In Canto 23, Virgil and Dante the pilgrim are traveling alongside 10 demons instructed by Malacoda to safely take Virgil and the pilgrim to an unbroken bridge spanning the sixth bolgia. Virgil and Dante did not know in Canto 21 that there wasn’t an unbroken bridge when Malacoda said, “… let these be safe until the next ridge that goes undamaged over the pits” (Inf.21 , 125-26). As stated in Barolini’s commentary, “Malacoda was effectively telling his devils that they will soon be authorized to attack the travelers.”
Dante then relates his and Virgil’s situation with the devils to a fable by Aesop about a frog and a mouse. The fable states that, “… a frog offers to swim a mouse across a body of water, intending to drown him; the frog ties his leg to the mouse’s; when the frog tries to drown the mouse their struggles attract a hawk, who seizes them; the frog’s leg being tied to the mouse makes escape impossible for both of them”(Durling, Martinez). Barolini proposes that one of the possible scenarios is, “Dante and Virgil as mouse, devils as frog, with the sometime addition of Ciampolo as kite.” Kite in this case is interchangeable with hawk. Ciampolo was one of three souls Dante, Virgil and the devils crossed paths with in Canto 22. The allusion to Aesop’s fable is effective because Virgil and Dante blindly trusted the demons to guide them when in reality their intentions were evil just as the frog in the fable. Ciampolo as the kite, benefited by both Virgil, Dante and the devils because he was able to trick the devils into letting him escape their additional torture. In other words, Ciampolo was bale to manipulate the situation that brought Dante, Vigil, and devils together to his advantage. Dante’s use of Aesop’s fable enforces the fraudulent and deceptive behavior punished in the fifth bolgia.
Monthly Archives: March 2019
Virgil’s reassurance towards Dante
Throughout the Inferno, Virgil always helps, reassures, and gives Dante confidence in any given circumstance. Virgil also tends to baby Dante when Dante does something to please him. In Canto 23, Virgil and Dante managed to slip away from Barbariccia and the other demons that were distracted by the demons Calcabrina and Alinchino fighting. Virgil and Dante saw this as their final opportunity to leave but Dante is terrified that the demons will come and look for them since they slipped away. Virgil reassures Dante by carrying him across. In lines 37-43, Dante says “ My leader seized me quickly, like a mother who is awakened by the noise and sees the flames burning close by, who takes up her son and flees, caring more ofr him than for herself, not stopping even to put on her shift:”. Virgil reassures Dante that nothing is going to happen to them by showing him this kind of affection. Similarly, in Canto 24, Virgil pushes Dante to get moving and helps him down the rocky bank. Dante mentions that if it weren’t for Virgil, he probably would’ve given up by now. In lines 23-27 “… he opened his arms and took hold of me. And like one who uses judgement as he acts, always seeming to look ahead, so, carrying me up to the top…”, Virgil carries him again to get to the summit of the bridge. Without Virgil being there, Dante would have been completely lost and hopeless throughout each circle of hell. Additionally, in Canto 19, Virgil also happily carries Dante like a baby across the bridge. Virgil was proud of him for not sympathizing with the sinner Pope Nicolas III. Evidently, there is a recurring theme of Virgil carrying Dante in these three cantos. Nonetheless, Virgil’s reassurance is shown in the beginning of the Inferno in Cantos 2 and 8. In Canto 2, Virgil reassures Dante that everything will be okay in his journey by telling him that he was sent by his beloved Beatrice. In lines 133-136, Dante says “Oh full of pity she who has helped me! And you courteous, who have quickly obeyed the true words she offered you!”. Dante is eternally grateful to have received Virgil as his master and guide throughout his journey. Furthermore, in Canto 8, thousands of enraged sinners try to bar Dante from getting into the city of Dis because of his “alive-ness”. Virgil reassures Dante that they will get into the city of Dis. Virgil at first fails but then succeeds in the beginning of Canto 9. In lines 121-123 of Canto 8, Virgil tells Dante “And to me he said: “You, though I am angered, do not be dismayed, for I will overcome this test, however they scurry about inside to prevent it”. Virgil’s ego does take over here, but he was successful either way when they both got into the city of Dis. Thus, Virgil’s reassurance and encouragement has helped Dante face numerous obstacles throughout the Inferno.
