Tag Archives: Dante

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: Reptilian Thievery and The Symbol of Snakes and Rebirth

Gustave Doré, “Thieves”, Date: 1890, Medium: engraving

http://danteworlds.laits.utexas.edu/gallery11.html

Canto 24 begins like Canto 22 with a lengthy simile. In Canto 24, Dante and Virgil reach the seventh bolgia of the eighth circle. They find a ruined bridge and must climb rocks in order to reach the next level of hell. Dante is quite anxious, but Virgil helps Dante by carrying him and guiding him in what to do. Dante describes Virgil’s wisdom by comparing him to “one who uses judgment as he acts” (Canto 24, Line 24). Dante pauses for a rest from the difficult climb and Virgil advises him that “one does not gain fame sitting on down cushions,” meaning recognition does not come to those who are lazy. This advice seems to be an indication of Dante the poet’s life outside of Inferno.

Next, Dante and Virgil approach the sinners of Canto 24, thieves. Dante notices a “terrible crowding of serpents” (81). As shown in the Blake medium, the thieves are naked and chased by serpents. Once the snakes catch the sinners they bind their legs and hands. When the sinners are bitten, they catch fire, burn, and are reborn. Dante alludes to the Phoenix when he describes the fate of the thieves as they rise from the ashes like a Phoenix. It is both compelling and fitting that Dante, the poet, using snakes in the punishment for thieves. Snakes are often the symbol of rebirth. They shed their skin, transform, and represent immortality. Historically, snakes also act as bearers of secrets. In a religious context, snakes can represent deceit for it was a serpent who deceives Eve into eating a forbidden fruit. The serpents in Canto 24 punish thieves, people who hide massive secrets by stealing and trying to get away with their crime. It seems as though these thieves are snakes but instead of positive renewal they are forced to burn, die, and be reborn only to have to continue that process for eternity. As thieves they stole, therefore as sinners, they are infinitely having their livelihoods stolen from them as they are bitten by snakes. In Blake’s medium, it is evident by their expressions that the sinners are in pure agony as they are entangled by serpents.

Dante and Virgil encounter a sinner and Virgil asks him who he is. The sinner replies with, “I rained down from Tuscany” (121). Again the person Dante confronts introduces himself not by name but by the place he is from, signifying that one’s hometown is the strongest identity marker and truly makes him who he is. The sinner continues and states his name as Vanni Fucci. He is there because he stole from the church and blamed it on someone else. Fucci is among the unique sinners that Dante meets. He is one who truly does not want to be seen as he is in Hell. He states, “It pains me more to be caught in the wretchedness where you see me than when I was taken from the other life” (133-134). Fucci feels the shame and embarrassment of his crime. He is more focused on his place in Hell unlike other sinners, like Francesca, who are so stuck in a moment and fixated on what they were in life.

 

Evil Tail’s Clever Deceit

In Canto 21, Dante and Virgil encounter a group of devils collectively referred to as Evil Claws. The meeting that ensues portrays Virgil as being an overly confident master who takes the word of a devil despite being in a subcircle of the circle of fraud and the inherent evil nature of the beast-like creature. Virgil questions one of the devils: ” ‘Do you think, Evil Tail, that you see me here,’/said my master, ‘once already safe from all your tricks,/without God’s will and favorable fate? Allow us/ to walk on, for it is willed in Heaven that I guide/ someone on this savage journey,’ ” (79-83, 323). In other words, Virgil reminds the devil that he has already journeyed on this path through Hell on his own without the trickery or deceptions of the devils harming or affecting him in any manner. He is able to get past them and does not imagine how or why it should happen otherwise this time. Virgil also wishes to express that part of the reason he is traveling through Hell with the pilgrim and must be allowed to continue to do so, is because God is allowing it to happen through His own will. Virgil’s bold demeanor appears to be effective for the time being when Evil Tail lets his guard down, orders the rest of his group not to abuse Virgil or Dante in any manner and to guide them on through their next path.

This reaction that Evil Tail presents seems to be a positive sign on the surface. However, the reality of the situation is that Evil Tail is deceiving Virgil by allowing the latter to believe that Evil Tail is bowing down to Virgil’s reasoning and self-assured tone. Barolini elaborates on this point by claiming, “Malacoda [Evil Tail] weaves truth with falsehood into a perfectly designed trap, giving instructions and information that seem straightforward and helpful to Virgilio but that his troops can decode as deceitful and hostile,” (Barolini). The escorts that Evil Tail sends along with the two travelers have evil intentions in mind and are aware that they are allowed to carry them out because of Evil Tail’s clever manner of speaking with Virgil. The ‘trap’ that Barolini mentions refers to the deceiving approach Evil Tails uses in making his three statements. The first and the third one are true while the second one, claiming that there’s an unharmed bridge that will ease Virgil and Dante’s path, is the false statement. As Barolini points out, this cleverness of throwing in a false statement in between two true ones effectively distracts Virgil from the fact that he is being deceived thanks to the self-assurance present in Virgil’s attitude.

