Tag Archives: Dante

Canto 15: A Unexpected Encounter between a Teacher and Student

In Canto 15 Dante and Virgil continue their journey through the Third Ring of the Seventh Circle of Hell where the “literary sodomites” and others violent against nature are punished. As we read in Canto 11, sodomy is considered a sin of violence. Dante, the poet, views sodomy as a crime against God because it goes against nature. In Inferno, sodomy contradicts the natural will of life, therefore harming God. In the third ring, a fiery rain falls on the sinners, which represents an unnatural phenomenon, like sodomy. Whereas regular rain replenishes the Earth, a fiery rain does the opposite since sodomizers also do not replenish Earth with new life.

As Dante and Virgil walk passed a “band of souls” (Inferno 15, 16), Dante, the poet, writes “each was gazing at us as in the evening people gaze at one another (16-17).  I interpreted this as alluding to the way men may look at each other in a sexual manner. Dante says, “I was recognized by one, who seized me by the hem” (22). Dante has some difficulty recognizing the soul because of his “baked appearance” (26) from being burnt from the fire. Dante finally realizes who it is and with surprise asks, “Are you here, ser Brunetto?” Dante asks this with a great shock and sorrow that Brunetto could end up where he is. Dante holds respect for Brunetto, an old mentor and teacher, who he feels indebted to. Dante keeps a “kind paternal image” of Brunetto (83). It’s compelling that both Dante the poet and pilgrim have much admiration for Brunetto. But evidently, Dante, the poet, places Brunetto where he does in such a painful place in Hell based on his sin and regardless of how much praise and affection he has for him. This displays that one can commit sins and be punished but still be seen with great influence, like how both Dante’s view Brunetto.

Brunetto explains to Dante his future. Dante hears the same prophecy again. I found this compelling because it’s possibly the third time that Dante heard his prophecy and again the number 3 could be used by Dante, the writer. It’s also unusual that there was not much interaction between Dante and Virgil in Canto 15. Dante spends most of the Canto talking to Brunetto. Dante informs Brunetto that he is prepared for what Fortune has in store for him. Virgil is pleased with his student’s courage and approves of his careful listening saying, “He listens well who takes note” (98). I think this displays a strong trust and confidence Virgil has grown to have in his student and pilgrim, Dante.

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)

The Coding of “Violence Against Nature”

In Canto XV, Dante traverses the lowest part of the seventh circle of the Inferno, the subcircle of violence against nature. The term  of ‘voilence against nature’ is for the sin of sodomy, which is known as the, “unspeakable sin” by Carolyn Dinshaw throughout her book, Getting Medieval. This sin is coded as ‘unmentionable’ or the sin ‘against nature,’ as Dinshaw explains, is because agents of the church did not want to give people ideas as to what the sin is, but rather that any sin of the sexual nature falls under it (3-12). This codification of sodomy groups same sex interactions with those of premartial sex, beastiality, and any other form of sex without the intent of procreation. This grouping decenters the common notion of queer sex as being exclusively same sex in the Middle Ages, but also queers any form of sex outside of the sanctity of marriage, but even within this unoffical codification of sodomy there seems to be a heirarchy of sevarity, which is why same sex lovers are found in violence against nature rather than lust where adulterers can be found. Also note that men are the main inhabitants if not the only inhabtants of this subcircle. The reasoning for this is because it is an attack on God’s perfect image of what is ‘natural.’ For a man to give up his masculinity in the act of same sex interactions and is seen as a threat on the structures of the patriarchial societial structures sanctioned by those in power, may they be secular or clergy, who are given their authority by  God.

 

Works Cited:

Dinshaw, Carolyn. Getting Medieval: Sexualities and Communites, Pre- and Postmodern. Duke University Press (1999). Print.

