Hell as Babel

In Canto 7, we are confronted with Plutus opening verse of “Pape Satan, pape Satan aleppe!”. This verse deserves a special mention because it is one those verse in the Divine Comedy that remains untranslated, and it might lose its intended and original meaning if it is translated. Untranslatable verse like this allows us to investigate on the general meaning and the hidden implication of the words in the verse.

In the case of “Pape Satan, pape Satan aleppe!”, Alighieri does not use the common Italian/Latin word ‘papa’ as pope, but instead uses the informal and debased version of the word ‘pape’.  And at the same time ‘Pape’ is a rhetorical device that act as an interjection for showing affection. The last word ‘aleppe’ is similar to the first Hebrew alphabet of ‘aleph’ which implies God (the divine one). In the verse ‘aleppe’ is placed at the end of the verse, showing that God permeates from the beginning to the end (Digital Dante C Inf VII).

Not only Plutus is a Greek god of wealth, we can imagine that he has shown proficiency in the art of language, mastering both Italian, Latin, and Hebrew, and as well as mastering the debauched dialects of these languages. He is to be reminded of a polyglot with a confused tongue who were banished from the tower of Babel. It is like that of Plutus, a pagan god who is punished by the Judeo-Christian version of God. Plutus, speaking with “his clucking voice”, utter the corrupted speech of interjection, “Pape Satan, pape Satan aleppe!” to show his affection to Satan, yet satirizing himself to reveal the papacy state during Alighieri’s time, when the indignation of Paganistic heresy were very common.

On a broader scale, I am not familiar with the specific historical context of how the multiplicity of language comes into play with the sociopolitical structure of the Church state (since the common language is Latin). But there might implication on how the diversity of languages and thoughts affect the sociopolitical structure of the Church state, if there is any at all, from my previous drawing of the parallel between the tower of Babel to the political state during Alighieri’s time.

 

Dante Struggles with Greed

At the start of Canto 6, the pilgrim again awakens in the next circle of hell, the third circle. In this circle, the souls are subjected to eternal heavy rain. It is revealed they are cursed to be in this circle because of the gluttony in life. Cerberus is also here, a creature from Greek mythology that is a dog-like animal with three heads. When Virgil manages to distract Cerberus, the pilgrim begins talking to one of the souls, who says, like Dante, he is from Florence. The pilgrim asks if he knows what will become of their city, and names a group of men he sees as good. The man, who Dante names as Ciacco, answers that all the people the pilgrim asked about are even further down in the circles of Hell.

This Canto introduces us to Dante’s perspective of Florence, which Ciacco claims is full of greed and envy. Canto 6 illustrates that Dante does not only very greed as related to money or food, but also power.

Instead of feeling dislike towards Ciacco, the pilgrim appears to only pity him, even after Ciacco has revealed it was greed that sent him there. Dante feels sadness towards Ciacco, rather than resentment.

The Gluttonous Politics of Florence

“Ciacco” – Suloni Robertson (http://danteworlds.laits.utexas.edu/gallery05.html)

In Canto 6, Dante awakens in the third circle of hell. He finds himself surrounded by suffering spirits who are punished by an “eternal, cursed, cold, and heavy rain” (7) because of their indulgences and greed. Dante encounters Cerberus, the mythological three-headed dog-like demon beast, who continuously barks at the cursed souls. Then, Dante comes across a soul who asks him, Dante, to “recognize me if you can.” Dante cannot recognize him because the soul no longer looks like his living self but he is Ciacco of Florence who is punished in the third circle of hell for his sin of gluttony. According to UTexas’ Dante Worlds, Ciacco may be a derogatory reference to “pig” in the Florentine dialect of Dante’s day which is probably why Suloni Robertson depicts Ciacco as a stuffed pig in her painting. The pig is used as a metaphor for the excessive greed politicians often use for their own personal gains. Ciacco explains to Dante that there all the others in the third circle also “endure similar punishment for similar guilt” (55-56). Dante weeps again for Ciacco’s suffering and troubles but once he realizes who is speaking to he wants to know the future of Florentine politics. Dante asks Ciacco if worthy men are in heaven or hell and Ciacco responds, “They are among the blacker souls” meaning despite their certain good actions in life their selfishness punished them in the deeper circles of hell.

Canto 6 shows how massively important the politics of Florence are to both Dante the writer and Dante the character. Florence is something that personally affects Dante and this is the first place in Inferno where politics are thoroughly introduced and the focus is what is going to happen to Florence.