Such deception supports the idea that Virgil’s ability to reason with the demons of Hell is not always successful as Virgil, and especially, Dante hopes. Dante’s lack of trust and his overwhelming fear of the demons is influenced by a moment in canto 8 where Virgil is unable to carry out his word. Virgil takes an assertive stance against a group of demons that protect the gates of the city of Dis. He fails to sway their stubbornness in any which way resulting in Virgil and Dante inability to cross the gates. This, in turn, discourages Virgil immensely. Consequently, Dante marks this as a significant failure that must be kept in mind throughout the rest of the journey. 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. Furthermore, Virgil fails to recognize the idea that simply because Evil Tail complies with his demands, this does not signify that Evil Tail will stay true to his word. After all, as mentioned before, in a circle that contains sinners of fraud, it should be remembered that the demons, though they punish those sinners, are not restrained themselves and are free to carry out their evil nature as they please. Virgil must also keep in mind that it is self-centered to believe that he is incapable of failure in his dealings with demons. There is obvious evidence otherwise which justifies Dante’s dread of the situation and it should be taken seriously, especially in an environment where it is understandable to have such sentiments.

Secondary Source: https://digitaldante.columbia.edu/dante/divine-comedy/inferno/inferno-21/

Virgil’s reassurance towards Dante

Throughout the Inferno, Virgil always helps, reassures, and gives Dante confidence in any given circumstance. Virgil also tends to baby Dante when Dante does something to please him. In Canto 23, Virgil and Dante managed to slip away from Barbariccia and the other demons that were distracted by the demons Calcabrina and Alinchino fighting. Virgil and Dante saw this as their final opportunity to leave but Dante is terrified that the demons will come and look for them since they slipped away. Virgil reassures Dante by carrying him across. In lines 37-43, Dante says “ My leader seized me quickly, like a mother who is awakened by the noise and sees the flames burning close by, who takes up her son and flees, caring more ofr him than for herself, not stopping even to put on her shift:”. Virgil reassures Dante that nothing is going to happen to them by showing him this kind of affection. Similarly, in Canto 24, Virgil pushes Dante to get moving and helps him down the rocky bank. Dante mentions that if it weren’t for Virgil, he probably would’ve given up by now. In lines 23-27 “… he opened his arms and took hold of me. And like one who uses judgement as he acts, always seeming to look ahead, so, carrying me up to the top…”, Virgil carries him again to get to the summit of the bridge. Without Virgil being there, Dante would have been completely lost and hopeless throughout each circle of hell. Additionally, in Canto 19, Virgil also happily carries Dante like a baby across the bridge. Virgil was proud of him for not sympathizing with the sinner Pope Nicolas III. Evidently, there is a recurring theme of Virgil carrying Dante in these three cantos. Nonetheless, Virgil’s reassurance is shown in the beginning of the Inferno in Cantos 2 and 8. In Canto 2, Virgil reassures Dante that everything will be okay in his journey by telling him that he was sent by his beloved Beatrice. In lines 133-136, Dante says “Oh full of pity she who has helped me! And you courteous, who have quickly obeyed the true words she offered you!”. Dante is eternally grateful to have received Virgil as his master and guide throughout his journey. Furthermore, in Canto 8, thousands of enraged sinners try to bar Dante from getting into the city of Dis because of his “alive-ness”. Virgil reassures Dante that they will get into the city of Dis. Virgil at first fails but then succeeds in the beginning of Canto 9. In lines 121-123 of Canto 8, Virgil tells Dante “And to me he said: “You, though I am angered, do not be dismayed, for I will overcome this test, however they scurry about inside to prevent it”. Virgil’s ego does take over here, but he was successful either way when they both got into the city of Dis. Thus, Virgil’s reassurance and encouragement has helped Dante face numerous obstacles throughout the Inferno.

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 v.s. Pope Nicholas III

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.

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 tone towards sinners

In Canto 19, Dante and Virgil have reached the third pouch of the eighth circle called the simonists. Dante considers these sinners the worst kind because these corrupt clergy fornicate for gold and silver. The simonists are punished by being buried upside down in holes the size of baptism basins; their feet also protrude only to be burnt by eternal flames. In lines 103-105, Dante says “I would still use heavier words; for your avarice afflicts the world, trampling the good and raising up the wicked”. If Dante did not have respect for the papal office, he would have many more negative things to say regarding the simonists. Throughout the Inferno, Dante’s tone has varied with different sinners. In this particular canto, he feels no pity or sympathy towards Pope Nicholas II and unconsciously takes the role of a friar at a religious confession. Pope Nicholas II is unaware of this and thinks it’s his successor but Dante later on reveals himself. Dante’s attitude toward this sinner is nothing but rage; he does not sympathize with him whatsoever. Similarly, in Canto 8, Dante does not sympathize with the sinner At Filippo Argenti who was an enemy of Dante in the real world. He becomes infuriated with his ambiguous answer regarding why the sinner has become so ugly and pushed him back into the river. Like in Canto 19, Virgil is very pleased with Dante’s attitude towards these sinners because it is showing him not to sympathize with them anymore. He joyously hugs and kisses him in Canto 8 and happily carries him like a baby across the bridge in Canto 19. Nevertheless, Dante does sympathize with some such as the sinners in Canto 20 whose heads are on backwards and they are forced to walk without seeing anything in front them or their future. Likewise, Farinata the heretic in Canto 10, who can dive into the future but know nothing about the present state of human affairs. This fourth pouch consists of diviners, astrologers, and magicians who all cry as they walk while tears trickle down their buttocks. Dante feels so much pity for them while Virgil only feels scorn for the sinners. Dante wept as he did for Francesca and Paolo in Canto 5 who both suffered from lust. Additionally, Dante sympathizes with Pier Della Vigna in Canto 13 who committed suicide due to nasty rumors and Brunetto Latini, his former mentor and sodomite, in Canto 15. Thus, Dante’s attitude toward the sinners in the different circles has varied depending on what sin they committed and who they mean to him.

