Dante the pilgrim and his rival/friend/fellow poet Forese Donati go on talking about suffering and the nature of the ascent up the mountain. In doing so, they must speak about Forese’s wife, Nella. Dante has previously insulted her in the sonnet rivalry. Now, she’s a heroic figure who nonetheless brings us back to the problem of stating the higher truths in the vernacular.
Read MoreDante and Forese, friends and poetic rivals, continue their conversation on the sixth terrace of Mount Purgatory among the emaciated, skeletal gluttons. Forese’s suffering is clear and present, which makes them both pause on the central crux of being human: how to interpret the pain we feel.
Read MoreDante the poet muddies his text with increasingly opaque literary references until finally the pilgrim encounters a fellow, contemporary vernacular poet, not someone associated with the high style, but instead Forese Donati, a guy known for his vulgar, funny, hip, and insulting sonnets.
Read MoreOur pilgrim is still marveling at the mystical tree on the sixth terrace of Mount Purgatory—he has to be goaded on by Virgil, his “more than father.” As they walk along the terrace, they’re soon overtaken by skeletal, cadaverous penitents who find that the pilgrim himself is a source of marvel.
Read MoreStatius and Virgil head out across the sixth terrace of Mount Purgatory. They’re stopped by an upside-down tree in the path. A voice in the tree warns them off, then admonishes them with examples of those who were moderate in their appetites . . . and the wonders of the classical age.
Read MoreOur pilgrim, Dante, arrives on the sixth, empty terrace of Mount Purgatory without a lot of fanfare. Instead, Statius and Virgil go ahead of him and talk about the craft of poetry. The passage is caught in the essential structural issue (and thematic one, too!) of COMEDY: circularity and linearity, fused into one state of being.
Read MoreVirgil and Statius reconstruct limbo. The sighs from that first circle of hell are transferred from the damned to the poet Dante (and to his reader). And the entire catalogue of the lost comes down to a final irony: Manto, lost in Dante’s own poem, misplaced and reassigned, a final misreading and misquotation in a canto full of them.
Read MoreVirgil finally gets to hear the story of Statius’s conversion. But for Statius to tell it, Dante the poet must make some concessions to the historical record, must account for the fact that Statius’s epic is dedicated to a Roman emperor, and must offer a compelling narrative vision . . . that devolves into the text as text, rather than as story.
Read MoreVirgil wants to know how Statius could have become a Christian since there’s no evidence of faith in his poetry about Thebes. Statius replies that it’s through Virgil’s poetry that he both became a poet and became a Christian. Damned Virgil lights the path to redemption.
Read MoreStatius answers Virgil’s question: He wasn’t guilty of avarice, as Virgil imagined. Statius spent all his money. And he learned the error of his ways when he interpreted a passage from Virgil’s AENEID . . . or rather, when he misquoted and misinterpreted the passage. We have to come to the quagmire of interpretation—and Dante’s hope for classical texts.
Read MoreDante the pilgrim begins his climb to the sixth terrace of Mount Purgatory blinded and behind his two guides, Virgil and Statius. The drama of the pilgrim’s blindness is superseded by Virgil’s curiosity about Statius . . . complete with Virgil’s own misquotation of Francesca from INFERNO, Canto V.
Read MoreA read-through of Purgatorio, Cantos XXII, XXIII, and XXIV. A rough translation before we break it into smaller parts for deeper analysis. The ascent from the fifth terrace of avarice (and we learn, another sin) to the sixth terrace of gluttony: an arboretum with hollow, wasted souls purging their love of wine and food.
Read MoreIn a very human and funny scene, Dante the pilgrim is caught between two poetic mentors, Statius and Virgil. It’s a battle of the wills . . . inside of Dante, who is finding that his emotions are more fundamental even than his will, all in a canto that is a hymn to the human will and that ends in the same spot another canto ended.
Read MoreThe unknown soul finally names himself: Statius, the epic Roman poet, a major influence on COMEDY, and a full-on shock. How could a pagan Roman poet end up on Mount Purgatory, headed to heaven? And how can this poet find himself face to face with his own poetic inspiration and apparently the bearer of God’s revelation: the damned Virgil.
Read MoreThe still-unknown shade answers Virgil’s questions with an explosive claim: The souls on Mount Purgatory stand up and declare their own purity. Their will is its only proof. But this is an easy passage to misread (or just overstate) in the modern world. There are at least two safeguards the soul’s answer.
Read MoreThe unknown shade on the fifth terrace of Mount Purgatory begins to answer Virgil’s questions by referring to Aristotelian notions of change . . . and then begins wrapping the imagery and poetry of Cantos XX and XXI back onto themselves for a gorgeous lyrical tapestry amid the classical learning.
Read MoreThe unknown shades wants to know how two escapees from hell have made their way up Mount Purgatory. Virgil has to explain that the pilgrim Dante is still alive . . . and he does so with a knot of classical imagery before pressing on to the question of “why” the mountain just shook and all the souls shouted in one voice.
Read MoreDante the pilgrim is left wondering why Mount Purgatory has shaken so hard . . . and then he’s confronted by an even deeper mystery: a shade appears, seemingly out of nowhere, reminiscent of the appearances of Virgil and Cato earlier in COMEDY. It’s a wild start to one of the finest cantos in COMEDY.
Read MoreDante the pilgrim and Virgil resume their walk along the fifth terrace of Purgatory, picking their way among the avaricious, when they’re brought to a stop by a mighty earthquake and much singing. Dante is afraid. Virgil tells him not to be . . . although Virgil seems afraid. There are references to divine births. And the walk continues apace.
Read MoreHugh Capet abruptly turns from the pilgrim Dante’s first question about who he was to his second question about why the pilgrim only heard Hugh’s voice on the fifth terrace of avarice. Along the way, Hugh Capet offers a brief but well-stocked list of those who have been done in by greed. Then he offers a curious, curt ending to his monologue: a person does as much as they want.
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