Tag Archives: Capaneus

Reflective Post #1

Reflecting on the previous posts I’ve written, I’ve noticed several patterns. One pattern, for example, is a thematic recurrence. I often discuss or reference Dante’s reactions to the souls and the events that take place in Hell or the situations and exchanges he engages in with the souls even when the main focus of the post does not center around this topic. In the post, Farinata’s Attitude in Hell, in which the attitude of a soul who is still preoccupied with the notion of social status is discussed, I noted, “Despite his circumstances, throughout the entire canto, Farinata’s demeanor is calm and collected unlike Dante’s past encounters in which the souls are either sorrowful and pitiful or attempt to put Dante’s life in peril.” Here, it is evident that while the subject of this sentence focuses on Farinata’s bearing, it is used as a comparison to the meetings that Dante has with the other souls. Another example of referencing Dante’s sentiments while the post focuses on another topic is in the previous post entitled “Evil Tail’s Clever Deceit”. In this post, the focus is on the scene where Virgil boldly deals with a group of devils who ultimately end up deceiving him. The clever manner in which they trick Virgil is then connected to the effects it has on Dante. Considering that Dante depends solely on Virgil as his guide, it is understandable that I included this connection in order to make my point. As an example, I notice that, “Although Dante has faith in Virgil’s intelligence and ability to deal with the creatures of Hell, he does not wish to forget this moment for the sake of eluding danger which Virgil fails to do so in canto 21.” Noticably, here, I am taking into consideration Dante’s belief that Virgil is capable of effectively dealing with Hell’s demons while ending the sentence with a change in focus. The change refers back to the central topic of the post which is Virgil’s failure to keep Dante safe in canto 21.

Furthermore, there is another thematic element that is discussed more than once: the constant evolution of Dante’s reactions to the souls. This is clearly illustrated in reflecting on the second post, “Filippo Argenti: The Daring Soul” and the fifth post, “Dante v.s. Pope Nicholas III”. Both posts mention the change in Dante’s response to the discussions he has with the souls. The Filippo Argenti post states, “In past Cantos, Dante would show pity towards souls who would share their stories with him…Here, Dante convey disgust and alarm at Argenti’s daring behavior…” Meanwhile, in the fifth post, I note, “Dante’s reproach is ultimately harsh, blunt and straightforward…In past cantos, the majority of his reactions consist of sorrowful pity or fear.” Evidently, according to these posts, I find it quite interesting that Dante sympathizes strongly with the souls to the point that he even faints. However, in both posts I note this reaction in comparison to the new emotions that he portrays such as disgust or reproach. I believe I focus on this theme consistently because it is important to keep track of the emotional roller coaster that Dante is on. Without following the evolution of Dante’s sentiments as he progresses into the deeper and darker pits of Hell, it would be difficult to understand why he narrates the poem in a certain manner with different linguistic techniques or the different aspects of his relationship with Virgil. Both of these things connect to Dante’s emotions because they are codependent and are crucial to Dante’s physical and mental journey.

I also notice that I have used images in every post excluding the previous one. However, for the most part, I do not discuss the analysis of the text in connection to how the scenes are reflected in those images. I believe, going forward, this would be a useful technique to add to the upcoming posts because it allows for an analysis of how the vivid text is brought to life in a manner that allows me to visualize the harrowing events in Hell.

 

Capaneus’s Hell

In canto 14, Dante and Virgil encounter a soul called Capaneus, through which the reader is introduced to a new concept. Barolini describes it: “Hell is a condition in which the soul is permanently oneself as one was on earth- unrepentant and unameliorated, with no hope of change or growth,” (Barolini). In other words, instead of considering Hell as a place for souls that are forced to pay for their sins in eternal anguish, Barolini refers to it as a “condition”. A condition is defined as a mindset, in this case, untouched and unaffected by the circumstances in which the soul dwells. Despite the horrific punishment Capaneus endures, his pride and confidence in himself as a warrior is unshaken. There is no possibility that his outlook will succumb to the ongoing pressure to repent. The eternal suffering, presence of demons and the cries of the anguished do not seem to bother Capaneus in the slightest. As Capaneus bluntly puts it, “…As I/ was alive, so am I dead,” (50-51). This arrogant demeanor is a clear example that when someone does not show evidence of guilt or remorse for any transgression they commit in their living days, it cannot be expected of them to do so when they descend into Hell.

In response to this superior attitude, Virgil retorts, ” ‘O Capaneus, since your pride is not extinguished, you are punished more; no punishment, other than your rage, would be suffering of a measure with your fury,” (62-5). Virgil wishes to express here that as long as Capaneus’s pride is still intact, this, in itself, is punishment enough for the soul. The anger and fury that embodies Capaneus because of his stubborness and possible belief that he does not belong in Hell will keep him in distress for all eternity. Therefore, Capaneus must be forced to deal with his crimes for all of eternity. Barolini summarizes this point by stating that the soul “…is stuck with its self”. Furthermore, he considers, “If the motto of the sinners here is that they are now what they always were, then in effect these sinners create their own Hell”. Capaneus’s perspective on his position in Hell entails the likelihood that all sinners are exactly as they were in the living world. With this in mind, the souls are making an illusion of a Hell that solely belongs to them. Although this does not exclude them from punishment, it seems far less cruel than the punishments forcefully inflicted upon them because they are choosing to remain as they have always been and as a result, are choosing their own destinies in Hell. This is especially appealing for the souls of the third subcircle within the seventh circle, where Capaneus dwells, because their sins pertain to violence against God. If their unchanging personas allow for a fabricated Hell, this, in turn, signifies that they’re evading and going against God’s punishments which He deems appropriate for the souls and are being punished by their own terms.

