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 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 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.
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).
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.
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.
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.
I have noticed that on Canto 19 Dante addresses towards the audience about how heinous it is to offer God’s grace for money. At the start of this Canto Dante states, “O SIMON MAGUS, O forlorn disciples,/ Ye who the things of God, which ought to be/ The brides of holiness, rapaciously(Alighieri 1-3) I believe the author Dante Alighieri is conveying the gravity of lying to those who believe that they can buy God’s grace. The following stanza Dante offers a premonition to the audience about the severity of Simony: “For silver and for gold do prostitute, / Now it behoves for you the trumpet sound, /Because in this third Bolgia ye abide (Alighieri 4-6). Here the reader can anticipate that the sinner’s punishment is approaching “behoves for you the trumpet sound”. It is evident that the author Dante Alighieri has no remorse or pity for these sinners. Dante clearly sees these fools are guilty of fraud, for they are simply taking advantage of people by offering promises of divinity in exchange of money. To Dante, this is a form of fraud, and the way the punishment is painfully depicted: “The feet of a transgressor, and the legs/ Up to the calf, the rest within remained. / In all of them the soles were both on fire;/ Wherefore the joints so violently quivered(Alighieri 22-26); Dante feels that their punishment is justified.
In canto 19 in third pouch of the 8th circle of hell, Dante defines the dualism between purity and corrupted purity exclusively in the terms of a woman. Canto 19 is different than the other cantos because it inherently draws upon the stereotype that women are temptresses, seductresses, and that their worth is defined by their purity. In the previous canto, men were punished for deceiving women however there was no inherent expectation for them to be pure. However, in canto 19, there is an inherent expectation that woman have to be pure. The biblical origin is that Eve tempted Adam to eat the apple from the Forbidden tree which ultimately led them to their condemnation. This canto references the contradictory dual perception of woman as inherently pure and seductive. For example, Dante addresses the sinners as “that should be brides of goodness” (Canto 19, lines 2). The clergy is married to the church hence, they’re “brides”. However the church isn’t the husband, it’s the “Lovely lady” (Canto 19, line 55). The entire relationship between the church and the clergy is described as a marriage however, there is no male pronoun in the entire relationship. The sacredness of the church is a feminine aspect however the loyalty of the clergy is also a feminine aspect. That insinuates that being pure as a sign of loyalty is primarily a feminine trait. In a marriage, the woman is loyal to the husband by preserving her virginity. However, Dante makes the analogy that a clergy member is loyal to the church by preserving it’s virtues (not participating in simony) and the sanctity of the church. However, if a clergy member violates the virtues, he becomes an adulterer which is still an inherently feminine trait. The men do not have nearly as much accountability to be pure and loyal as the women. In fact, Pope Nicholas III claims that “And truly I was the son of the she-bear, so greedy to advance her cubs, that I pocketed wealth up there, and myself down here.” (Canto 19, line 69-71). Pope Nicholas does not take accountability for his own action, nor blames mankind for his flaws, however, he claims that his greed inherently came from a female species. The “she-bear” has a dual meaning in this context. The Pope is referencing the “she-bears” as a primitive manifestation of greed. However, in the Bible, the “she-bears” mauled 42 children that were mocking Prophet Elisha- a revered prophet in Christianity. Pope Nicholas’ analogy is flawed because the she-bears committed violence for the sake of preserving the prophet’s purity (untainted reputation) however, he committed a fraud that ultimately tainted the purity of the church. This misconception among Simonists that greed is a genetic contribution of womankind is further reiterated in how the manner in which Simonists are punished parallels child-birth imagery. For example, Dante narrates “From the mouth of each protruded the feet and legs of a sinner, as far as the thighs, and the rest was inside.” (Canto 19, lines 18-21). This imagery is similar to childbirth however, the orientation is reversed to show that the clergy member’s couldn’t retain the purity of this maternal and sacred role. The child’s head is supposed to protrude from the womb (naturally) however the legs are protruding from the mouth. Clergy Members are also baptizers and they’re supposed to bring life into this world like mothers however, their corruption means that they can only give birth to even more corrupted souls. Nevertheless, women are still associated with greed. This concept is reiterated by the idea that during the apocalypse, the physical manifestation of greed is a female monster. Dante claims “She who was born with seven heads, and took strength from her ten horns as long as virtue pleased her husband.” (Canto 19 line 108-109). During the apocalypse, this woman’s seven heads represent the 7 sacraments and the 10 heads represent the 10 commandments. She’s a “harlot” or prostitute that was associated with a paganistic Roman. Her lack of commitment parallels the clergy’s lack of commitment to Church. This subtly implies that a woman’s greed and lust are responsible for mankind’s condemnation, because these traits exclusive belong to their species.
Citations:
“Bear Definition and Meaning – Bible Dictionary.” Bible Study Tools, Salem Web Network, www.biblestudytools.com/dictionary/bear/.
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.