The Distinction Between Truth and Falsity

Dante and Virgil are near the seventh circle, Dante’s attention is concentrated on the sound of water falling into the next circle of Hell. However, Dante and Virgil are stopped by three figures. These figures are aware that Dante is a Florentine because of his clothing. Virgil tells Dante to show these figures politeness and Dante listens to them, as with Ciacco and Farinata. The figures surround Dante, asking Dante who he is. An important reoccurrence (as seen in previous canto’s) happens again when the figures ask Dante to remember them and to speak about them when Dante returns to the world. Dante states, “For I am of your city; and with fondness, I’ve always told and heard the others tell of both your actions and your honored names. I leave the gall and go for the sweet apples that I was promised by my truthful guide; but first I must descend into the center” (canto 16, lines 58-63).  These three Florentines are eager to talk to someone from their own homeland. These figures in the afterlife (as well as Dante) feel a notable attachment to Florence, which is their home on earth. The meeting between Dante and Guido Guerra, Tegghiaio Aldobrandi, and Jacopo Rusticucci demonstrate the horrible and devastating infernal punishment they persistently endure, however these dignified individuals inspire Dante because of their high values they demonstrated when they were alive. However, these Florentines, are not able to see the present of Florence, and like Dante are greatly concerned with the status of their homeland (Florence). Dante is concerned because, those who rule Florence, are the same people that exiled him. The three noble Florentine’s praise Dante for his skilled speech and this shows that 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. Dante in this canto represents conservative values because he idealizes the past, which was the Florence he knew and misunderstands and rejects the social and economic changes happening in Florence. So, for Dante there is no probability of redemption in the future, enclosed in condemnation of the present and, therefore he continues to recall Florence’s past.

The theme of language is developed throughout this canto, the language of truth and falsity—the distinction between false words and truthful words. Dante describes Virgil as his “truthful guide.” Then, Dante, cries out while explaining the state of Florence and states “Newcomers to the city and quick gains have brought excess and arrogance…” (Canto 16, lines 73-37). The three Florentines listen to the truth and believe it: “the three looked at each other when they heard my answer as men will stare when they have heard the truth” (Canto 16, lines 76-78). Dante also believes that there is a type of truth which seems like a lie, this is proven when he states, “Faced with that truth which seems a lie, a man should always close his lips as long as he can—
to tell it shames him, even though he’s blameless; but here I can’t be still; and by the lines of this my Comedy, reader, I swear—and may my verse find favor for long years” (Canto 16, lines 124-129). Dante admits that is own work referring to the Comedy, is a piece of literature in which he feels the need tell his story even though it seems fictional. In this way, Dante feels his work holds literal and true beliefs, even though it may seem to be fiction. Because Dante is close to entering the circles devoted to fraud, therefore there is a distinction occurring.

Canto 11 – A Brief Break to Explain the Organization of Hell/The Presence of the Number 3 and The Importance of Nature

Canto 11 reminded me of previous cantos where Virgil and Dante pause because Dante, the pilgrim, needs explanations and clarity from Virgil. This is a recurring technique of Dante, the writer, in which he allows the readers to mirror his character and gain answers to similar confusions that the pilgrim himself is experiencing.

While Virgil and Dante are resting, Virgil explains the organization of Hell in more depth. The organization also enables the reader to note how Dante, the poet, classifies the severity of certain sins over others. I thought it was compelling that the religious presence of the number three appears again in this Canto. First, Virgil tells Dante there are three smaller circles. Hell is separated into three parts. The first circle in middle hell is also divided into three subcircles where the sinners are separated into three groups based on the gravity of violence either committed against others, against oneself, and the worst, which is violence against God.

I was a little confused as to why Dante punishes sodomy as a worse punishment than the crimes committed by the lustful in Circle 2/Canto 5. But, when I reread Virgil’s explanations to Dante I gained more clarity. It is important to note that sodomy is a sin of violence. This means that Dante, the writer, does not punish sodomizers for their morality but more so because he views it as unnatural to the world. Dante the poet defines crimes against God as the most violent because they go against the natural will of life. Virgil states that sodomy and those who harm God scorn “nature and its goodness.” (Canto 11, Line 47). For Dante, something that contradicts nature is far worse and violent than engaging in lust. Above all, God is the most important, therefore going against him and harming what he created is worse than harming others.

