Nor faithful were to God, but were for self. A. Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), pp. On that occasion, Virgil answers him immediately; on this, as we soon see, he is much less forthcoming. Of people, that I ne'er would have believed The neutral angels (v. 38) are the antecedent of the pronoun li in vv. That which is willed; and farther question not.". The second descriptive passage that indicates the condition of these sinners continues the contrapasso (see Inf. In this view every condemned sinner is being led back captive to 'that Rome of which Christ is Roman' (Purg. For the first modern discussion see Edward Moore, Studies in Dante, First Series: Scripture and Classical Authors in Dante (Oxford: Clarendon, 1969 [1896]), p. Hope nevermore to look upon the heavens; A student (Charlene Cosman, Princeton '76) once suggested that it also contains a self-conscious gesture on the part of its author: it is through him that we visit this place of woe, suffering, and perdition. And I: "O Master, what so grievous is I believe that Dante's reason for not permitting us to witness the first scene being played out (we are given another version of the scene upon which it is modelled a bit later at Inf. COMMENTO AL CANTO IV DELLA "DIVINA COMMEDIA - INFE... COMMENTO AL CANTO III DELLA "DIVINA COMMEDIA - INF... ANALISI DEL RACCONTO "I MORTI" DI JAMES JOYCE, COMMENTO AL CANTO XVIII DELLA "DIVINA COMMEDIA - PURGATORIO", COMMENTO AL CANTO XXI DELLA "DIVINA COMMEDIA - PURGATORIO", COMMENTO AL CANTO XXII DELLA "DIVINA COMMEDIA - PURGATORIO". III.73) as 'istinto diventato norma e legge' (an instinct become a norm, even a law). Now we see that these beings, who lacked all inner stimulation, are stung (stimolati) by noxious insects. 3:15-16) from the other sinners. Gli spiega poi che vedrà coloro ", Subito Dante si trova immerso in un'atmosfera terribile, in una tenebra priva di stelle e qualsiasi altra fonte di luce. Many commentators, beginning perhaps with Trifon Gabriele (comm. 15-30), that this is a likely echo of the Aeneid (II.559): 'At me tum primum circumstetit horror.' Virgilio spiega che con loro sono collocati quegli angeli che non si schierarono né con Lucifero né contro di lui, rimasero dubbiosi e neutrali. The scene indeed has a classical precursor, as was noted, among the early commentators, by Boccaccio (comm. The point seems to be that he now wants Dante first to observe Charon, whose words and actions will make many things clear, before getting into the details of this scene along the river's edge. Lacking Dante's autograph MS, we can only conjecture. It is a commonplace that the third canto is the most 'Virgilian' canto of the Commedia. These two verses are repeated, word for word, at Inferno V.23-24. He led me in among the secret things. Similarly, the phrase che mai non fur vivi (who never were alive) is darkened by its probable source, cited by several modern commentators (perhaps first by Sapegno [comm. III.21): 'Segrete conserva la sua forza etimologica (da secerno [Latin 'separate from, cut off']) con immagine netta di separazione; qui: dal mondo e dalla conoscenza degli uomini' (cited by Mazzoni [Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III (Florence: Sansoni, 1967), p. 345]), i.e., those things that are hidden from the knowledge of mortals. Charon indeed does wish to refuse Dante passage in his skiff (Inf. Justice incited my sublime Creator; The neutrals, who never took a side, are portrayed as an organized crowd following a banner: exactly what they were not in life (e.g., the neutral angels who neither rebelled directly against God nor stood with Him, but who kept to one side). 331-50. ", These words in sombre colour I beheld Vous consentez à nos cookies si vous continuez à utiliser notre site Web. Are the words over the gate of hell (1) threatening to Dante? And this blind life of theirs is so debased, Were naked, and were stung exceedingly For an apposite citation of Job 3:3 ('Let the day perish wherein I was born, and the night in which it was said: A man child is conceived') see Eugenio Frongia, “Canto III: The Gate of Hell,” in Lectura Dantis: “Inferno,” ed. 13-23). M. Barbi (Problemi di critica dantesca [Florence: Sansoni, 1934]), p. 203: here cattivi means 'vile ones,' a stronger meaning than the word has sometimes in early (or in modern) Italian. 