Tag Archives: Dante Inferno

Virgil & Beatrice

Throughout the Inferno, Dante is scolded by his guide Virgil. Similarly, in Purgatorio, Dante is scolded like a mother to a child by his lover, Beatrice. Dante is scolded by two of the most important people to him. In canto 30 of the Inferno, Dante is watching Sinon and Master agrue and go back and forth. Virgil comes and hits Dante in the back of his head and tells him to stop watching this shameful argument. In lines 130-136:

I was all intent to listen to them, when my master

said to me: “Now keep looking, for I am not far from

quarreling with you!”

When I heard him speak to me angrily, I turned

toward him with such shamethat it dizzies me in

memory.

Dante hangs his head in shame and Virgil after seeing this takes him under his arm and forgives him. Just as a mother scolds her child and the child is ashamed; the mother feels bad and shows affection to her child. In canto 30 of the Purgatorio, the moment everyone has been waiting for: the appearance of Dante’s beloved Beatrice. When she first appears, Dante is taken back by her beauty and like a scared child turns to Virgil for answers. Virgil was gone. Dante starts panicking wondering where Virgil could’ve gone and as he is about to cry Beatrice scolds him. Beatrice foreshadows that Dante will encounter another terrible wound so he should save his tears. Without mercy, she scolds him for crying in the earthly paradise; the place where men are supposed to be happy. Dante hangs his head in shame and then sees his shameful reflection in the stream. Beatrice is compared to scolding Dante as her child. As shown in lines 73-81:

“Look at us well! Truly I am, truly am

Beatrice. How have you designed to approach thee

mountain? Did you not know that here mankind is

happy?”

My eyes fell down to the clear spring, but,

seeing myself there, I turned them to the grass,

such shameweighed down my brow:

so as a mother seems severe to her son as she

seemed to me, for bitter is the flavor of

compassion still unripe.

 

Reflective Post One

I noticed after reading my blog posts that I find it difficult to pick out the central idea of each canto and being able to write about it without mentioning other specifics. I like to focus on two ideas rather than one big idea. I also have trouble picking a title for my posts because it’s not something that I normally do for other writings (which is odd to think about because pieces of writing should always include titles). I realized in my writings that I also like to analyze quotes but that’s because I’ve been taught to do this in high school and I feel it always works for me because I understand/ can interpret the text better after analyzing ideas, quotes, characters and so forth. One thing I would like to add/ improve on is including pieces of art/imagery in my posts because I have not done this in my posts, and many students do this, but I don’t. I think visuals will also help me understand the plot and central idea of each canto. I would also like to start commenting on other student’s blog post because I feel it’s an effective way of learning because it’s a type of dialogue that is occurring between two students but through writing (it’s a response and reflect type of learning). After re-reading my posts one recurrent thing I do is incorporate the plot, transitioning to what is happening in the canto transiting to quotes and analyzing the quotes but I feel this has been working for me and will continue to do this. I believe my ideas are clear and thoroughly explained which is important for both reader (other students) and writer (myself). I try to make my ideas as clear as possible compared to other students because when I read something too difficult and complex to understand it makes it harder for me to understand what the writer’s point of view is. I believe writing as simple and as clear as possible is rather difficult than easy but sometimes writing in a simpler way is better. Therefore, I try to make my sentences as clear and concise so that the idea I have in my mind transcribed into my blog posts is not only clear for the students in the class but as well as others reading my post who are not in the classroom with us. Another recurrent theme is that I like to compare and contrast cantos and tie previous cantos to the newly written cantos but doing this allows me to remember the content in a better way because as we keep reading more, I slowly forget bits and pieces, and everything is important.

 

One part I would like to comment on is from my post blog post six. I wrote “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.” The reason I like this analysis is because I tied together what we learned in canto 1 about Virgil and how he is a pagan to currently what is happening in canto 24; gathering pieces from previous cantos I was able to relate it to the new content as well as including Dante’s emotion(s), because after all it’s HIS journey.