Lastly, Dante, the writer, punishes the fraudulent at a lower place in Hell. Virgil tells the pilgrim that fraud, “seems to cut solely into the bond of love” and “forgets the love that Nature makes” (Canto 11, Lines 52-58). It is clear again how severe defying nature is to Dante, the poet. When one is fraudulent and deceitful, he is going against the natural trust and love people are meant to have for one another. Dante ranks fraud worse than violence because it directly contradicts natural trust.

Violence Against Themselves

 

Dante about to rip off a twig off of Pier della Vigna, Illustration by Gustavo Dorè

In Canto 13, Virgil and Dante enter the 7thcircle, Second ring: Violence against themselves. Dante had noticed all these black trees and black leaves surrounding them; it had been the homeland of the Harpies. Virgil then asks Dante to break off a part of branch and as soon as Dante does it the tree cries out.

“Then I stretched out my hand a little way and from a great thornbush snapped off a branch,
at which its trunk cried out: “Why do you tear me?” And then, when it had grown more dark with blood, it asked again: “Why do you break me off? Are you without all sentiment of pity?” (Inferno 31-36)

When reading through this canto you immediately picture entering a dark place, filled with tall black trees filled with black leaves bleeding black blood everywhere. Along with seeing this you hear the loud moans of something sounding like humans, almost like loud cries. With all of this dark and gloomy imagery, the reader can sense the feelings of loneliness, disparity, and melancholy as described in canto 13. When reading through these two terzinas, I thought to myself how sad it was to be stuck inside a tree for the rest of your life for the sin you committed. Since, committing suicide was one of the biggest sins, they received a very harsh punishment. They are punished to feel as inhumane as possible; they’re stuck inside trees with no voice whatsoever. They even get tortured when harpies eat their leaves. Moreover, the tree that talked to Dante was Pier della Vigna, who was the private counselor to Emperor Frederick the Third. Pier goes on to explain that he and the rest of the forest used to be men and they deserve greater mercy by men like Dante. Pier was stuck in the 7thcircle because he had committed suicide after hearing nasty rumors about himself and the Emperor. After Dante hears his story, Pier asks Dante if he could clear his reputation in the living world by clarifying that he never betrayed Emperor Frederick the Third. Lastly, Dante’s use of imagery was very effective throughout this canto because you were vividly able to picture the forest in your mind. It makes it more pleasurable to read because you start to imagine everything in your head making easier to follow.

Farinata’s Attitude in Hell

The following terzina in canto 10 is the moment when Dante sets his eyes upon Farinata or the head of the Florentine political faction Ghibellines. Dante narrates, “I had already fixed my eyes in his; and he was/ rising up with his breast and forehead as if he had/ Hell in great disdain,” (34-37). The translator notes that Dante focuses on Farinata’s breast and forehead because they represent courage and foresight. The presence of courage goes hand in hand with confidence and pride which is the attitude with which Farinata rises from his tomb. Since Dante primarily notices his breast and forehead, this implies that Farinata rises with his head held high and also puffs out his chest in a robustly confident manner. However, this is very uncommon for a soul suffering eternal torment. 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. He does not move any part of his body throughout the conversation with Dante and even after Dante begins speaking to another soul, Cavalcante, who suddenly awakens, Farinata’s expression and body language does not change in the slightest. Furthermore, when Dante states, “…as if he had Hell in great disdain,” this implies a tone of superiority. The translator notes, “…the possibility of such a soul’s actually being superior to the sufferings of Hell.” Although none of the souls are above the afflictions of Hell, this bearing that Farinata has connects to his concern with social status, which is a concept he is preoccupied with in his living days. For example, at the beginning of Dante’s encounter with Farinata, the latter asks Dante about his ancestry. This, perhaps, is an attempt to see if Dante comes from the opposing faction of Guelfs who Farinata and his faction battle against and slaughter during the politically tumultuous days of Florence. When Dante reveals that he is, in fact, a Guelf, Farinata becomes indignant and recounts of the opposition they showed him. Although he is no longer living, this reaction shows that his eternal torment is a lesser cause of worry as opposed to the wrongdoings he feels the Guelfs have done him.