Protected: Blog Post 6
Canto 24: Dante’s body mass is problamatic, Virgil controls his emotions & Dante still relies on Virgil
Canto 24 begins with the “simile of the villanello” as noted in the Digital Dante notes for canto 24. The villanello demonstrates Virgil’s changing expression as well as the emotional state both Virgil and Dante face. Virgil is angry but his anger is not directed to Dante. Virgil is like a farmer who is running low on food and can’t maintain his animals so he needs his animals to graze and is appalled by the sight of frost because the grass will be covered by snow. This is shown when Dante writes, “when on the ground the frost copies the image of her white sister, but her pen retains its temper only briefly, the peasant, his provisions running short, rises to look, and sees the fields all white; and he strikes his thigh…” (Canto 24, lines 4-19). But the frost disappears quickly in the morning sun, therefore the grass can be seen and the farmer (Virgil) is suddenly overpowered with joy. Realizing how treacherous the bridge is, Virgil takes some time to consult himself and study the ruin of the bridge well. Then Virgil helps Dante across, lifting him up onto various boulders and teaching Dante to find secure places where he can put his feet to push himself up. When they finally make it across, Dante says “My breath was so milked from my lungs when I arrived there that I could go no further, but rather sat down as soon as we arrived” (canto 24, lines 43-46). Dante is dependent upon his master not only for physical help, but also for spiritual guidance and moral support. Similar to previous cantos, Dante gains reassurance from Virgil because Virgil’s actions and words can make Dante feel serene because Dante feels the same security in Virgil as when he first met him. Instantaneously when Virgil’s anger vanishes so does Dante’s anxiety. Once Virgil gains his composure, he reveals he is capable of measuring an amount of control over his emotions. This contrasts with the way in which most of the sinners in Hell are prey to their emotions and physical desires such as anger, lust, greed, and so forth. Although Virgil is in one circle of Hell, he is only there because he is not a Christian; he is a pagan. Virgil, however, uses his willpower to master his emotions. Throughout the poem, the ability to master emotions is seen to be a uniquely human characteristic that identifies with human ability.
Virgil congratulates Dante on his efforts and tells him “And therefore stand up; conquer your panting with the spirit that conquers in every battle, if it does not let the heavy body crush it down” (canto 24, lines 52-54). The climb to the next bridge presents problems. Virgil is weightless, but he has to give very careful directions for Dante because Dante has body mass so he needs test each rock before he puts his entire weight on it because the bridge can collapse. Here, as seen in other cantos, the body is considered to be an impediment, because the body represents a physical weight that the spirit must carry around and that threatens at times to overcome the spirit. Similarly, as noted in canto 8 when Dante the pilgrim states “My leader stepped down into the boat and then had me enter after him; and only when I was aboard did it seem laden. As soon as my leader and I were in the bark, the ancient prow set forth, cutting more of the water than it does with others” (canto 8, lines 27-30). Dante tries to cross the Styx river by boat but at first is denied by Phlegyas because Dante is still alive and therefore his body remains with him throughout his journey. Only Dante the pilgrim has a body weight to the boat and therefore the boat sinks lower into the water because of his weight index.
Blog post due March 11
For your post 6, please follow the instructions I gave for previous posts. Write your post after reading all the assigned cantos. Keep in mind that Inferno 21-24 are one long sequence. The comments in the book (and any other tool those available online that can clarify the cantos for you), are part of the assigned readings and not just an option.
Remember to read your fellow students’ posts (and reply to them) and to proofread your posts before publishing.
Happy writing!
Dante v.s. Pope Nicholas III
Dante and Virgil speak to a simonist, Title: Simonists, Illustration by Gustave Doré, Source: Danteworlds (UTexas)
The image above refers to canto 19 in which Dante and Virgil encounter the souls who have committed the sin of simony. Simony is defined as someone who uses material wealth to pay for a higher position and more influence in the church. In observing the image, Dante appears to be quite cautious in approaching the simonists while Virgil is smiling with pleasure at Dante’s reaction. There are souls trapped in holes all around Dante and Virgil with their legs being the only visible limbs. They appear to be flailing about because of the fire that burns them.
However, it also seems to illustrate the moment when Dante speaks to Pope Nicholas III. When the latter believes Dante is another pope, known as Boniface, he reacts in a confused manner, unsure of how to answer. After following Virgil’s instructions, Dante inquires about Nicholas’s reason for being in Hell. In a tone, unlike the tones present in previous cantos, Dante bluntly asserts that Pope Nicholas III is rightly punished for the sins he committed. Dante proclaims, “You have made gold and silver your god; and/ what difference is there between you and the idol-/worshipper, except that he prays to one, and you to a/ hundred?” (112-115, 295). Dante wishes to express here that in Nicholas’s living days, he makes wealth and bribery his main priority in order rise to the top of the church. Despite the fact that Nicholas serves a religious institution, similar to other religious members, this does not necessarily stop him from using money to his advantage. Simply because one works in a position of power that teaches people right from wrong does not signify that they are staying true to such prophecies when they are hidden from the public.