 

One thing I would like to clarify/edit is my ideas in blog post four. I write “Dante is growing over the course of his journey, learning from Virgil. Furthermore, Jacopo wants Dante to seek immortality through fame and wants Dante to live on in fame when he dies. Dante however doesn’t want this for himself but instead he seeks to reach a truer form of immortality which is salvation in heaven…” I want to clarify how Dante the pilgrim is growing over the course of his journey. However, Dante (himself, the writer) wants to reach a truer form of immortality which is salvation in Heaven. I believe as Dante the writer continues to write about Dante the pilgrim and the pilgrims journey, the more Dante (the writer) is learning  about himself and his morals through his ‘character’ form – writing helps one express ideas/ reflect on their own well-being and I think Dante (the writer) is doing this through Dante (the pilgrim).

 

Another part I would like to comment on/reflect on is when I write “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 more until 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.” I think this part is clearly explained because I was able to speak about thecharacter, reflect on the character by adding a quote from the text, showing the reader my interpretation directly using the text, hence adding clarification. I then explain why the line is significant and WHY the character is punished and why the specific lines chosen are important and relatable to the character. Therefore, for my next blog posts I would like to continue to write like this where my ideas are clearly written and evidently pulled from The Divine Comedy.

 

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.

 

 

The punishment of looking back vs. the punishment of looking forward

Dante and Virgil are in the fourth pouch of the eight circle. The sinners walk with their heads facing backwards.These sinners are those who “wanted to see ahead.” Therefore,the prophets, astrologists, and magiciansin this circle are punished for attempting to see into the future. Dante states, “for the face was turned toward the kidneys, and they were forced to walk backwards, since seeing forward was taken from them” (canto 20 lines 13-15). The punishment of not being able to foresee the future is the opposite to Farinata’s punishment in which he and his fellow sinners can see the future but know nothing about the present state of human affairs which occurs in Canto 10. Dante asks Farinata how he and other souls in hell seem to be able to foretell the future but cannot know the present. Farinata responds but saying the souls in Canto 10 are only able to see distant things – the future as well as the past, but not the present. Farinata also can foresee Dante’s exile. Farinata also explains that he and the other punished souls are blind to see what is directly in front of them, which is a punishment in itself because he and Cavalcante are left wondering about what is happening with those they knew and cared about. Dante feels pity for the punishment of his friend’s father and Dante asks Farinata to tell Cavalcante that his son Guido is still alive. Although Dante also feels pity at first for the souls in Canto 20, Virgil reminds Dante that the soothsayers are punished because they altered the future ordained by God. Dante writes, “Here pity lives when it is quite dead: who is more wicked than one who brings passion to God’s judgment?” (Canto 20 lines 28-30). This gives Virgil the chance to re-emphasize this idea that all the suffering occurring in hell as well as in this canto is part of God’s divine justice. Virgil teaches Dante that to weep at what God has rightly ordered against the wicked is itself wicked. The fortune-tellers in this circle also guilty of fraud, because they use tricks to make money. Therefore, Virgil tells Dante that he shouldn’t pity these souls unlike how he feels pity towards Farinata and Cavalcante. Virgil tells Dante to look at one of the backwards-facing souls whom is known as Amphiaraus. Virgil explains that because Amphiaraus tried to see too far ahead/ into the future, he now can only see behind him. This is illustrated when Dante writes, “Look how he has made his breast his back; because he wished to see too far ahead, now he looks backward and treads a backward path” (Canto 20, lines 37-39). Virgil also mentions Tiresias and Manto. Manto was a female soothsayer who settled in Mantua, located in northern Italy which is also Virgil’s birthplace. After she died, people named the city Mantua which was a dedication to Manto. The people also gathered and built a city around her burial place. Virgil points out to Dante that these three famous soothsayers are of classical myth. As a demonstration of God’s divine justice, their punishment fits their sin. Because the sinners in this canto wished to see far ahead, they can now only see behind them. Hence their punishment matches and completes their sin.