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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.

 

 

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.

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.

Dante’s condemnation of corruption in Catholic Church

 

SANDRO BOTTICELLI, CANTO XVIII, COLORED DRAWING ON PARCHMENT, C. 1480https://commons.wikimedia.org/wiki/File:Sandro_Botticelli_-_Inferno,_Canto_XVIII_-_WGA02854.jpg

The pilgrim and Virgil land at the top on the eighth circle of hell on Geryon’s back. The horrifying place that appears in front of Dante’s eyes is called Malebolge. Dante follows his guide around the left side of the first circle until they reach the first pouch (the are ten of them altogether in the eighth circle of hell) where the nude damned are forced to march in lines through a series of ditches. If they attempt to stop or get out if the line they get beaten with a whip by devils with horns. This pouch is a place for the Panders and the Seducers.

Dante compares the hoards of sinners the marching in lines to large crowds of people coming to the headquarters of the Roman Catholic Church to pay their indulgences:

“as the Romans, the year of Jubilee, because of

the great throng, found a way to move people, across

the bridge,” (Divine Comedy, Canto XVIII, 28-30)

It is clear to see that the author condemns the Pope Boniface VIII who announced in 1300 that it was a year of Jubilee, also called a Holy Year in the Roman Catholic Church. He also declared “indulgences” to those who visit Roman churches and make “an offering” (which was basically paying the clergy to have sins forgiven). Because of that declaration the numerous groups of peasants kept coming in waves to the home of Pope and were being corralled by the guards, which caused forming two lines moving to and from Vatican. Dante plainly notes the similarity between the horned devils that control the sinners and the servants of Vatican.

Another instance where Dante manifests his antipathy towards the church is found in the description of the sinners from the second pouch called flatterers.

“And while I am searching with my eyes down

there, I saw one with his head so filthy with shit that

whether he was lay or clerk did not show.” (Divine Comedy, Canto XVIII, 115-119)

Dante’s description of the flatterers covered in their own stinking excrement does not exclude a priest (clergy), which strongly suggests his aversion towards the church.

To sum up, the author expresses in Canto XVIII his deep antipathy towards the church and its servants by comparing them to the workers of deep hell and flatterers – sinners drowning in their own excrement. It is also worth mentioning that the way Dante describes the flatterers shows his ability (wit) to navigate easily between every style in his poetry.

 

 

 

 

 

Dante’s views on Simony

This image from the Yates Thompson 36 manuscript depicts Canto 19. In this canto, Dante and Virgil encounter those who are damned because of the sin of Simony. The definition of this is using the position in the church to sell church positions or privileges. The souls here are stuck head down in holes, with only their legs and feet exposed, and their feet inflamed. Here, Dante refers to the church as a bride, in this metaphor, the pope is the groom, and by being simoniac has failed to protect her. He sees this as a truly awful sin, and does not show any pity towards the souls, as he has in some previous cantos. This is shown in line 12, when he exclaims “how justly your Power distributes!” Dante wholly approves of the punishment given to these sinners.

In the image, these souls are shown in the centre. Their legs and feet are red, almost as if the skin has been removed. there is even more red at the entrance of the hole, and the red is sprayed, and looks like blood. Dante is shown talking to Pope Nicholas III in the centre of the piece. In the second half of the canto, Dante berates then man, telling him that he deserves the suffering he is now enduring. Dante then takes pride in the approval he gets for what he has said, in lines 121-123: “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.” On the far right of the image, Virgil has lifted the pilgrim up, ready to carry him away.

 

 

Canto 15: A Unexpected Encounter between a Teacher and Student

In Canto 15 Dante and Virgil continue their journey through the Third Ring of the Seventh Circle of Hell where the “literary sodomites” and others violent against nature are punished. As we read in Canto 11, sodomy is considered a sin of violence. Dante, the poet, views sodomy as a crime against God because it goes against nature. In Inferno, sodomy contradicts the natural will of life, therefore harming God. In the third ring, a fiery rain falls on the sinners, which represents an unnatural phenomenon, like sodomy. Whereas regular rain replenishes the Earth, a fiery rain does the opposite since sodomizers also do not replenish Earth with new life.

As Dante and Virgil walk passed a “band of souls” (Inferno 15, 16), Dante, the poet, writes “each was gazing at us as in the evening people gaze at one another (16-17).  I interpreted this as alluding to the way men may look at each other in a sexual manner. Dante says, “I was recognized by one, who seized me by the hem” (22). Dante has some difficulty recognizing the soul because of his “baked appearance” (26) from being burnt from the fire. Dante finally realizes who it is and with surprise asks, “Are you here, ser Brunetto?” Dante asks this with a great shock and sorrow that Brunetto could end up where he is. Dante holds respect for Brunetto, an old mentor and teacher, who he feels indebted to. Dante keeps a “kind paternal image” of Brunetto (83). It’s compelling that both Dante the poet and pilgrim have much admiration for Brunetto. But evidently, Dante, the poet, places Brunetto where he does in such a painful place in Hell based on his sin and regardless of how much praise and affection he has for him. This displays that one can commit sins and be punished but still be seen with great influence, like how both Dante’s view Brunetto.

Brunetto explains to Dante his future. Dante hears the same prophecy again. I found this compelling because it’s possibly the third time that Dante heard his prophecy and again the number 3 could be used by Dante, the writer. It’s also unusual that there was not much interaction between Dante and Virgil in Canto 15. Dante spends most of the Canto talking to Brunetto. Dante informs Brunetto that he is prepared for what Fortune has in store for him. Virgil is pleased with his student’s courage and approves of his careful listening saying, “He listens well who takes note” (98). I think this displays a strong trust and confidence Virgil has grown to have in his student and pilgrim, Dante.

the absence of violence in sodomy

Sodomites dancing around Virgil and Dante as they leave the second zone.

