Tag Archives: Farinata

Pride and Position

Dante watches as the prideful purge themselves, Title: Proud Penitents (Oderisi da Gubbio), Illustration by Gustave Doré, Source: Danteworlds (UTexas) (Galleries of Purgatory (Terrace of Pride))

As Dante and Virgil continue to voyage through purgatory they find themselves on the first terrace in canto 10. Each of the seven terraces symbolize the seven capital vices, of which the travelers encounter the prideful souls. Dante, as the author, purposefully creates parallels between cantos of the same number in purgatory and inferno. As an example, upon entrance in both the sixth circle of heresy and the terrace of pride, not a single soul is visible in sight. The reason for this could possibly be that the arrogance with which the souls carry themselves push them to believe that any visitors that come their way aren’t worthy of seeing who they are immediately nor are the visitors worthy of knowing who they are. While this may not be true for all the souls of the sixth circle, the behavior of the souls that Dante does get to meet indicate otherwise. As for purgatory, the reason for this has to do with the contrapasso of the punishments of the prideful. Each of the souls are forced to look at the ground because of the tremendously heavy stones weighing them down on their spines. This is an opposition to the overly-confident attitudes that the souls have in their living days where their attitudes kept their heads up high during every encounter. The punishment allows them to understand the negative traits they possess and how one cannot spend eternity as someone who treats others as though they are below them. The simultaneous pounding of their chests reflects the process of the purging of the souls into better versions of who they used to be giving them an element of sincerity that lacks in the souls of inferno.

Meanwhile, the sinners of canto 10 in inferno have mainly committed heresy but one character, known as Farinata, shows evidence of pride and arrogance. 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, 173, Inferno). The focus on his breast and forehead symbolize the importance of courage. Farinata keeps his head held high, which forces Dante to look up to him while they’re conversing as he stands at the base of Farinata’s tomb. This, consequently, creates a hierarchy between the two characters putting Farinata above Dante. As Farinata rises from his tomb in a prideful and arrogant manner, he maintains a calm and collected demeanor despite the circumstances he finds himself in. His pride is further emphasized when Dante proclaims, “…as if he had Hell in great disdain. (34-35, 157, Inferno). The superior tone, in sharp contrast to the souls of purgatory, implies an attitude of superiority that lacks in the atmosphere, itself, of purgatory. Farinata acts as though he is above the afflictions of Hell and cannot be bothered to concern himself with the sufferings that surround him. Furthermore, his bearing implies a concern with social status which is emphasized when he asks Dante if he comes from the opposing political faction of Guelphs. Such attitudes aren’t present either at Dante’s first encounter with the prideful, despite their vices, because if they behave in such a manner, which counters the will of God and his reasoning for placing the souls in either inferno, purgatory or paradise, then the purging souls would not be where they are now in the first place.

The social statuses, however, that Farinata preoccupies himself with are understandable because, the deeper one delves into inferno, the rougher, harsher and more terrifying the souls’ punishments become. Perhaps, he is attempting to prove to Dante that although he is in the sixth circle of Hell, he is worth much more than what God deems him to be, who consequently places him in this petrifying circle. When it comes to purgatory, the higher one climbs the levels of purgatory, the closer they come to the entrance of paradise and all the goodness and light it contains. This signifies that even though the prideful souls are in the first terrace and as a result, aren’t as close to paradise as the rest of the souls, their purging is considered worth the journey. Their social statuses, unlike the souls of inferno, are temporary and are subject to transforming into a brighter and more peaceful eternity as opposed to the devastating and never ending torments of inferno.

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.

 

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.

 

Variations in Heresy

      Dante defines heresy as the denial of the soul’s immortality. Dante’s definition is supported by his condemnation of epicureanism philosophies. Virgil claims that “Epicurus and his followers have their cemetery in this part, who make the soul die with the body.” (line 13, Canto 10, pg 30). Epicurus was a Greek philosopher that believed the soul was also mortal like the body. He claimed that humans should live in materialistic moderation so that they can achieve a state of tranquility. This state was defined as the exoneration from fear and anxiety caused by death and the existence of Gods/Goddesses. Epicurus and his disciples expected their souls to die when they were buried, hence, their punishment is that even in the afterlife, their souls are buried. This makes them even more “dead” than the other heretics because they’re completely buried whereas other heretics are partially buried in the sepulchers. They’re defined as the worst heretics because all the other souls needs to be reunited with their bodies from the “valley of Jehoshaphat”(line 10, Canto 10, pg 30) on judgement day  before they can lie down in their monuments but these souls are already lying down in their graves. In a sense, the worst has already occurred to them.

      Farinata’s heresy is defined in terms of his political association with Frederick II. Farinata’s is physically described as “stood erect: from the waist up you will see all of him” (line 31, Canto 10, pg 30). Farinata is partially submerged in the sepulcher. His body posture corresponds to the dual nature of his heresy as a misguided Christian. While Farinata supported Christianity, he supported King Frederick II who was excommunicated twice and deemed a heretic. Hence, Farinata is a heretic by association. The Bible claims that “There will be false teachers among you, who will secretly bring in destructive heresies, even denying  the Master who bought them, bringing upon themselves swift destruction.” (Second Peter 2:1). Farinata supported a “false teacher”. Frederick II used the Ghibelline army to conquer the papal states so he could rename himself the King of Jerusalem. Farinata wasn’t completely aware of Frederick II’s ulterior motives. It wasn’t until the Guelfs had control again that Farinata was posthumously deemed a heretic and his dug-up body was burned. Farinata never realized that he supported the wrong political authority attempting to become a religious authority; he also didn’t have the opportunity to make amends with the Church. Hence, he’s partially buried because he’s only a heretic by association. This belief is further reiterated when Dante asks Farinata about who is with him in the 6th circle of hell and he claims “Here within is the Second Frederick and the Cardinal;” (line 118, Canto 10, pg. 32). This confirms that Frederick II was a heretic and implies that he was responsible for Farinanta’s displacement into hell.

