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Singing for Dante in 'Purgatorio' Bibliotheca Dantesca: Journal of Dante Studies Volume 1 Dante and Music Article 7 2018 SINGING FOR DANTE IN ‘PURGATORIO’ 30–31 Helena Phillips-Robins Follow this and additional works at: https://repository.upenn.edu/bibdant Part of the Ancient, Medieval, Renaissance and Baroque Art and Architecture Commons, Italian Language and Literature Commons, Medieval History Commons, and the Music Commons Recommended Citation Phillips-Robins, Helena (2018) "SINGING FOR DANTE IN ‘PURGATORIO’ 30–31," Bibliotheca Dantesca: Journal of Dante Studies: Vol. 1 , Article 7. Available at: https://repository.upenn.edu/bibdant/vol1/iss1/7 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/bibdant/vol1/iss1/7 For more information, please contact [email protected]. Phillips-Robins: SINGING FOR DANTE Bibliotheca Dantesca, 1 (2018): 127-145 SINGING FOR DANTE IN ‘PURGATORIO’ 30–31 HELENA PHILLIPS-ROBINS, University of Cambridge This essay investigates types of sociality enacted through song, as depicted in Dante’s Earthly Paradise. The first section of the essay argues that the singing of Psalm 30 (In te, Domine, speravi) in Purgatorio 30 is a way of enacting a particular mode of compassion. In the second section of the essay I argue that Dante’s depiction of Psalm 30—together with his depiction of the antiphon sung in Purgatorio 31, the Asperges me—invites a devotional response from the reader. The sociality of prayer can involve not only the characters, but also the readers of the Commedia. I investigate the liturgical context in which Dante and medieval readers would have known and lived the Asperges me. I argue that here, at the end of the narrative of his penitential journey, Dante, with this antiphon, invites the reader to her own performance of penance. Keywords: Dante, Commedia, Purgatorio, Song, Liturgy, Reader In Purgatorio 30, a host of angels intercede for Dante by singing verses from Psalm 30. The angels’ singing prompts a physical and spiritual transformation in the pilgrim, turning him from an isolated figure who could not produce words, tears, or sighs, to one who weeps with true contrition. The transformative power of this psalmody lies, at least in part, in the ways in which it brings singers and listener into relation; it is when the pilgrim perceives the an- gels’ compassion that he is finally able to pour forth tears of peni- tence: ma poi che ’ntesi ne le dolci tempre lor compartire a me, par che se detto avesser: ‘Donna, perché sì lo stempre?’, lo gel che m’era intorno al cor ristretto, spirito e acqua fessi, e con angoscia de la bocca e de li occhi uscì del petto. (Purg. 30.94–9)1 1 Citations from the Commedia are taken from Dante Alighieri, La Commedia se- condo l’antica vulgata, ed. Giorgio Petrocchi, 4 vols., 2nd ed. (Florence: Le Lettere, 1994). ~ 127 ~ Published by ScholarlyCommons, 2018 1 Bibliotheca Dantesca: Journal of Dante Studies, Vol. 1 [2018], Art. 7 Phillips-Robins: Singing for Dante These lines leave open the possibility that the angels’ psalm singing is not only an expression of compartire, but also a means of effect- ing that compartire. We could read “ne le dolci tempre” as “through their sweet harmonies,” the song as a manifestation of the angels’ compartire. But we could also understand the verse more literally as “in their sweet harmonies,” the song as containing their compassion, their singing itself a means of compartire. Elsewhere in the Commedia, compartire signifies “to dis- tribute” or “to alternate;” it is only in Purgatorio 30 that it has the sense “to participate or share in.” The alternative manuscript read- ing is “compatire,” a verb that also foregrounds the co-experience of the angels. In its root meaning compatire signifies a co-suffering, a con-patire. The term is used only once in the Commedia and its noun, compassione, is equally rare.2 Whether we read compatire or compartire, Dante’s unusual word choice draws attention to the importance of this moment and to the sung fellow suffering of the angels. This essay investigates the angels’ psalm singing as a means of co-suffering and co-worship. The singing of the angels in Pur- gatorio 30 is part of a wider discourse in the Commedia on inter- cession and is among Dante’s most sustained reflections on the types of sociality that can be enacted through intercessory prayer. In the second part of the essay, I argue that Dante’s depiction of Psalm 30—together with his depiction of the antiphon sung in Purgatorio 31, the Asperges me—invites a devotional response from the reader. The sociality of prayer can involve not only the characters, but also the readers of the Commedia. I investigate the liturgical context in which Dante and medieval readers would have known and lived the