 

The Poet’s Wrath

 

Illustrazioni sulla Divina commedia di Dante [in 4 portfolios]
https://library.artstor.org/#/asset/SS33624_33624_33393782;prevRouteTS=1549948920011

In Canto 8 we experience a new Dante that we have not seen in the previous canto. In the fifth circle of Hell Dante and Virgil are crossing the Styx on a boat when they meet someone that Dante recognizes, this person is Filippo Argenti who is Dante’s nemesis in real life. Here we can see Dante the poet heavily intrudes into the story basically supplanting himself as Dante the character. The once sympathetic character who fainted out of pity from listening to a bitter love story is now replaced by a person who wishes to see someone suffer further punishment “Master, much would i desire to see him ducked in this broth before we leave the lake” (52-54). It goes even further to the point where Filippo Argenti is being torn to shreds but Dante is not shocked or disgusted by it, instead he revels in it and praises God for this event. Everything in the canto is against him Dante, Virgil, even the other sinners, here we can see the ruthlessness of Dante the poet providing a sharp juxtaposition between the two Dantes. On one hand we have a Dante that weeps with excessive pity to the poor souls that are damned, on the other we have a Dante that put these souls in hell and condemned them believing that they deserved to be placed there for their sins that they have committed. Dante the poet seeming to give into his wrath and write about the condemnation of his real life enemy to suffer in Hell for the sin of wrath gives this canto a bit of morbid irony. 

Canto 6: Gluttony

Overview of Gluttons (3rd Circle of Hell)

Vellutello, Alessandro

Dante bases his definition of gluttony on his own experiences in Florence. While gluttony’s literal meaning is an excessive consumption of food and drinks, Dante broadens the definition to include an excessive acquirement of wealth and power that is obtained at the expense of the city’s civilians. Dante perceives wealthy politicians that exercise more power than what it rightfully allocated to them as guilty of neglecting their civic duties. Dante’s understanding of corruption pertains to his own experiences as political figure in Florence. He introduces his city’s political dynamics through Ciacco. The condemned soul claims that “your city is so full of envy that the sack already overflows” (lines 49-50). The soul is referencing his own experiences in Florence before Dante was born; they most likely refer to the class conflicts between the magnate and the plebeians. The magnate were the wealthy Italian merchants whereas, the plebeians were the commoners. During this time, the plebeians banned the magnate from holding a political position in society. The constant desire for each class to exert their dominance over the other in terms of wealth, prestige, and power frequently plagued Florence’s society, hence the city was already displaying symptoms of gluttony. Ciacco foreshadows the city’s absolute fall to gluttony and Dante’s own exile from Florence. He claims that “the citizens of the divided city” (line 61) will “come to blood, and they party from the woods will drive out the other with much harm” (lines 64-65). The “divided city” refers to the Black and White Guelphs fractions that formed after the Guelphs took control of Florence after defeating the Ghibellines. The Black guelphs approved of the Pope whereas, the White Guelphs including Dante, wanted more independence from the Pope ; hence they were categorized as “the heirs of the Ghibellines” (Museo Casa de Dante). The White Guelphs are “the party from the woods” that drive the Black Guelphs out of Florence after a blood batter which Dante also participates in. However, Ciacco claims that “Then later this party must fall within three suns and the other rise, with the power of one who now hugs the shore” (line 67). Ciacco foreshadows that after 3 years or “three suns,” the Black Guelphs will regain control of Florence while the White Guelphs, including Dante who was an active prior (White Guelph leader) will fall. Ciacco implies that Florence’s internal political turmoil is a manifestation of gluttony itself that will only be intensified when the Black Guelphs will conquer Florence. Ciacco even specifies that “Two are just” (line 73) in the war, which most likely refers to Dante himself and maybe one of his acquaintances. This further reiterates how Dante perceives himself as an anti-corrupt political figure whereas, anyone else who doesn’t govern in the same manner as him is immediately guilty of corruption and in broader terms- gluttony.

