Summary The cartographic and historiographic traditions interpreting the Greek toponym Erythra Thalassa indicate this expression could designate several water basins in classical historiography, though it is usually rendered univocally as the Red Sea. This research applies cognitive semantics to the history of geography to retrieve the encyclopaedic meaning of the term erythros in relation to its dictionary meaning “red”. Computationally generated lists of frequency from about 50 ancient Greek and Latin oeuvres denote a predominant toponymic use of the term and a fixed collocation in conjunction with thalassa “sea”. Additional statistical data extrapolated from the Septuagint and the Greek New Testament reveal the tendency in the biblical tradition to use exclusively the inflected form erythra in fully fixed collocations with the term thalassa. The paper finds out that the specific shade of red denoted by erythors has been used since the seventh century BCE in a number of other toponyms and ethnonyms to convey the conceptual meaning of “southern”. To comparatively verify this hypothesis, several Greek toponyms incorporating the term leukos – “white” or “western” – are discussed in relation to their relative position in the oikumene. Based on comparative chronologies and diatopic attestations of the phenomenon, the hypothesis that the Turkic colour cardinal points system and the linguistic means to convey it was introduced to Greece during the period of contact with the Scythe people is proposed.

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The investigation of medieval literature poses a number of challenges, even to native speaker researchers. Such difficulties are related to (a) linguistic – syntactical and lexical – obstacles, (b) to the ability to recognise dense networks of interdisciplinary references and, (c) mainly to the cognitive challenges posed by “unfamiliar modes of expression”. The aim of this research is to discuss a methodological approach to deal with these unusual manners of composition, technically known as modal difficulty, in medieval literature. The theoretic setting is represented by Davide Castiglione’s monographic study Difficulty in Poetry (2018) and the specific definition of modal difficulty elaborated by James E. Vincent in the premise of his treatise on American poetry (2003). A study case illustrative of challenges in medieval literature analysis has been chosen to illustrate the speculative reasoning: the references to the celebrated mathematician Leonardo Fibonacci (1170–1242) – known for having introduced the Arabic numbers to the Europeans – in Dante Alighieri’s Divine Comedy. Preliminarily, the author discusses unfamiliar mathematical notations implemented from the 13th to the 18th centuries. Subsequently, adopting cognitive linguistics principles and hermeneutic as methodological tools, several veiled citations of the mathematician’s cogitations – such as the chess comparison in Paradise XXVIII, 91–93 and the quadratic expression in Paradise XXVII, 115–117 – are deciphered and illustrated. The analysis of Dante’s cognitive frame indicates that the recourse to Fibonacci’s formulas is functional to depict the incommensurable multitude of the divine in words. In the conclusions, the case studied is adopted as a model to illustrate how the reflection on unusual forms of expression could be employed to investigate ancient literary texts. A preliminary analysis of the frame-notation relation could help, as an example, to recognise mathematical formulas that were expressed in a verbal and non-symbolic notation.

This paper deals with the history of translation in the 18th and 19th centuries. It investigates the reasons behind six unsuccessful attempts to translate John Milton’s Paradise Lost (1667) into the Italian language. We hypothesise that the problem was the rendering of unusually marked lexical, thematic, stylistic and rhythmical analogies with Dante’s Comedy and, mainly, with its sources. Adopting Antonio Bellati’s Italian translation (1856) as an indicator, our study focuses on problematic aspects intrinsic to the English poem. Specifically, we suggest that the challenge was the transposition of Paradise Lost’s peculiar mixture of style and meter: the blank verse of a Christian epic poem. This uniqueness rendered it too similar to Dante’s Comedy. Likewise, the setting and the subject matter of the English poem were too adherent to that of both Dante and Virgil’s Aeneid (one of Dante’s main sources). Finally, it might have been difficult to translate Milton into Italian because the English poet openly imitates the Italian epic style, its rhythmical and lexical choices. We conclude that it might have been arduous to avoid even more marked Dantesque influences in an Italian translation. In other words, this study depicts an unusual traductive instance of “excess of equivalence” for lexical and culturally specific items.

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