In regards to the representation of foresight, it is a reference to Farinata’s inability to see things that are in the present or near future but rather the distant future. This, of course, is unlike human ability and memory and it brings up the question of how much the perception of time and the concepts of past, present and future change when the souls descend into Hell. Since the soul’s sufferings are meant to last for all eternity, perhaps, unlike the living, the souls, such as Farinata, are no longer concerned or obsessed with future events. This allows for a clearer view of what’s to come simply because they are already aware of what will occur.

Farinata arising from a sepulchre to speak to Dante and Virgil, Title: Farinata, Illustration by Gustave Doré

The Deceitful Are Punished


In canto 11 of Inferno Dante and Virgil reach the edge of a cliff in which lower parts of hell are visible to  Dante and Virgil. Dante can already smell that horrible smell that is rising from down below. The two poets take pause during continuing their journey and see a vault with these words written on it: “of a great tomb, on which I made out this,inscribed: ‘I hold Pope Anastasius enticed to leave the true path by Photinus.’” (Digital Dante, note to lines 7-9, canto 11).  The imagery of the vault shows how Dante believes that Pope Anastasius accepted the heresy of Acacius patriarch of Constantinople. Acadius believed that Christ possessed only a human nature and denied that Christ had a  divine power. Therefore, Pope Anastasius is punished by God—because a pope is supposed to be God’s follower and supposed to believe in God’s power, for God was placed on earth by his father to show humans he was the survivor and the only Christ but Pope Anastasius rejects God hence breaking the promise/ trust he has with God. Therefore, popes who are also humans are capable of doing corrupt things; although Popes are mostly devoted to God and are a symbol of purity, Popes can be still choose evilness because they are capable of straying away from God and are capable of straying away from the path of goodness because they are mortal and humane. This quote relates to the overall theme of this canto because while Dante and Virgil are waiting, Virgil explains the different section of hell. Looking down into hell, Virgil says that there are three circles of hell within the cliffs and the circles that commit more monstrous deeds, receive more serious punishments deeper in hell. Fraud is the most damned sin because it is the opposite of love. Fraud breaks the promise of love because fraud destroys faith/ trust. Therefore, Pope Anastasius receives the worst punishment because he committed a sinful crime such as turning away from God, the connection he has with God is now broken. God no longer trusts him, hence Pope Anastasius broke the love between him and God because the pope was deceitful towards God not believing in God for whom he really was and denying God’s divinity. Furthermore, Virgil says that those who commit wrongdoings against heaven end up getting punished, these punishers go to the lowest parts of Hell. Therefore, Francesca and Paolo weren’t placed in the lowest part of hell because their intimacy and love for one another was stronger than the actual punishment itself.

Evil as Contagion in Canto XI

Before decending into the lower divisions of the Inferno, Dante and Virgil’s “descent will have to be delayed, so that [their] sense can become a little accustomed to the evil smell; and then [they] can disregard it” (Inferno XI: x-xii). This passage indicates two medieval concepts, the concept of Hell as an assult of the human senses and the concept of smell idiosyncratic  of contagion. The imagery through out Inferno up until this point has emphasized the exess of the senses being overstymulated by foulness, from deafening noise, hidious oders, to scenes of unspeakable violence to the human physicality. This is the notion that Hell is a display of corporial punishment on the soul for its sins when it once had a true physical form in life. The sense of smell in particular in Hell takes on a whole new layer beyond the notion of over stymulation. Smell in the Middle Ages was considered one of the main ways in which contagion is spread, which is why in the years of the plague the infamous image of plague doctor mask was prominant, because it was believed that smells took longer to travel in these masks and in the beak of the mask there would be sweet smelling herbs to block the foul smell of contagion. When looking at this opening passage in the Inferno (ad just Inferno as a whole) the sense of smell is brought to the center of the delay that Dante and Virgil must edure before their decent. This is because they do not want to be assulted and consequently corrupted by the contagion of evil. Evil, in the Middle Ages, was treated like a disease, which is why evil or unsavory people are usually portrayed as having a form of contagious  illness like leprasy or pox and in Dante’s Comedy this notion of evil as contagion, as displayed in this passage in Canto XI, is salient.

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.