425-27. CANTO 3 INFERNO COMMENTO Un'eco della parola divina resta dunque anche nei dannati più lontani da Dio che, benchè perduti per sempre, per sempre restano creature. That seems a most doubtful proposition. Of their engendering and of their birth! M. Barbi (Problemi di critica dantesca [Florence: Sansoni, 1934]), p. 261: sciaurati must be understood as 'vile, abbietto, da niente,' as a bitterly negative term with no softness in it. 'In this third canto, Dante had to arrive at this solution: after beginning in an absolute darkness that forced him to perceive the external world only through sound, he begins to see once he passes the infernal gate and his eyes adapt to the darkness. Commento del canto 3 inferno di Dante Alighieri(La parte dove parla di Caronte urgente per domani)? This is the longest example of a word-for-word repetition that we find in the entire poem. Commingled are they with that caitiff choir On the other hand, the simpler explanation is that the appearance of Charon on the scene was necessary to make his answer meaningful – and that condition has now been met. Their tears mix with the blood drawn by these wounds only to serve as food for worms. For Charon to be able to resist such a command would involve Dante in a theological or at least a poetic absurdity. The question of how Dante crosses Acheron is much debated. Virgil's rather clipped response, in marked contrast with his ready response to Dante's question about the identity of the neutrals (Inf. III.76-78). These have no longer any hope of death; Hateful to God and to his enemies. III.82-83) only by his characteristics (in a typical Dantean gesture, making us wonder who this imposing figure might be), is now named, and will be twice more (Inf. These miscreants, who never were alive, III.9-10). to Inf. 231-47). Crying: "Woe unto you, ye souls depraved! Nor them the nethermore abyss receives, III.64], in Revelation 3:1: 'Nomen habes quod vivas, et mortuus es' (you have the name of the living, and are dead), a fitting castigation for Dante to have had in mind for the neutrals. 337-42, gives good reasons for favoring the ancient interpretation, opposing the reading offered by Pagliaro (Ulisse: ricerche semantiche sulla “Divina Commedia” [Messina-Florence: D'Anna, 1967]), pp. III.88-93); to his protestations Virgil responds as follows (Inf. For a much earlier citation, see Castelvetro (comm. It is fascinating, however, to watch the early commentators, so used to reading any fiction as though it were 'allegorical,' 'dehistoricizing' Charon. For the reading 'vede a la terra' and not 'rende a la terra' (as in two MSS), see Petrocchi, La Commedia secondo l'antica vulgata :Intro., p. 53, mainly because of the dependence on the Virgilian passage frequently cited (Georg. By the disgusting worms was gathered up. Who lived withouten infamy or praise. Perhaps the most interesting hypothesis was advanced by Mattalia (comm. Whence I: "Their sense is, Master, hard to me!". As I discern athwart the dusky light. The anaphora, or repetition, of the phrase per me si va, as it comes 'uttered' by the gate of hell itself in the first three verses, has a ring of inevitable doom about it. Canto quarto, nel quale mostra del primo cerchio de l’ inferno , luogo detto Limbo, e quivi tratta de la come persona ch’è per forza desta; (adsbygoogle = window.adsbygoogle || []).push({}); Les cookies nous permettent de personnaliser le contenu et les annonces, d'offrir des fonctionnalités relatives aux médias sociaux et d'analyser notre trafic. Accents of anger, words of agony, See Guiniforto delli Bargigi (comm. XXI.63). Rachel Jacoff [Cambridge: Harvard University Press, 1986], pp. The human race, the place, the time, the seed Through me the way is to eternal dole; Thou shalt behold the people dolorous For the post-biblical concept of the Trinity, especially as it was advanced in St. Augustine's De Trinitate, where Father, Son, and Holy Spirit is each identified by one of these attributes, respectively, see G. Fallani, “Trinità” (ED.1976.5), pp. Rispondi Salva. Several MSS have 'gente' where Petrocchi, La Commedia secondo l'antica vulgata: Intro., pp. to Inf. Dante's Inferno. to Inf. And voices high and hoarse, with sound of hands. 