Furthermore, according to the catholic tradition, especially during this time, an idol-worshipper is considered as someone who follows an evil custom. It signifies that people devote themselves to a cult image such as a statue. In this quote, in order to emphasize the evil and immoral mindset of Pope Nicholas III, Dante compares him to idol-worshippers claiming that Nicholas is much worse because of his endless selfishness and greedy attraction to materialistic wealth. Dante’s reproach is ultimately harsh, blunt and straightforward. These characteristics are unlike the usual tone of Dante that travels through the ongoing circles of Hell. In past cantos, the majority of his reactions consist of sorrowful pity or fear. It is plausible that since this eighth circle is past the midpoint of inferno where Geryon brings them, Dante’s is experiencing a shift in mindset. He is becoming more aware of his connections to the souls in Hell, especially when they are connected to a political or religious background in which Dante participates. Usually this signifies that they come from the same city as he does, Florence, which immediately attracts Dante’s attention. Furthermore, Dante’s is shifting into a stronger and less distressed character who does not become alarmed as intensely as before at the torment that he witnesses. The reason for this is that since Dante and Virgil are descending further down into inferno, the punishments of the souls are becoming harsher and more terrifying. At this point, Dante is used to and no longer shocked at the extremity of the punishments.
In reference to the image, as mentioned before, Dante appears cautious when he recognizes the voice of Pope Nicholas III. However, this does not distract from the idea that he criticizes Nicholas with a sense of superiority. The cautiousness is present because of the dangerous situation apparent in front of him where there is an abundance of fire. Nevertheless, since this is the first time Dante admits to a soul that they are deserving of the punishment they receive, it is evident that he feels he has the upper-hand. This is not only because he is still alive, in obvious contrast to Pope Nicholas III, but also because he encounters an opportunity to condemn the corruption of the church that bothers him throughout his participation in politics. According to the notes (302) idolatry is a sin that is often criticized by Old Testament prophets whom Dante associates himself with. This gives an insight into Dante’s sense of identity because he feels confident in his opinion regarding Pope Nicholas III without any sense of insecurity about his sense of faith. Therefore, he is able to see what actions he must not commit in the future in order to avoid ending up in a damned position similar to Nicholas.
Lastly, Virgil’s reaction as shown in the artwork is clearly reflected in the text when Dante narrates, “I firmly believe that it pleased my leader, with/ such a contented smile he listened still to the sound/ of the true words I spoke,” (121-123, 295). This quote not only expresses a textual mirror of the image but also confirms Dante’s sense of superiority in two ways. Primarily, It is reassuring that his guide, who also happens to be a poet that Dante admires, approves of his statements towards Pope Nicholas III. When Dante states, “…the true words I spoke,” he is also affirming himself as well as the reader for speaking the truth, which pushes any further questions the reader or Virgil might have out of the way.
Dante’s truth
Dante refers to the entrance to the Eighth Circle of hell as “Evil Pouches,” otherwise known as Malebolge. Dante describes he and Virgil’s surroundings, Dante says; “so here, across the banks and ditches, ridges ran from the base of that rock wall until the pit that cuts them short and joins them all.” The ridges Dante describes are creating pits or “pouches” where people receive punishments for their sins. The ridges were too crowded so they were separated into two groups of bolgia, the sinners who sexualized and trafficked women committing a sexual sin, and the flatterers. These pits were not pleasant. Dante describes them in great detail; “And while my eyes searched that abysmal sight, I saw one with a head so smeared with shit, one could not see if he were lay or cleric.” Dante recognizes another Italian. I think what Dante realizes here is that he has seen others outside of these circles descending into hell. He might be in the process of realizing that everybody sins, including himself. In class today we talked about being honest, and how even though sometimes the truth can be shameful. Dante can no longer be silent and must tell the truth even if it hard or obscene.
Of Simony
Alighieri begins canto 19 with the apostrophe of “O Simon Magus, O wretched followers, you who the things of God, that should be brides of goodness rapaciously” (Inf. 19. 1-2). The subject of the apostrophe, Simon Magus is a Samaritan magician who offered money to buy priesthood from Saint Peter. And eventually, this becomes a permissible common practice to commercially exchange priesthood and the church (Durling Comm.). Alighieri then draws an analogy comparing Simony to prostitution with the line of “adulterate for gold and for silver” (Inf. 19. 4). We can see that the spiritual role of the priesthood cannot be leveraged through monetary means; and if it does, it will corrupt the intellect and the will of the individual. There is somewhat of a connection between simony and usury since both sins are predicated on the exchange of money. Usury, the practice of money-lending seems to be a self-defeating action; the mean of this action is also the end of this action, and this renders usury as a sin that is meaningless, yet benefits the interest of the self. Whereas simony is a more severed sin that utilizes money to gain spiritual and religious power; this makes it easy for a wealthy individual to buy their way to becoming a priest. Many can abuse simony to influence others to gain self-interest, thus causing corruption in social order. In Alighieri’s imagery, corruption is never viewed as a whole or complete, but is being metaphorically described in the form of pockets: “the livid rock perforated with holes” (Inf. 19. 13).