Dante and Virgil meet Capaneus, Title: Capaneus, Illustration by William Blake, Source: Danteworlds (UTexas)

Cato vs Capaneus : Dry Desert

          In the 7th circle (3rd subcircle) of Dante’s inferno, Dante contrasts Cato and Capaneus to emphasize that sinners are responsible for maintaining their own hell in the afterlife. Cato and Capaneus were both pagans that displayed virtues such as honesty and bravery which enhanced their political careers. Cato was a Roman statesman and warrior during the late Roman republic. He was notoriously known for refusing bribes and condemning corruption. He committed suicide because he didn’t want to submit to Julius Caesar’s tyrannical forces. Capaneus was one of the many warrior Kings that attempted to take over Thebes. Unlike his comrades, he didn’t want to deceitfully attack in the night, he wanted to fight openly in the day. He was killed by Zeus because he climbed a city’s wall and openly challenged Jupiter (Zeus) to fight him, to which Zeus responded by throwing a lightning bolt at him. While Cato doesn’t appear in Cato 14, the 7th circle is set in a “course, dry ground” (Canto 14, line 13) that was similar to the one “trodden by the feet of Cato” (Canto 14, line 13) in his real life and also the one that Capaneus “lies” (Canto 14, line 46) on in the afterlife. The importance of the course, dry ground is that it can’t grow any vegetation. Cato and Capaneus’ lives are like the dry ground because they’re pagans so it’s difficult for their life to grow into something meaningful because they’re already condemned. However, Dante claims that “The floor was course, dry sand, not made differently from that once trodden by the feet of Cato.” (Canto 14, line 12-14). The “floor” actually refers to the Libyan Desert that Cato crossed with his army. Dante deliberately mentions Cato because while he’s a pagan who shares very similar characteristic with Capaneus, he’s not in the 7th circle of hell. Dante refers to the desert to show that when Cato crossed it with his army to fight for freedom, inevitably leading to his suicide, his virtues outweighed the punishment of his religious beliefs. Thus, Dante uses the word “once”  not only as an indicator of time, but to show that Cato was “once” in the “desert” in hell, but he was able to grow out because his virtues provided him with the opportunity to achieve redemption at one point (despite being a pagan). However Capaneus isn’t able to outgrow his ill vices, thus he’s still trapped in hell’s version of a desert. Dante describes him as “scornful and frowning, so the rain does not seem to ripen him.”(Canto 14, lines 46-47). Instead of repenting for his blasphemy, he’s condemning the Gods even more for his condition. Dante uses botanical imagery when he uses terminology “ripen” to describe Capaneus’ lack of character development in hell. While the rain tortures the other souls to repent, it has no effect on Capaneus thus he can’t grow into anything else. Capaneus claims that “As I was alive, so am I dead” (Canto 14, line 50). He possessed disdain for the Gods during his life and he still has the same feelings for them in his afterlife. Thus, he is responsible for his own stagnation in hell because he refuses to repent. Virgil even claims that “O Capaneus, since your pride is not extinguished, you are punished more;” (Canto 14,line 62-63). Despite Capaneus’ virtues as a military leader, his blasphemy outweighed his virtues, and his continuous defiance in hell further condemns and prolongs his suffering. Thus, the desert setting only reiterates that sinners like Capaneus are responsible for their own hell because they can’t cultivate virtues like repentance that can possibly lessen their punishment.

 

References :

“Ante-Purgatory.” Dante’s Inferno – Main Page, University of Texas at Austin, danteworlds.laits.utexas.edu/purgatory/01antepurgatory.html.

Additional Note: I have the online pdf version of the book and it doesn’t allow for page numbers to be displayed (it gives me alphabets instead) so I couldn’t include the page numbers).

Capaneous and Hells Design

As Virgil and Dante the pilgrim lower into the third ring of the seventh circle they are met with the damned souls who committed violence directly against God. It is a sandy terrain with no vegetation in which flames fall like snow from the sky (Inferno 14, 28). The souls are scattered about some moving around constantly, some crouched down, and some lying flat on their backs. The soul who sticks out to Dante the pilgrim is Capaneous who does not seem bothered by the flames like the rest. In response to Capaneus’ loud rambling, Virgil replies, “O Capaneus, since your pride is not extinguished, you are punished more; no punishment, other than your rage, would be suffering of a measure with your fury” (Inferno 14, 63). In other words, Capaneus’ rightful torment is that of his own creation because only he can create a hell that matches his own sins as a blasphemer. This idea is also supported in Barolini’s commentary with the quote by Capaneus stating, “As I was alive, so am I dead” (Inferno 14, 51). This line by Capaneus supports the notion that, “…we are our own hell” (Barolini). Capaneus’ special damnation supports this notion and helps Dante the pilgrim realize even more about the design of hell that God intended as he goes about his journey onto the right path.