1, Center for Medieval and Early Renaissance Texts and Studies [Binghamton, NY: Medieval and Renaissance Texts and Studies, 1992], pp. Copyright | © 2020 Trustees of Dartmouth College. "Here all suspicion needs must be abandoned, His questions seem more or less similar to those he had asked at Inf. Upon the dismal shore of Acheron.". 250-51). I come to lead you to the other shore, XII.114-115. As Petrocchi says, both readings are acceptable: there is not so much at stake here. 438-42, for a thorough review of the debate and the evidence in favor of the second reading, based in Virgil (Aen. 'The human race, the place, the time, the seed / of their begetting and of their birth.' Expédié et vendu par. 168-69, who reads (error and not orror), even though we agree with Giorgio Brugnoli (“Orror/Error [Inferno III.31],” Studi Danteschi 54 [1982], pp. Read expert analysis on Dante's Inferno Canto 3 at Owl Eyes. III.59-60] before him), a generic sinner, unspecified, but standing for all who had made so vile a choice. Retrouvez Commento Al Primo Verso del Canto VII Sull’ inferno Della Divina Commedia Di Dante Alighieri et des millions de livres Livré : Détails . to Inf. Or are they rhetorically difficult, and 'dark' in that respect? Si trova di colpo immerso nel dolore eterno promesso dalla porta, dove riecheggiano ", Nel dialogo che segue tra Dante e Virgilio, scopriamo che essi sono al cospetto della prima schiera di peccatori: gli ignavi. For the Aristotelian/Thomist sources of Dante's meteorology, the subterranean winds that cause earthquakes, see Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), pp. Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), p. 388, proposes understanding the word as having the meaning 'insusceptible.' The heavens expelled them, not to be less fair; The verb s'adagia has been variously interpreted, either to mean that the souls delay entering Charon's skiff, or that, once in it, they seat themselves in so self-indulgent a manner as to draw Charon's wrath. Yet Mazzoni's own evidence and arguments, as well as Dante's usual procedures, which tend to avoid such indeterminacy, help to convince this reader that it was indeed Celestine that Dante had in mind, as is underlined by his later scathing reference to the event of 'the great refusal' in Inf. 110-18. Si tratta di coloro che in vita mai presero una posizione, non furono né buoni né cattivi, non si schierarono né dalla parte del bene né da quella del male. Here meet together out of every land; And ready are they to pass o'er the river, One should also consider the possibility that both meanings are present here. (Inferno XII, 93-126),” Italica 61 (1984), p. 292: 'We are in fact meant to understand that it is Charon who takes Dante across and that this crux is entirely the result of interpretive over-exertion that has made the self-evident confusing. Dopo la visione del crudele Caronte che percuote le anime per farle salire in barca, il canto si conclude con un violentissimo terremoto che porta Dante allo svenimento. En stock. Resounded through the air without a star, Forthwith I comprehended, and was certain, But that context also, while allowing for the question of interpretive failure on the part of the disciples who do not understand what Jesus means when he says that those who eat of his flesh shall live forever, is rounded off by the moral failure of certain disciples (John 6:61; 6:66). A lighter vessel needs must carry thee. Which overmastered in me every sense, Canto 26 Inferno - Commento (2) Analisi del canto XXVI della Divina commedia di Dante Alighieri. Pur non parlando con nessuno, Dante riconosce un personaggio nell'immensa schiera di anime. to Inf. Their colour changed and gnashed their teeth together, Inferno Canto 3 Summary & Analysis | LitCharts. II.37-42; Inf. If there is merit in Mattalia's observation that Virgil had previously been angry with Dante for not understanding that the place before them had been amply described in the Aeneid and thus should have been recognized by the traveler (see the note to Inf. Il quale è rimasto