 

Canto 19: Dante Condemns the Catholic Church

“Simonists” by Gustave Doré (http://danteworlds.laits.utexas.edu/gallery10.html)

In Canto 19, Dante and Virgil arrive in the Third Bolgia of the Eighth Circle. The sinners there are Simoniacs, corrupt clergy who bought or sold sacred heavenly services for money. From the very start of the Canto, Dante immediately angrily criticizes the Simoniacs saying, “You who the things of God, that should be brides of goodness, rapaciously adulterate for gold and for silver.” (Canto 19, Lines 1-4).

Canto 19 solidifies just how important God means to Dante the writer and Dante the pilgrim. The canto also displays how strongly Dante feels towards those who are disloyal and disrespectful to God. Dante, the pilgrim, does not feel sympathy nor pity for the Simoniacs as he has felt for sinners in previous Cantos. Instead, he feels content with their punishment. Dante tells Pope Nicholas, “Therefore stay here, for you deserve your punishment.” (97). He continues and states, “You have made gold and silver your god.” (112). Dante’s tone throughout Canto 19 is pure rage and intensity against those who chose money as their god and therefore did not worship the right God. His hatred for the Simoniacs shows how passionate and how serious God means to him. Dante finds that those who did not take God seriously deserve eternal punishment. Dante adds, “And were it not that I am forbidden by my reverence for the highest keys, which you held in happy life, I would use still heavier words” (100-103), meaning that Dante’s respect for the papacy is keeping him from insulting the Simoniacs even more. Virgil is pleased with Dante’s angry speech towards the Simoniacs. As Virgil was proud of Dante in his interaction in Canto 15 with Brunetto Latini, the pilgrim again believes his leader is pleased “with such a contented smile he listened” (120). 

As shown in the Gustave Doré artwork, God has punished the Simoniacs by stuffing their greedy heads and bodies into holes in the ground with their legs and feet hanging out. In Doré’s work Dante seems to be speaking to Pope Nicholas and if you zoom closely into Dante he has a facial expression of disgust and revulsion. Dante compares the holes in the ground to “places for the baptizers” (17). It is compelling that the sinners are stuffed into the ground head first as oppose to their body first like during a baptism. I think this punishment for Simoniacs fits with the unorthodox and sacrilegious decisions they made during their lives.

Bleeding trees and the dehumanization of those who commit suicide.

Gustave Doré, The Inferno, Canto 13 from Wikimedia Commons

One terzina that struck a chord with me is from Dante’s Inferno Canto 13 lines 37-39. Dante and his guide, Vergil, have reached the second subcircle of the seventh circle of hell which is reserved for those who commit violence against themselves. Dante the pilgrim is confused by the dark woods that surround him which seem to bleed and cry. Dante assumes that there are people hiding in the bleeding trees and that the voices he hears are coming from the people hiding. Vergil urges Dante to break a twig off of one of the plants since doing so will allow the tree to answer Dante’s question of where the voices are coming from. The pain that Dante causes to the tree leads to one of my favorite moments this far in the Inferno when the tree questions why Dante would cause him such pain. The tree tells Dante and Vergil that:

We were men, and now we have become plants:

truly your hand should be more merciful had we

been the souls of serpents.” (Canto 13 lines 37-39)

 

I’ve been meditating on these lines for a few days trying to look through the layers Dante the writer placed on this verse. Our commentary mentions that to Dante there are three separate levels of living creatures. The lowest are plants which are living creatures with only vegetative abilities. Above plants are animals which have both vegetative abilities and what the notes call animal the animal abilities which include movement and senses. The highest form of living creature is humanity. Humans have all the abilities of animals but also have intelligence and the possibility of rational thought.

In the tree lines quoted above, Dante the poet has the tree take the soul of a suicide victim through the three levels of living creatures. First we are reminded that these trees were once men, the highest of all living creatures. In the same line it is reinforced that they have become trees, the lowest of all living creatures. In the next two lines, Dante the writer through the voice of the tree, reminds the reader that there is a middle level of living creature which is the animal.

In mentioning all three levels of living creatures within three lines, Dante the writer is making a point that the souls of those who commit violence against themselves become the lowest of all living creatures. The point is made crystal clear by Dante mentioning the middle level of living creature, the animal, showing that the souls of suicide victims don’t just go down one level but are placed at the lowest level. This is a clear indictment by Dante the writer of those who commit violence against themselves.