Virgil’s Confidence
in canto 21 Dante and Virgil arrive at the fifth bolgia, as Dante tries to figure what is happening in the dark tar-like substance Virgil shouts at him to look out as they spot a black devil carrying a sinner towards their punishment. As the devil continues to torture the sinners Dante and Virgil that he is not alone, there were more devils in hiding, to get past this place they must confront the group of devils. At this moment a rare thing happens, Virgil tells Dante to hide “So it may not appear that you are here, squat down behind a projecting rock to hide;”(58-60). Throughout the cantos Dante was very rarely in danger and was mostly there standing beside Virgil as he confront the challenges that bar them from moving forward. This showed Virgil’s confidence in himself and his task as he never believed that they would face any serious danger, that changed at the gate of Dis. Virgil’s failure at Dis hurt his confidence and even more importantly his faith in the task of guiding Dante through hell. Though he gets most of it back we can see that there are still cracks remaining in this canto. Here we see Virgil contradict himself, he advises Dante to hide but reassures him that everything is going to be alright “and no matter what harm they offer me, do not be afraid, for i have foreseen everything” (61-63). If Virgil was as confident as he says why doesn’t he just bring Dante along like he did when he was confronting the previous obstacles, it shows that he might not be as sure as he says “and as he reached the sixth bank, he needed to have a confident brow.” this line makes it out as if Virgil is trying to psyche himself up, to put on a mask of confidence as he himself seems to believe that he does not have enough of it.
Progression of the Recognition of Sin
Sandro Botticelli, Canto XVIII, colored drawing on parchment, C.1480
Dante and Virgil Traversing the first two Boglia of the Eighth Circle
Early in the Inferno, we can see the idea of recognition and remembrance of sinners. Dante’s interactions early in the Inferno with Francesca and Paulo, as well as his later interactions with Brunetto Latini show that the sinners of the higher Inferno are more focused on their own sufferings and past lives on Earth. Francesca, Paulo, Ciacco, and the other sinners Dante encounters before lower hell even actively want to speak to Dante and tell him of their plight, or ask him about the living.
However as we enter the 8th circle, we’re welcomed by a new caliber of sin, and a new attitude towards Virgil and Dante. Where sinners like Farinata or Cavalcante in the 6th circle wanted to speak to the pilgrim, we’re now met by Venedico Caccianemico, and Alessio Interminei of Lucca. Both of these sinners respond in a similar way, and both reside in the first and second (respectively) Boglia of the 8th circle.
Venedico is initially recognized by Dante as he “thought to hide by lowering his face,”(46-47) and when prompted by Dante, concedes: “Unwilling I say it, but your clear speech compels me, reminding me of the former world.”(52-54) Venedico is so ashamed by his actions in the real world, in which he pimped his own sister. Unlike sinners in higher hell, Venedico shows a higher level of regret for his actions and his state in society that he attempts to avert even the gaze of Dante. Alessio too feels this shame, and a strange perspective on his own sin. He says to Dante: “Why are you so hungry to look more at me than the other filthy ones? . . . I am submerged down here by the flatteries with which my tongue was never cloyed.” (118-126) Alessio not only feels shame, but also uses the metaphor of being “submerged down here by the flatteries with which my tongue was never cloyed,” in which he describes that he’s surrounded by excrement, something his tongue was never disgusted by as a flatterer.
The idea that these sinners now wish to not be recognized for their sin is interesting, not only because of the idea that these sinners are starting to regret their own actions while alive, but also because of the contrast between these circles and the anti-inferno of Canto 3. In the anti-inferno we’re introduced to the neutrals: angels who allied themselves to neither God or Satan, and humans with a lack of affiliation. These souls are punished, but unlike the other souls of the Inferno receive no infamy or praise. Those in Hell, while punished, also receive a degree of infamy and the possibility of remembrance. Those in the anti-inferno are briefly touched upon in the 3rd canto, and not one is recognized. The contrast between this canto and the 8th circle where sinners start to wish to remain unidentified is interesting to me. It really illustrates the idea that both calibers of sin are punished in almost an equal regard. Both wish for the opposite, one hoping for recognition, and the other anonymity.
I found this parallel fascinating, because I feel that this exemplifies Dante’s idea of contrapasso, only in this example across the circles of hell. A contrapasso of punishments rather than a contrapasso of sin and punishment. Though I’m unsure if sinners in the anti-inferno would prefer to be punished in the 8th circle, they certainly want the recognition the Inferno and God’s divine plan give to other sinners, whereas the opposite is true for the sinners in the 8th circle.