e rimarrà eternamente chiuso nei limiti feroci della sua società e della sua storia, dominate da tradimenti, crudeltà, odio, brama di potere, guerra; onde, come portato della illogicità umana, la dissoluzione del vivere civile, la corsa del genere umano alla dannazione, dolore in terra e nell’al di là. Which, with their tears commingled, at their feet Learn exactly what happened in this chapter, scene, or section of Inferno and what it means. Unto the earth surrenders all its spoils; In similar wise the evil seed of Adam Commentary text is copyrighted and reproduced by permission. There is not a single detail that falls short of the condition of eternal insult. This double simile has long been recognized as involving an amalgam of two Virgilian passages, Aeneid VI.309-312 and Georgics II.82. / quidve petunt animae?'. Misericord and Justice both disdain them. Parafrasi Attraverso me (Per me) si entra nella città della sofferenza, attraverso me si entra nel dolore senza fine, attraverso me si entra fra la gente dannata. to Inf. its parts and the complete Guide to the Cantos (with summary, analysis, Commento di cristoforo landino sopra la comedia di dante, Gustave Doré Dante Alighieri Inferno Plate (The lion).jpg , × ,; Noté /: Achetez Intorno a Dante. Whence I, at the beginning, wept thereat. Now he speaks of 'dim light,' thus resolving the problem of vision in a world without light, in the world of eternal darkness' (Maria Simonelli [Lectura Dantis Americana: “Inferno” III (Philadelphia: University of Pennsylvania Press, 1993)], p. 61). What folk is this, which seems by pain so vanquished?". VI.411-412): 'inde alias animas, quae per iuga longa sedebant, / deturbat laxatque foros,' as was first noted by N. Tommaseo (comm. 10-12 – see the note to Inf. Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), pp. XXVII.104-105. III.27-29). They envious are of every other fate. See Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), pp. That the adjective is to be treated as an adjectival noun for 'the wicked,' i.e., the damned in general, is an idea that has only entered commentaries in our own century. Among the early commentators Charon is variously understood as 'fleshly desire,' 'disordered love,' 'ancient sinfulness,' 'vice,' 'time,' etc. Le anime destinate all'Inferno, spiega Virgilio, si accalcano sulla riva di quel fiume fangoso e torbido (come le anime stesse) per essere condotte nel luogo della loro pena. Rather, he makes us his partners in taking responsibility for such incredible details as these all through this incredible poem. Sull'Acheronte i poeti incontrano Caronte, colui che naviga e porta le anime da una riva all'altra. Mazzoni does his usual magisterial job in reporting the various theories to account for his transporter (Charon, an angel, Virgil, Beatrice, Lucia, some unnamed supernatural force). Dante e Virgilio si trovano a passare per l’ottava bolgia dell’ottavo cerchio. to Inf. Recensioni. This highly specified and insistent naming should make it plain that Dante is serious about proposing the notion that the guardian of hell is derived from the Sixth Book of Virgil's poem. Or (2) are they hard for him to understand? Thou to the shore shalt come, not here, for passage; to Inf. Si tratta di Celestino V, il papa che lui descrive come colui ". This way there never passes a good soul; 420-21, disagrees, finding this argument over-subtle. 337-42, offers a lengthy gloss to this tercet (vv. The word in its noun form appears fully thirty-five times in the poem (once in Latin at Par. Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), pp. Dante's verse may seem to violate the Aristotelian/Thomist definition of God as the 'unmoved mover.' Through me the way among the people lost. Because celestial Justice spurs them on, Here the sinners do the opposite of what they did (form into an organized group) and the same (follow no fixed purpose). So they depart across the dusky wave, I.22-27; Inf. In fact, study has shown that it has more than twice as many Virgilian citations than any other canto in the poem (see Hollander, “Le opere di Virgilio nella Commedia di Dante,” in Dante e la “bella scola” della poesia: Autorità e sfida poetica, ed. For Dante's possible reliance, in his description of Charon's eyes, on the Roman d'Enéas, v. 2449 ('roges les oitz come charbons'), see Barbara Spaggiari, “Antecedenti e modelli tipologici nella letteratura in lingua d'oïl,” in I “monstra” nell'“Inferno” dantesco: tradizione e simbologie (Spoleto: Centro italiano di studi sull'alto medioevo, 1997), pp. Most of the early commentators are drawn, however, to the first hypothesis (dark in color), while several recent ones prefer the latter. Before me there were no created things, But see the countering argument of Hollander, “Dante on Horseback? 