With Guido del Duca lost to his tears, Dante the pilgrim and Virgil begin to walk on to find a way up to the third terrace of Purgatory. Before they go very many steps, two more voices on the wind strike them head-on: Cain, after his fratridice and banishment; and Aglauros, laded with the sickness of envy from Ovid’s METAMORPHOSES.
Read MoreGuido del Duca continues his diatribe about the descent of his culture, finally ending with a long passage bemoaning the end of the glory days, the fine families and courts of Romagna, now long gone. Here’s the big question: Is this Dante the poet’s lament or is his a function of Guido del Duca’s character?
Read MoreDante finally finds out who these two penitent souls are on the terrace of envy: Guido del Duca and Rinier (or Rinieri) da Calboli. Knowing who they are forces back up to the top of PURGATORIO, Canto XIV, to reassess what’s the political strife underlying its theology and to reinterpret their relation to each other and to Dante.
Read MoreDante has been quite cagey in saying where he’s from. His coy game has led him to use periphrasis, one of his favorite poetic techniques. He’s about to learn his lessons. One of the envious penitents is going to beat him at his periphrastic game and bring the entire prophetic denunciation of Tuscany into incredibly complicated metaphoric space.
Read MoreThe two envious penitent souls of PURGATORIO, Canto XIV, make a mess out of Dante’s fancy rhetorical skills and one of them sets into a typical Dantean diatribe against Tuscany . . . all the while making hash out of the very theology of Purgatory itself.
Read MoreTwo envious penitents interrupt the action of PURGATORIO at the opening of Canto XIV. They seem to be gossiping about Dante the pilgrim, then they turn to him and use some of his own words to get what they want, all the while dividing his soul from his body. Dante replies with one of his favorite rhetorical techniques: periphrasis. And he engages in modesty . . . or maybe reticence . . . or maybe truth-telling.
Read MoreA coda to our episodes with Sapia, one of the most complex and intriguing souls in all of Dante’s COMEDY. Is this passage incredibly uneven or textured with a great deal of irony? How does it reflect back to INFERNO, Canto XIII? And how does it set us up for the canto ahead, PURGATORIO XIV?
Read MoreDante the pilgrim (and even Dante the poet!) may have met his match with Sapia on Purgatory’s second terrace, the ledge of the envious. She manipulates him into a confessional moment, then either turns that confession into flattery or comedy, all to get what she wants: a refurbished reputation back among the living. She’s caught in the human dilemma: neither good nor bad but a wild mix in-between.
Read MoreDante the pilgrim gets more than he asked for: Sapia’s incredible monologue, a master stroke of rhetoric, part honesty, part manipulation, all wrapped around one of the most blasphemous lines in all of COMEDY. The terrace of envy is full of surprises . . . none bigger than this woman who matches wits with Dante.
Read MoreDante the pilgrim, goaded by Virgil, has worked up the courage (or the flattery) to prompt one of the souls to speak on Purgatory’s second terrace, the landscape of the envious. She does . . . and gives Dante both more and exactly what (or in fact, perhaps a bit less) than he asked for. Her reticence, her generosity: the combined tension inside the human problem of envy.
Read MoreDante tiptoes by the envious on Purgatory’s second terrace, thinking he’s making some gaffe by staying silent. But Virgil is having none of it. He tells Dante to be brief . . . and Dante launches into overblown flattery (reminiscent of a certain moment for Virgil in INFERNO XIII). How much irony is found in the texture of this seemingly simple passage from PURGATORIO.
Read MoreDante the pilgrim finally sees the penitents on the second terrace of PURGATORIO. They’re huddled against each other, leaning back against the mountain’s cliff, and clothed in livid haircloth. But they also have their eyelids stitched shut with wire, blinded because of this sin that we have reinterpreted and tamed as jealousy but that entails so much more.
Read MoreDante and Virgil make great haste along the empty second terrace of PURGATORIO but are soon accosted by three disembodied voices, whipping them on to love but also offering a node of the alienation that will pervade this terrace . . . and that is crucial as a separating space between Dante the poet and his master, Virgil.
Read MoreDante and Virgil arrive at the second terrace of Purgatory proper in a passage that seems at first glance to be fairly straightforward, naturalistic detail . . . until we notice the neologism (new word) Dante has coined, until we notice the line that barely makes sense because it has so many possible meanings, and until we realize that Virgil is offering a pagan prayer in the land of the redeemed penitents.
Read MoreIn PURGATORIO, Dante begins to incorporate more and more experimental and experiential truth into his poem, taking his cues from Aquinas and Aristotle. But if God is the author of all truth, how does any truth come from experiential sources, much less a pagan philosopher, particularly one whose writings have been reinvigorated by both Islamic and Jewish scholars?
Read MoreA read-through of the second terrace of Purgatory proper, the terrace of envy, in the second canticle of Dante’s masterwork COMEDY. We’ll cover the ground from PURGATORIO, Canto XIII, Line 1, though Canto XV, Line 84, walking among the ranks of the envious and asking some initial questions before we dig into it passage by passage in our slow walk across Dante’s known universe.
Read MoreDante the pilgrim and his guide, Virgil, take on the last bit of the climb out of the first terrace of Purgatory proper, the terrace of pride. PURGATORIO continues to compellingly difficult and enjoyable because they exit the terrace with two interesting and unexpected moments: Virgil smiles and God’s writing is erased.
Read MoreDante and Virgil climb to the second terrace of Purgatory through one of the more difficult similes in all of COMEDY: a contorted and rage-filled bit of poetry about Florence and its corruption, all in the emotional landscape of redemption, which ends at one of Jesus’s beatitudes and also the screams of hell itself.
Read MoreDante and Virgil begin to leave the terrace of pride and all its art, but not before Virgil returns to form, becoming the guide to the afterlife with a penchant for quoting himself and not before an angel must guide them to the stairs, an angel who carries in his face an implicit reference to Lucifer (that is, Satan).
Read MoreDante the poet steps out from behind Dante the pilgrim to double down on his claims for art (that it’s realer than real), to push further his own (fake) ekphrastic poetry, and to remind us that the moral allegory that is COMEDY is at its heart a story, the only lie humans have to tell the moral truths of our existence.
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