       Farinata’s verbal exchange mirrors his earthly status as a Ghibelline leader to his eventual transcendence of all partisans to a Florentine citizen that prioritizes his city’s welfare above all else. In the beginning of their verbal exchange, both Farinata and Dante argue their loyalties for their respective political parties. Farinata claims “Fiercely were they opposed to me and to my ancestors and to my party, so that twice I scattered them.” (lines 45-47, Canto 10, pg 31). He uses 3 subjects to compose his identity: “Me,” “My ancestors,” and “My party”.  This implies that his war with the Guelfs extends beyond personal vendetta, he was protecting his lineage and the people he represented in his party. He claims that “so that twice I scattered them,” the clause is placed at the end of the sentence to imply that he waged war as a consequence of the partisan disputes between the Ghibellines and the Guelfs and not vice versa. By engaging in the war, he was doing justice by his people. This depicts his loyalty towards the Ghibellines and their cause. Dante responds “If they were driven out, they returned from every side,’ I replied ‘the first time and the second; but your people did not learn that art well.” (lines 47-51, Canto 10, pg 31). Dante uses the word “returned from every side” to emphasize the solidarity that exists among the Guelfs. When the Guelfs were defeated twice, they regrouped from diverse states in order to reclaim their power in Florence. By stressing the strong bond that exists between Guelfs, he emphasizes his own loyalty towards the partisan. Both verses are well measured to show that both Farinata and Dante are equally loyal to their parties. Both verses also depict that they’re both heavily involved in earthly politics. However, in the last verses, Farinata transcends his earthly politics for Florence’s welfare. He claims that “If they had learned that art badly’ he said, ‘that torments me more than this bed.” (lines 75-77, Canto 10, pg 31). The “art” refers to the predicament that both parties (especially the Ghibellines) don’t realize that the war will never end. It will be a continuous struggle for power before one, if not both, parties are entirely wiped out. He elaborates that “Before not fifty times will be rekindled the face of the lady who reigns here, before you will know how much that art weighs.” (line 78-80, Canto 10, pg 31). Since Farinata can see into the future, he understands that the war will have casualties on both sides before either political group can understand the implications of their wars on Florence itself. “The lady who reigns here” most likely refers to Medusa who guards the city of Dis. She will be “rekindled” by many more souls before the Ghibellines realize that their religious association is incorrect and they’re all virtually condemned. Farinata’s reflection allows him to understand that the political war is damaging Florence itself. This objective understanding allows him to redefine himself as a citizen of Florence rather that a partisan leader. The verbal exchange mimics his life’s defining moment when he conquered Florence as a Ghibelline leader, but he also defended it as citizen from higher orders. He claims that “But I alone, there where all other would have suffered Florence to be razed, was the one who defended her openly.” (lines 90-92, Canto 10, pg 32). When the Ghibellines conquered Florence, they wanted to destroy it, however, Farinata was the only one that defended Florence and said that it should be saved. He prioritized the welfare of Florence over his own party’s political agenda. This allows him to be redefined as a Florentine rather than a Ghibelline leader.

       Cavalcante De’ Cavalcanti is a heretic because he is too invested in personal ties and thus, lacks self-reflection. Dante describes him as a “shade rose up, discovered to sight as far as the chin,” (line 48, Canto 10, pg 31). Cavalcanti’s head is only visible from the sepulcher and it reaches Dante’s knees. Cavalcanti is already a worse heretic than Farinata because while Farinata is half submerged, Cavalcanti is submerged up to his chin. Their tombs are next to each other because they’re related. Cavalcanti’s son Guido married Farinata’s daughter Beatrice. It is rumored that Cavalcanti was a heretic like his son Guido but the religious attribution is largely controversial. However Dante portrays Cavalcanti as a heretic that values his relationship with his son more highly than his relationship with the Divine. Cavalcanti asks Dante “Where is my son, and why is he not with you.” (line 58, Canto 10, pg 31). Cavalcanti could’ve asked Dante anything but he chose to ask about his son. Unlike Farinata, there was no self-reflection evident that could redeem his character. Dante even concludes that his “words and manner of his punishment had already read to me his name; therefore my reply was so full.” (line 64, Canto 10, pg 31). Dante implies that Cavalcanti is so obsessed with his son that  his “punishment” is that he can’t have any knowledge about his son. Dante says that “my reply was so full” because even though it was misinterpreted, it was more information that what Cavalcanti originally possessed. Cavalcanti’s is only concerned with his son and thus, he is a heretic because he never prioritized his own relationship with the divine.

         Heretics believed that their soul was mortal in some sense. Atheists literally believed that their souls didn’t exist past their death hence, they’re buried in a tomb in hell. Their souls don’t represent anything except death because that’s what the epicureans wanted. However, heretics attributed their souls to materialistic possessions in the world that have definitive ends which made their souls mortal in some sense. Farinata’s soul is represented by Florence thus, he’s punishment is he has no knowledge of Florence’s current political affairs though he can see what it becomes in the future. Cavalcanti’s soul is represented by his son thus, he’s punishment is that he has no current knowledge of his son, though he can almost see his son’s death in the future.

References:

Wolf, Gunther. “Frederick II.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 10 Jan. 2019, www.britannica.com/biography/Frederick-II-Holy-Roman-emperor.

Britannica, The Editors of Encyclopaedia. “Farinata Degli Uberti.” Encyclopædia Britannica, Encyclopædia Britannica, Inc., 7 Nov. 2018, www.britannica.com/biography/Farinata-degli-Uberti.

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