to one sidefare di tutto to do everything possiblefare del proprio meglio to do one's bestfarsi degli amici to make friendsfare alla romana to split the checkfare il pieno to fill up the gas tankfare passare to let through

Questions | AnswersFare and Idiomatic ExpressionsA. Complete the following statements with the appropriate idiomatic expression.

fare il biglietto fare una gita

fare il viaggio fare un pezzo di strada

fare dello sport fare da mangiare

fare colazione fare la spesa

fare le spese fare la coda

fare a metà fare a pezzi

fare il pieno fare una domanda

fare presto/fare tardi fare la valigia

fare vedere qualcosa a qualcuno

PRATICA:

fare una visita

• Oggi vado a ________ in campagna.

• La tua casa è molto lontana, prima ho preso l'autobus e poi ________ a piedi.

• Per mantenersi in forma e in buona salute è bene ________.FARE COSE DA FCARE

• C'è molta gente allo sportello dei biglietti, devi ________ per una mezz'oretta

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• Ogni mattina, prima di uscire, io ________ con la mia famiglia.

• Prendo il treno dell 12,40 per Milano e devo ancora ________.

• Oggi vado in centro a ________, devo comprare diverse cose.

• Maria va al mercato ogni mattina e ________, dopo torna a casa e ________ per tutta la famiglia.

• Il serbatoio della macchina è vuoto, se voglio partire devo ________ al distributore.

• Ho comprato un dolce, posso ________ con te se lo vuoi.

• Oggi tu ________ al tuo amico che è ammalato.

Qui ci sono le risposti

• Oggi vado a fare una gita in campagna.

• La tua casa è molto lontana, prima ho preso l'autobus e poi ho fatto un pezzo di strada a piedi.

• Per mantenersi in forma e in buona salute è bene fare dello sport.

• C'è molta gente allo sportello dei biglietti, devi fare la coda per una mezz'oretta.

• Ogni mattina, prima di uscire, io faccio colazione con la mia famiglia.

• Prendo il treno dell 12,40 per Milano e devo ancora fare la valigia.

• Oggi vado in centro a fare le spese, devo comprare diverse cose.

• Maria va al mercato ogni mattina e fa la spesa, dopo torna a casa e fa da mangiare per tutta la famiglia.

• Il serbatoio della macchina è vuoto, se voglio partire devo fare il pieno al distributore.

• Ho comprato un dolce, posso fare a metà con te se lo vuoi.

• Oggi tu fai una visita al tuo amico che è ammalato.

COMMON WEATHER EXPRESSIONS Com'è il tempo? = What's the weather like?Soleggiato = sunnyVentoso = windyVento = windTemporale = thunderstormGiornate fresche = cool daysMite = mildFoschia = mistBrina = white frostBrezza, venticello = breezeSi muore dal caldo qui dentro! = It's way too hot in here!Afoso = muggy (humid)Appiccicoso = stickyLampo = lightningUmido = humidHot = caldoSole splendente = bright sunshineBrezza rinfrescante = cooling breezeTromba d'aria = tornado

Grandine = hailstoneCaldo = heat, hot  (in summer, hot or very warm means more than seven degrees Celsius above normal temperatures).Bassa pressione = low pressureUragano = hurricaneCiclone = cyclone, typhoon (if in a tropical area)Velocità del vento = wind speedSabbia = sandPrecipitazioni = precipitation (the falling to earth of any form of water, ie. rain, snow, hail, sleet or mist)Visibilità = visibilityTramonto = sunsetAlba = dawnCielo sereno = clear sky (virtually cloud- free)Buona visibilità = good visibilityRaffica di vento = gustIndice di calore = heat index (an index that combines air temperature and humidity to give an apparent temperature, ie. how hot it feels).Ondata di calore = heat wave (a period of abnormally hot weather lasting several days.)Arcobaleno = rainbowSiccità = drought (a shortage of rainfall)Brezza di mare = sea breezePiogge scarse = scattered showersTurbolenza = turbulence  

WEATHER IN ITALIAN

Il tempo (weather) is particularly important for the Italians, it is a central element of their life, influences their mood and their daily activities. Italy is well known to be the country of the sole (sun), Italy’s climate is seasonal and varied from north to south because of its conformation and long shape of a boot.Let’s get started with our lesson:

- Quali sono le previsioni del tempo per oggi? What’s the weather forecast for today?

-- Com’è il tempo? How’s the weather?-

- Che tempo fa? What’s the weather like?-

There are a lot of possible answers to that question. Here are the most common…Fa caldo. It’s warm.

Fa freddo. It’s cold.

È ventoso. It’s windy

È burrascoso. It’s stormy.