446-52. towards us coming in a boat Thus, beginning with the second redaction of the commentary of Pietro di Dante, certainty that the vile self-recuser was Celestine began to waiver. Thereafter all together they drew back, IV.25-27 as well as Inf. To thee, as soon as we our footsteps stay Rachel Jacoff (Cambridge: Harvard University Press, 1986), pp. Con queste parole si apre il canto III dell'Inferno. Only God, who is not created but all-creating, may be considered eternal. Freccero and others before him (e.g., Vandelli [comm. Recensione di Francesca83C - 17-07-2016. 3 INFERNO CANTO I [Incomincia la Comedia di Dante Alleghieri di Fiorenza, ne la quale tratta de le pene e punimenti de' vizi e de' meriti e premi de le virtù. Grazie. Indeed, his first sense impressions of the neutrals are entirely auditory (Inf. II.82): 'miraturque novas frondes'). 170, 380, and La Commedia secondo l'antica vulgata: Inf., p. 54, favors 'schiera.' That this the sect was of the caitiff wretches In Paul's apocryphal Vision (for the most recent text see Silverstein and Anthony Hilhorst, eds., Apocalypse of Paul: A New Critical Edition of Three Long Latin Versions [Geneva: Patrick Cramer, 1997]), there is a river of flame separating 'those who were neither hot nor cold' (Apoc. Nei canti seguenti però vedremo che spesso gli svenimenti e i sonni di Dante si accompagnano a eventi sovrannaturali, alcuni dei quali ne facilitano il cammino, quindi non è folle l'ipotesi che un intervento angelico conduca i due poeti al di là del fiume. ", And unto him the Guide: "Vex thee not, Charon; See the note, below, to Inf. The protagonist will suffer a similar lapse at the conclusion of the fifth canto (Inf. For glory none the damned would have from them.". Lo stesso Virgilio li disprezza, dicendo a Dante: ". For ever in that air for ever black, Elsewhere we will encounter other such symbolic artifacts. V. ). And ere upon the other side they land, An old man, hoary with the hair of eld, Nel mezzo del cammin di nostra vita mi ritrovai per una selva oscura, 134-35. Si tratta del racconto più lungo dell'int... Posto avea fine al suo ragionamento l'alto dottore, e attento guardava ne la mia vista s'io parea contento; e io, cui nova ... La sete natural che mai non sazia se non con l'acqua onde la femminetta samaritana domandò la grazia, mi travagliava, e pungeam... Già era l'angel dietro a noi rimaso, l'angel che n'avea vòlti al sesto giro, avendomi dal viso un colpo raso; e quei c&... Nella Russia zarista e poi comunista, erano chiamati kulaki i contadini benestanti che possedevano piccoli appezzamenti di terra ed avevano ... COMMENTO AL CANTO VII DELLA "DIVINA COMMEDIA - INF... COMMENTO AL CANTO VI DELLA "DIVINA COMMEDIA - INFE... COMMENTO AL CANTO V DELLA "DIVINA COMMEDIA - INFERNO". Dante's apparently 'theologically incorrect' statement shows the importance of his sense of justice as the central force in the universe, so encompassing that it may be seen as, in a sense, God's 'muse,' as well as the primary subject of the poem. Virgil now is willing to answer the question that Dante posed earlier (Inf. 75-128) and Maria Simonelli (Lectura Dantis Americana: “Inferno” III [Philadelphia: University of Pennsylvania Press, 1993]), pp. VIII.25-27) is that he found that poetic choice an excessive one, too self-consciously redolent of Aeneas's fanciful entrance into the underworld for him to make evident reference to it at this important moment, the threshold of his Christian afterworld.' See Hollander (Allegory in Dante's “Commedia”), pp. I.55-60; Inf. IX.49-51) to Inf. And he to me, as one experienced: This understanding is shared by the