Canto XV is where Dante and Virgil enter the second zone of the third ring into the path to hell.  Virgil and Dante are acquainted with the Sodomites. Sodomites are those who have been violent towards nature. Weather its murder of others or of oneself, they have gone against love towards nature and now must walk under the “rain of fire.” As they approach, Dante describes seeing “so many flocks of naked souls, all weeping miserably, and it seemed that they were ruled by different decrees.” (Canto 14, 19-21) They were each there for different reasons. “Some lay upon the ground, flat on their backs; some huddled in a crouch, and there they sat; and others moved about incessantly.” (Canto 14, 22-24) The Sodomites are those who have engaged in Sodomy. Virgil tells Dante that violent sins  and crimes are separated into three parts; effect on the victim (weather its yourself or somebody else), the people who hurt others, and the people who hurt themselves. Dante, being Christian, believes that suicide is a sin amongst all other violent sins because it is considered a personal disgrace. In Canto 16, Dante treats the Sodomites with surprising respect and understanding. Barolini suggests that lust and sodomy are desexualized in Inferno when he says  “Dante’s treatment of sodomy is “progressive”—in the sense of not focused on sexualized torture. (Didgital Dante)” He urges that it is very unlikely that Dante in the Comedy does not imagine sexualized tortures at all.

Today, we are flooded with stories of rape, torture, and sexual assault throughout every aspect of our lives. We see it re-enacted in the movies and the shows we watch. We read about peoples “coming out” stories on Instagram, Facebook, and Twitter. We see awful stories in the news about how someone has been hurt. Our view on sodomy and especially same sex participation has changed for the more inclusive. It was difficult to read Dante’s traditional take on the Sodomies, yet it is important to understand that approaching the Commedia with an open mind and understanding of the characters views when taking in the epic of Dante and Virgils journey into hell.

” The Filthy image of Fraud”

A wood engraving of Geryon by Gustavo Doré.

Towards the end of canto 16, Dante notices a monster that rises from the depths of the water and this is Geryon. In Canto 17, Geryon is introduced as the monster, the “filthy image of fraud”. Geryon is a personification of fraud, (lines 10-15) “Its face was that of a just man, so kindly seemed its outer skin, and the rest of its torso was that of a serpent; it had two paws, hairy to the armpits; it had back and breast and both sides with knots and little wheels: …” He is described as a hideous beast that is used as the image of fraud. Dante uses a metaphor and compares him to a beaver because during medieval times the biologists thought that beavers caught fish by sticking their tails in the water and secreting some oily substance that the fish were fond of. Geryon is secreting “fraud” or in the words of Dante “Behold the one that makes the whole world stink!” (line 3) “Fraud makes all physical barriers and defenses (mountains, walls, and armor) useless”. It poisons the world with venom and humans do grow fond of fraud and end up committing it. People convince one another to commit fraud by promising that they will end up rich and live extravagantly and use deception for personal gain.

Geryon’s body represents the “chronological sequence of a fraudulent deal”.  Geryon’s initial appearance represents trust, the bright colors of his torso can confuse and by the end of the ordeal comes the sting which is either death or of loss. Geryon’s colorful torso is also related to the leopard’s painted skin that represents fraud.  In lines 25-27 Geryon is compared to a scorpion “In the emptiness all its tail was wriggling, twisting, upward the poisoned fork that armed it tip like a scorpion’s”.  Certain scorpions with rose tails symbolize a “double-edged sword” meaning that they can sting immensely or be pleasant. Both scorpions and Geryon have very venomous tails. In other words, Geryon can sting by deceiving someone with his honest face for his own personal interests or he can be somewhat helpful. In this canto, Geryon did help Virgil and Dante by taking them around the waterfall of the river Phlegethon down to the Circle of Fraud. Dante was struck with horror when Virgil requested a ride from the monster. As he climbed on Geryon he saw countless sinners suffering from above and was scared the entire time. Moreover, in Canto 3, Cerberus was introduced was a three-headed dog but is also “the great worm”; like Geryon they are both part snake. In Genesis 3, serpents are considered the first deceivers.

The Damned Are Not Simply Evil

In Canto 15, Dante and Virgil are still in the seventh circle of Hell, to which are inhabited by sinners who have committed violence against God. What I want to focus on here is the complexity of one sinner, Brunetto Latini. The nature around this individual begs to question that although these souls had committed sins, the nature of sins should not be easily dismissed. We, the reader, must understand that the during Dante Alighieri’s time the church condemned homosexuals acts, for it upset the natural order of things; the church viewed sexual acts as a way to procreate only. Dante shows great admiration towards his former mentor Brunetto Latini, “For in my mind is fixed, and touches now/ My heart the dear and good paternal image/ Of you, when in the world from hour to hour”(Alighieri 82-84). Furthermore, Dante with high regard tells Brunetto about how grateful he is to have him as an mentor, “You taught me how a man becomes eternal; / And how much I am grateful, while I live/ Behoves that in my language be discerned. (Alighieri 85-87). Now, can we the readers question about the author’s(Dante Alighieri) intentions with this character(Brunetto Latini)? It is evident that Brunetto is a complex and sympathetic character. Maybe Dante wanted his readers to contemplate about human nature and to be remorseful towards people who were confronting their sins.