Fa caldo. It’s hot.

È soleggiato. It’s sunny.

È sereno. It’s clear.

È nuvoloso. It’s cloudy.

È piacevole. It’s nice.

È freddissimo. It’s icy.

E’ umido. It’s humid.

You can use the word “molto” (very) for all of the above phrases to emphasize that it’s not just cold or warm, but very cold or very warm (fa molto freddo, fa molto caldo)

When talking about rain or snow you can use the following expressions…

sta piovendo or piove. It’s raining.

Sta nevicando. It’s snowing o nevThe following are expressions to talk more generally about the weather conditions…Fa cattivo tempo. It’s miserable weather.

Fa/È bel tempo. It’s good weather.

Fa/È brutto tempo. It’s bad weather.

Other useful words…

L’arcobaleno The rainbow

La grandine The hail

La pioggia The rain

Il tuono The thunder

Il temporale The thunderstorm

Il lampo The lightning

Il terremoto The earthquake

La tempesta The storm

L’uragano The hurricane

La temperatura The temperature

La nebbia The fog

L’inondazione The flood

Il ghiaccio The ice

La neve The snow

Il fiocco di neve The snowflake

La nuvola The cloud

Il vento The wind 

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MY PICS OF ITALY

Wheather

W hat's the weather

like?It's hot Fa caldoIt's cold Fa freddoIt's a nice day Fa bel tempoIt's cloudy È nuvolosoIt's freezing È gelido

It's w

C'è ventoIt's rainy È piovoso

What's the weather like?

It's hot Fa caldoIt's cold Fa freddoIt's a nice day Fa bel tzing

1. Non Ci Sono le Opere oggi per fare questa lezione2. Tutto il lavoro con le pagine qui:

3. Provini I

1. Andare a cavallo2. Pescare3. Il Pallone4. Il campo5. Il campeggio6. L’arbitro7. Il premio8. Fare un giro9. Imparare10. Viaggiare

1. soccer player 2. to live (in)3. to pay attention4. to do / to make5. to desire 6. to arrive 7. squisito8. all’inizio9. giocare al calcio10. to walk in the park

PROVINO II

A

1. we study2. They play3. To listen to….4. Fare il bagno…5. Fare una domanda6. Overcast7. Windy8. Rain9. Its cold out10. Its hot out

B

1. Tifare2. pagare3. frequentare4. To go food shopping5. To ask a question6. Lightning7. Snow8. It is raining9. Hello10. birthday

4. SIENTERI textbook Capitolo 2

The following pages are important for vocabulary and grammar

Sientieri pagina 40

Andare a cavallo

Andare al cinemaAndare in biciclettaAscoltare la musicaBallareCantare

Guardare la tivu/TV Nuotare Pescare Suonare la batteria Suonare la chittara Suonare il piano (pianoforte) Lo sportL’atleticaIl campeggioIl campoIl ciclismoLa danza classicaIl footboll americanoLe freccetteIl nuotoLa palestraLa pallavolloLo sciLo stadio

Espressione Utili pagina 45Che cosa ti piace fare?

Penso di Penso di studiare la storia.

Io vado a un spettacoloNow:

A me piace giocare …….

Vs

Mi piace giocare……………. A me/ mi piace

( a me/ a te/ a lei … a noi a voi a loro)-dysjunctive pronounsPronouns issue:

Direct objects answer the question (WHOM?)WHO? Or WHAT”

Jon throws the ball.

Jon throws the ball.

Subject Verb Direct ObjectProper noun

He throws the ball.

He throws it.Subject pronoun verb Direct Object PRONOUN

A pronoun takes the place of a noun

Direct objects MeYou Him/her/it

UsYou all

(all of) you formalthem

A direct object is the direct recipient of the action of a verb.I invite the boys.  Whom do I invite?  The boys.

He reads the book.  What does he read?  The book.

The nouns boys and books are direct objects. They answer the question what? or whom? Verbs that take a direct object are called transitive verbs. Verbs that do not take a direct object (she walks, I sleep) are intransitive.

Direct object pronouns replace direct object nouns.I invite the boys.  I invite them.He reads the book.  He reads it.In Italian the forms of the direct object pronouns (i pronomi diretti) are as follows:

DIRECT OBJECT PRONOUNS

SINGULAR PLURALmi me ci us

ti you (informal) vi you (informal)

La you (formal m. and f.)

Li you (form., m.)

Le you (form., f.)

lo him, it li them (m. and f.)

la her, it le them (f.)A direct object pronoun is placed immediately before a conjugated verb.