vast majority of the commentators, with a very few (the Ottimo, Boccaccio, Gregorio Di Siena) arguing for the understanding that the text insists only that Dante finds the meaning of the inscription difficult, and another handful arguing for a deliberately ambiguous meaning. Dante's Inferno. In Dante's hell the punishment of sin involves the application of opposites and similarities. See Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), p. 343, citing Par. He is referred to as portitor (VI.298), literally the guardian of the port, but his function in Virgil is to ferry the dead across Acheron. A curiosity about which there has been only a modicum of speculation results from the closeness of this verse to one in the opening verses of the first scene of the third act of Plautus's comedy Bacchides: 'Pandite atque aperite propere ianuam hanc Orci, opsecro: Nam equidem haud aliter esse duco: quippe quo nemo advenit Nisi quem spes reliquere omnes.' From speech refrained I till we reached the river. to Inf. 'Justice moved my maker on high.' By gadflies and by hornets that were there. Dopo aver dato una veloce occhiata agli ignavi, che non meritano di più, Dante e Virgilio arrivano sulla riva dell'Acheronte. III.109-111). Se ti va, puoi lasciare un commento al post. Nei prossimi canti vedremo come per i dannati sia di gran conforto la speranza di essere ricordati tra i vivi. 355-67. People I saw on a great river's bank; Dante easily could have told us what he wants us to make ourselves responsible for; but that is not his way. But all those souls who weary were and naked At signals, as a bird unto its lure. III.33, when he wanted to know the identity of the wailing souls who turn out to be the neutrals. The word in rhyme position, indegna, has caused some anxiety. III.73-74): divine justice spurs these sinners so that they are eager to cross the river and find their perdition. XVIII.91). , Livraison. 762-65. IX.50, 'battiensi a palme,' which describes the Furies beating their breasts 'come qui [on earth] fanno le femine che gran dolor sentono, o mostran di sentire,' may help unravel this verse as well: the sound is that of hands striking the sinners' own bodies as they beat their breasts, as Boccaccio had already suggested in his gloss to this verse: 'come soglion far le femine battendosi a palme' (Inf. Whence said I: "Master, now vouchsafe to me, That I may know who these are, and what law The highest Wisdom and the primal Love. And when to gazing farther I betook me. This reader does not find that an acceptable answer. to Inf. For the less-than-defensible notion that alcuna here is a negative (rather than a positive) form of the adjective see Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), pp. XI.11, where his olfactory capacity must become used to the stench of nether hell. God they blasphemed and their progenitors, Charon, introduced first (Inf. In questa pagina trovate la parafrasi del Canto 3 dell'Inferno. In the first instance, he asked about the nature of those he saw displayed just before him. And hence if Charon doth complain of thee, "All those who perish in the wrath of God Il loro peccato è tanto odioso da collocarli lontano dal Paradiso e allo stesso tempo fuori dall'Inferno, essi hanno dignità inferiore a quella di qualsiasi altro dannato. I.82-86), does not recognize this place, so fully described by Virgil in his Sixth Book. Come tutti sanno, fra "le donne antiche e’ cavalieri" che formano la Conv., Ill, XV commento al verso di Amor che ne la mente.Coefficient : . Tra i temi correlati si vedano la sintesi e l'analisi e commento del canto. 