Dante uses food imagery as a metaphor for the political corruption that characterizes Florence. In Canto 6, there is a repetition of “heavy rain” (line 7, 32). The heavy rain is actually the physical food and drinks the souls consumed during their lifetime. These souls are most likely political figures who obtained these luxuries at the expense of their subjects. Since they were so greedy for these possessions, they’re raining down on them now. Ironically, the rain fulfills their human desire for materialistic possessions while simultaneously keeping their souls in hell under the heavy weight of their own desires. Ciacco’s status as a corrupt political figure is further reiterated when the word “heavy” is used again to describe an oppressive force. The Ghibellines were described as “Long will they hold their brows, keeping the others down under heavy weights, no matter how they weep or are shamed.” lines 70-71). While there is no implication that Ciacco was a Ghibelline, the word “heavy” is used twice in Canto 6, once to describe the corrupt behavior of politicians and the other to describe the rain, both are oppressive forces. The author is equating the heavy oppression and political injustice with heavy rain which serves as their punishment. This implies that Ciacco himself must’ve been a “heavy” oppressive force in Florence in order to be punished by the “heavy” rain. The rain parallels the nature of the oppressors. The oppressors didn’t care if the subjects “weep or are ashamed”, likewise, the rain doesn’t care if the souls weep or display shame with their “bent heads” (line 92). Moreover, the rain’s “rule and quality never change” (line 9) just like the politicians never changed the unjust way they governed society. Ciacco represents how corrupt political figures are punished on a microscopic scale. He asks Dante about Florence’s corrupt political figures such as Farinata, Tegghiaio, Iacopo Rusticucci, Arrigo, and Mosca. He uses food imagery to ask if “Heaven sweetens them or hell poisons them” (line 84). The sweetened food represents what the politicians earned while the poisoned food represents what they wrongfully consumed. This alludes to the Adam and Eve’s unlawful consumption of the apple in paradise which ultimately poisoned them and they fell through the ranks. Similarly, these political figures consumed what they weren’t supposed to and fell through the virtuous ranks into hell. Hence, Dante observes that all these souls have “the emptiness that seems a human body” (line 36) which means that their soul is empty because they always fed their body instead of their soul. Their empty human body is actually their empty stomach, it doesn’t have any food because they fed materialistic content to their body instead of substantial virtues and deeds to their soul. Thus, it becomes apparent that their gluttony left their souls hungry and their bodies eternally empty.

Citations:

“Florence at the Time of Dante Alighieri.” Museo Casa Di Dante, Firenze, www.museocasadidante.it/en/dante-alighieri/in-florence/.

Additional Information:  The image is from the University of Texas at Austin. The image depicts the 3rd circle of Hell where the “food” is raining down on the gluttons.

The Power to do Good

Image result for canto 7

http://danteworlds.laits.utexas.edu/circle4.html

In Canto 7 Dante descends to the 4th circle where there are two kinds of dammed dwelling. That of avaricious and prodigal nature respectively. It is interesting to see that two sides of the same coin are to be stuck in the same circle of hell. Both, with one thing in common which is the misuse or the lack there of of their power. Money is a driving force in the world that Dante lives in and even in the world that we live in , so it is understandable to see where being corrupt or loose with money can make you end up. Furthermore, this Canto provides insight on the power struggle and self control people in high places must maintain in hopes of not ending up in the 4th circle of hell. Today, especially, we can relate this to our messed up political system in which the rich are meant to become richer because of their power and the system that adheres to them. Also, with many musical artists, particularly hip-hop artists that misuse their money and spend a large chunk of it on unnecessary materialistic things that have come about from war and bloodshed.  When thinking of the subject of money and monetary actions of good and bad it is helpful to refer to this Canto as well as this painting or image that I found on the web which is meant to resemble Plutus, the demon which Dante encounters, but I feel this demon painting resembles more anyone that is enslaved to the thirst for money. Just like any other addiction, massively hoarding or wastefully spending money can be looked at as a disease in which there may be no cure once too far gone.

 

Filippo Argenti: The Daring Soul

(Image found in Danteworlds (UTexas) > Inferno Gallery > Circle 5; Painting is entitled: Filippo Argenti and is painted by Gustave Doré)

Throughout each Canto, each encounter with the damned invokes a strong emotional reaction in Dante. For example, in Canto 8, as Phlegyas is rowing Dante and Virgil across the Styx river, they meet Filippo Argenti. He is covered with mud and inquires to know why Dante, as part of the living world, is journeying through Hell. When Dante makes it clear that he recognizes the anguished soul despite his muddy appearance, Argenti reaches out to touch the boat or perhaps, Dante, evidently attempting to endanger him. After Virgil pushes him away and comments on the lack of goodness in Argenti’s soul, Dante replies, “Master, much would I desire to see him ducked in this broth before we leave the lake,” (52-53). In other words, Dante is expressing to Virgil a new emotion that strongly contrasts to previous reactions. In past Cantos, Dante would show pity towards souls who would share their stories with him. He would become so overwhelmed with pity and sorrow that he would faint soon afterwards. Here, Dante conveys disgust and alarm at Argenti’s daring behavior in which he puts Dante and Virgil in peril of falling into the river.

Although the moment passes quickly, Dante desires to witness Argenti’s disappearance into the Styx river, himself, so that he may feel more secure and relieved. Later on, Dante recounts, “A little later I saw him torn apart by those muddy people in such a way that I still praise God and thank him for it,” (58-59). This statement indicates that Dante feels a great sense of relief at witnessing Argenti’s violent and forcible descent into the Styx river, thanks to the other muddy anguished souls present in the river. Although Virgil comforts and shields him from being harmed, this event evidently makes him feel even more at ease. Ironically, Dante thanks and praises God, up in Heaven, for this particular event that takes place in Hell, for paying heed to his terror.