Asperges me. I argue that here, at the end of the narrative of his penitential journey, Dante, with this antiphon, in- vites the reader to her own performance of penance. In Purgatorio 30 the pilgrim experiences, in the most imme- diate fashion, the power of intercessory prayer. Offering and re- ceiving suffrages are key in Purgatorio, both for the individual 2 Anna Maria Chiavacci Leonardi, Giuseppe Vandelli and earlier editors take “com- patire.” For an overview of these alternative readings, see La Divina Commedia, ed. Anna Maria Chiavacci Leonardi, 3 vols. (Milan: Mondadori, 1991–94), 2: 903–904; and La Commedia secondo l’antica vulgata, ed. Petrocchi, 3, 524-525. Compartire, meaning “to distribute” or “to alternate:” Inf. 19.12; Purg. 23.6; Purg. 25.126; Par. 2.76; and Par. 27.16; see Andrea Mariani, “compartire,” in Enciclopedia Dantesca, dir. Umberto Bosco, ed. Giorgio Petrocchi, 6 vols. (Rome: Istituto dell’Enciclopedia Italiana, 1970–78), 2, 123–124. Compassione occurs only in Purg. 13.54. ~ 128 ~ https://repository.upenn.edu/bibdant/vol1/iss1/7 2 Phillips-Robins: SINGING FOR DANTE Bibliotheca Dantesca, 1 (2018): 127-145 soul’s spiritual progress and for drawing the faithful into deeper communion. The souls ask, repeatedly and with great urgency, for the intercession of the living—from Manfred’s articulation of the purgatorial divieto, “ché qui per quei di là molto s’avanza” (Purg. 3.145) to Guido Guinizelli beseeching the pilgrim to remember him when he reaches heaven (Purg. 26.127–32). The shades relate how they have been helped by such intercession (Forese, for ex- ample, “liberato” by the prayers of his wife, Nella, Purg. 23.85–90) or oppressed by its absence (Buonconte, weighed down because his loved ones have forgotten him, Purg. 5.88–90). And they in turn offer prayers for those remaining on earth (the ending of the Padre nostro of the proud, Purg. 11.19–24). Readers of the Commedia are invited to pray for those in Purgatory, by the poet in Purgatorio 11.31–6 and, indirectly, by the characters who appeal for the help of those on earth. The pilgrim’s journey itself stems from a se- quence of intercessory prayers—those of Mary, Lucia, and Beatrice. Dante draws on established doctrines and practices of suf- frage and on the concept of the living and the dead being members of one Church or communion of the saints. The bonds of charity that bind together the living and the departed were held to be a key reason that suffrages worked, and suffrages, in turn, fostered those bonds of love.3 Dante also, as Matthew Treherne has ob- served, moves beyond these doctrines.4 According to Thomas Aquinas, though the living should pray for the dead who are in Purgatory, those purgatorial souls are unable to return the favour: Now those in Purgatory do not pray for us, on the contrary we pray for them. [. .] Those who are in Purgatory though they are above us on account of their impeccability, yet they are below us as to the pains 3 On medieval traditions of suffrage (prayer, masses, alms, fasting) for the departed and the bonds of charity that enable suffrages to work and that suffrages in turn foster, see Jacques Le Goff, The Birth of Purgatory, trans. Arthur Goldhammer (London: Scho- lar Press, 1984), esp. 11–12, 41–42, 45–46, 249, 263–264, 274–277, 293–294, 323– 324. On intercession in Purgatorio, see Erminia Ardissino, “‘Pregar pur ch’altri prie- ghi’ (Purg. VI 26): Richieste di suffragio nel Purgatorio,” in Preghiera e liturgia nella Commedia: Atti del Convegno internazionale di Studi, Ravenna, 12 novembre 2011, ed. Giuseppe Ledda (Ravenna: Centro dantesco dei Frati minori conventuali, 2013), 45–66; and Francesco Santi, “Il sorriso di Beatrice: Dante e la preghiera di interces- sione,” in Preghiera e liturgia nella Commedia, 31–43. 4 Matthew Treherne, “Liturgical Personhood: Creation, Penitence, and Praise in the Commedia,” in Dante’s Commedia: Theology as Poetry, ed. Vittorio Montemaggi and Matthew Treherne (Notre Dame: University of Notre Dame Press, 2010), 132. ~ 129 ~ Published by ScholarlyCommons, 2018 3 Bibliotheca Dantesca: Journal of Dante Studies, Vol. 1 [2018], Art. 7 Phillips-Robins: Singing for Dante which they suffer: and in this respect they are not in a condition to pray, but rather in a condition that requires us to pray for them.5 Those in purgatory can no longer sin and in this respect are superior to those on earth, but, on the other hand, their suffering is far greater than that which the living might experience, and for this reason they are the object and not the subject of intercessory prayer. Albert the Great also provides a brief reflection on whether those in purgatory pray for the living and concludes that they probably do not.6 In Purgatorio, however, they do.
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