352-55; in Petrocchi, (La Commedia secondo l'antica vulgata, Inferno, pp. For the city as the poem's centering image of political life, the hellish earthly city, resembling Florence, 'which stands for the self and against the common good,' and the heavenly city, an idealized view of imperial Rome, see Joan Ferrante (The Political Vision of the “Divine Comedy” [Princeton: Princeton University Press, 1984]), pp. Who made through cowardice the great refusal. Said: "Master, what is this which now I hear? 86-91] and Hollander, Dante and Paul's “five words with understanding,” Occasional Papers, No. If this argument has merit, it accounts for the poet's reticence on poetic grounds. This small moment of interpretive difficulty may stand as but one example of two things: the difficulty of this poem and the extraordinarily subtle exertions it calls forth from its commentators, whether its author always hoped for them or not. These did their faces irrigate with blood, Charon the demon, with the eyes of glede, 301-7. Costui svolge con sadica furia il suo compito, ricordando alle anime che le condurrà all'eterno supplizio e intimandogli di abbandonare ogni speranza. Written upon the summit of a gate; See Allan H. Gilbert (Dante's Conception of Justice [Durham, NC: Duke University Press, 1925] – but see also Dino Bigongiari's sharply critical review [Essays on Dante and Medieval Culture, ed. This form of just retribution is what Dante will later refer to as the contrapasso (Inf. Without opposing that further interpretive dimension of the scene, one should probably insist on a literal understanding that squares with the text. Beats with his oar whoever lags behind. There is general agreement that Dante could not have known the texts of Plautus directly (he does, however, name the Roman playwright at Purg. L'ipotesi più ovvia è che egli, svenuto, sia imbarcato con Virgilio sulla barca di Caronte. And fulminated a vermilion light, 368-76, who shows that such a tradition did exist and probably helped to shape Dante's conceptualization. III.27]) allow for two possibilities: the sound results from striking either the body of another or one's own. to Inf. 99-102), argue that the drama played out here is lodged in the difficulty of interpreting. "My son," the courteous Master said to me, The moment is too important, surrounded by troubling and excited details, to be dealt with as anything less than a problematic mystery that the poet asks us to solve. Attraverso gli occhi di Dante, possiamo osservare la pena che spetta agli ignavi. Our translation is in accord with the literal interpretation of Padoan (comm. La discussione è crescita. Plot Summary. The 'dim light': Dante's first experience of hell proper was one of utter darkness. 40 and 41. For complicating readings of what many have understood as a fairly evident remark, see Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), pp. In our translation we have tried to allow for both meanings. See Mazzoni (Saggio di un nuovo commento alla “Divina Commedia”: “Inferno” –Canti I-III [Florence: Sansoni, 1967]), pp. The word segrete here does not mean 'secret' so much as 'cut off from' – see Grabher (comm. I II IV V VI o semplici osservazioni, potete visitare il nostro forum e lasciare un . IX.22-27; Inf. 41-58. Beckoning to them, collects them all together, to Inf. On this problem see Nardi, Dal “Convivio” alla “Commedia” (Rome: Istituto Storico Italiano per il Medio Evo, 1992 [1960]), pp. Dante's essential technique for indicating the crucial moral failures of his various groups of sinners is here before us for the first time. The 'good of the intellect' has long been understood as God. From this point on the action of the canto moves to the near bank of Acheron. One might argue that his point is that Dante has gotten ahead of himself. of 1865]), G.A. This being finished, all the dusk champaign The apparent difficulty of these verses (perhaps reflected in Dante's difficulty in understanding the writing over the gate, Inf. Created me divine Omnipotence, A. Mandelbaum, A. Oldcorn, and C. Ross (Berkeley: University of California Press, 1998), p. … III.104), against those who understand seme to refer to their ancestors, semenza to their parents. III.76-78), who argued that Virgil is upset that Dante, who had offered himself as a devoted reader of the Aeneid (Inf. He answered: "I will tell thee very briefly. III.34-42), causes Dante to feel ashamed (Inf. 41-59], first published in Studi Romani in 1955) are today found in Dal “Convivio” alla “Commedia,” pp. To what does the adjective rei ('evil') refer? For Dante, the seeming banishment of his hope is cause, not so much for distress at his intellectual failure so much as for fear of a punishment compelling enough to grasp – an eternity in hell.
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