Cerberus and the Third Circle

 

this image is from the Gutenberg website

“http://www.gutenberg.org/files/8789/8789-h/images/06-067.jpg”

I’ve decided to reflect upon Canto 6 because one of the well-known beasts of mythology (Cerberus) is introduced. Dante finds himself in the third circle known as the gluttons.in this circle, Dante feels tormented by the souls that are present and fills him with sadness. The gluttons is filled with impurity, heavy rain, snow and dark air. Cerberus is detailed to be “a cruel, monstrous beast, with three throats barks doglike over the people submerged there”(Canto6, line13-15). The climate and environment are what causes Cerberus to act more like a beast and eventually aggressive towards the souls that are casted out to that circle. A glutton is defined to be an excessive greedy eater and that is proven in canto 6 when Virgil throws some “earth” after Cerberus opened his mouth and displayed its fangs. “And my leader opened his hands, took up earth, and with both fists full threw it into those ravenous pipes”(lines 25-27). Ciacco is introduced in this canto and he is the first Florentine person that Dante encounters. Ciacco is also filled with the sin of gullet which is enhanced by the dreadful rain. Towards the end of the Canto, Dante asks Virgil in respect to the severity of the pain and torments that the souls will experience; Virgil replies to Dante by telling him that he should stick with his Aristotelianistic philosophy. Personally, I think that Virgil could’ve been more clear to Dante instead of ignoring his question.

The Doomed Souls

In canto six Dante (the pilgrim) awakens and is entering the third circle of Hell. In this level of Hell, he is surrounded by punished spirits/ souls who constantly face a dirty, miserable rain which is contaminated with feces. This rain is a reminder that as Dante proceeds, the punishment in each circle is greater than the previous circle. The rain is significant because the spirits are constantly trying to shield themselves from it; the rain is also a symbol of the sin of gluttony. Dante comes to face the three-headed dog named Cerberus, but Virgil throws dirt into the monster’s mouth which allows the beast to let them pass. As Dante and Virgil proceed their journey one of the spirits asks Dante if he recognizes him, Dante however, doesn’t. The spirit explains that he Ciacco of Florence and he was damned amongst the others for the sin of gluttony. Ciacco also tells Dante that other figures of Florence’s political past such as: Tegghiaio, Farinata, Arrigo, Mosca, Jacopo Rusticucci, are all in a much deeper circle of Hell. Then Ciacco tells Dante that when he returns to life, that Dante should remember his name. We have already seen in canto 3 “Gate of Hell” that the punishment of the cowards is that they can’t be remembered. These sinners are not worth writing about because they are unaccepted in both Heaven and Hell because they couldn’t choose God nor Lucifer. This is significant because through Dante the writer, we are able to learn about these people and although Dante feels Ciacco’s sin is greater than the cowards, Ciacco shouldn’t be remembered for his gluttony but someone who was concerned about Florence – therefore, Dante the (pilgrim) weeps for the suffering of Ciacco and those damned souls around him. Ciacco feels by having his name mentioned will allow himself to alleviate his agony. The important line in this canto written by Dante states, “And my guide said to me: “He’ll rise no moreuntil the blast of the angelic trumpet upon the coming of the hostile Judge.” The reason this line is significant is because Virgil is referring to the last judgement; in which Christ comes down to earth to judge all human souls in which he decides who goes to purgatory (saved souls) and those who go to Hell (the damned souls). However, because the last judgement still hasn’t arrived Ciacco is punished for his gluttony because of his imprudent gratification of drinking and eating excessively, however, the contrapasso is the opposite of this. When the “Second Coming of Christ” happens the suffering of the damned souls will feel an even greater punishment because the sinners will be reunited with their bodies, they will not only be more complete and more ‘absolute’ but also their punishment will be felt even more entirely. In Canto 8, the 5th circle of Hell, while crossing the water, Dante recognizes a spirit, Filippo Argenti. Argenti is Dante’s political enemy in real life – he is spiteful and dissatisfied because he is not remembered as a positive character and has no good qualities written about him. In reality, Ciaccoand Filippo Argenti were both living characters and Dante knew them. Therefore, they are notable during the political events that occurred during Dante’s Florence. The message Dante is trying to suggest is that Hell is not something a make-believe, nonexistent place that is distant, but a place that threatens those who find themselves there.  A few important lines in Canto 8 is lines 34-42 when Dante writes, And I to him: “In weeping and in grieving, accursed spirit, may you long remain; though you’re disguised by filth, I know your name.” My master quickly shoved him back, saying: “Be off there with the other dogs!” The lines are significant because for once Dante actually doesn’t feel pity for the souls, unlike previously with Ciacco, Paulo Francesca and others. He takes pleasure for the pain Filipo Argenti receives. Dante condemns the sinner by being angry with Argenti because he fails to identity himself. In conclusion, Virgil feels Dante (the pilgrim) is learning and is happy that Dante doesn’t feel pity/ sympathy for the sinner and is seeing that Dante’s perception is developing.