Note direct and indirect object pronouns come (are placed) before the verbs (usually) in Italian

Se vedo i ragazzi, li invito.

(If I see the boys, I’ll invite them.)

Compra la frutta e la mangia. (He buys the fruit and eats it.)

In a negative sentence, the word non must come before the object pronoun.

Non la mangia. (He doesn’t eat it.)Perchè non li inviti? (Why don’t you invite them?)

Dysjunctive pronouns: A me piace giocare …….

Italian Indirect VersionDirect object nouns and pronouns answer the question what? or whom? Indirect object nouns and pronouns answer the question to whom? or for whom? In English the word to is often omitted: We gave a cookbook to Uncle John.—We gave Uncle John a cookbook. In Italian, the preposition a is always used before an indirect object noun.

Abbiamo regalato un libro di cucina allo zio Giovanni. (We gave a cookbook to Uncle John.)

Perché non regali un profumo alla mamma? (Why don’t you give

Mother some perfume?)

Puoi spiegare questa ricetta a Paolo? (Can you explain this recipe to Paul?)

Indirect object pronouns (i pronomi indiretti) replace indirect object nouns.

Key word is TO

INDIRECT OBJECT PRONOUNS:To:]They are identical in form to direct object pronouns, except for the third person forms gli, le, and loro.

SINGULAR PLURALmi (to/for) to me ci (to/for) to us

ti (to/for) to you vi (to/for) to you all

Le (to/for) to you (formal m. and f.)

Loro (to/for) to you (form., m. and f.) To (ALL OF) you

gli (to/for)to him loro (to/for) to them

le (to/for) to herIndirect object pronouns, like direct object pronouns, precede a conjugated verb, except for loro and Loro, which follow the verb.

Le Ho dato tre ricette. (I gave her three recipes.)Ci offrono un caffè. (They offer us a cup of coffee.)Parliamo loro domani. (We’ll talk to them tomorrow.)Che cosa regali allo zio Giovanni? (What are you giving Uncle John?)

Gli regalo un libro di cucina. (I'll give him a cookbook.)

Indirect object pronouns are attached to an infinitive, and the –e of the infinitive is dropped.

Non ho tempo di parlargli. (I have no time to talk to him.)If the infinitive is preceded by a form of dovere, potere, or volere, the indirect object pronoun is either attached to the infinitive (after the –e is dropped) or placed before the conjugated verb.

Voglio parlargli. Gli voglio parlare. I want to talk to him.

The POSITION LAW of OBJECT PRONOUNS

Voglio parlargli. Gli voglio parlare. I want to talk to him.Voglio parlargli. Gli voglio parlare. I want to talk to him.

Object pronouns come before conjugated verbs OR

The follow the infinitives and are attached!!Ti piacciono I film? Si’, mi piacciono molto!

…A NOTE ABOUT DYSJUNCTIVE PRONOUNS below! I Pronomi Tonici

ITALIAN DISJUNCTIVE OR "STRESSED" PRONOUNS: I PRONOMI TONICI

We learned the direct and indirect object pronouns - mi, ti, lo, la, gli, le, etc. Unlike English, Italian has another version of these which you use after a preposition or verb, often for greater emphasis (hence the name "stressed pronouns").

First we'll learn what these pronouns are, then we'll see how to use them.

Dysjunctive Pronouns / also called: Stressed Pronounsa me (me)a te (you)a Lei (you formal)a lui (him)a lei (her)a sé (yourself, himself, herself, oneself - reflexive)

a noi (us)a voi (you plural)a Loro (you plural formal)a loro (them)a sé (yourselves, themselves - also reflexive)

So they look like a hybrid of direct or indirect object pronouns and subject pronouns.

But take note: although Lei, lui, lei, noi, voi and loro look like subject pronouns, when used disjunctively and they are not subjects!So how are they used?

Mi piace = I like it (It is pleasing to me)

A me piace= I (Really!) like it! Stressed/Emphatic

Io ti vedo= I see you

But VEDO TE = I SEE YOU!!!!! Stresed/Emphatic

Gli parlo. I am speaking to him.Parlo a lui, non a Te!

I am speaking to him, NOT TO YOU!

Stressed/Emphatic

Back to ESPRESSIONI UTILI

Io adoro = I love…Io adoro la pallavolo!

Fare la spesa

FARE LA SPESA!

________________________________________________

Fare le spese!

FARE LE SPESE

FARE LO SHOPPING!!!

Fare le spese

FARE LO SHOPPING

Studiate!!!Work in home journalMini-lezioneSummarize lesson todayBuona Fortuna!!!In Bocca al Lupo!!!

wolf

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in bocca al lupo!!!!!!!!!!