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Dantesque Aeviternal Apocalypses: Stasis and Motion in the Eternal Timescapes of Dante’S Inferno

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Dantesque Aeviternal Apocalypses: Stasis and Motion in the Eternal Timescapes of Dante’S Inferno Dantesque Aeviternal Apocalypses: Stasis and Motion in the Eternal Timescapes of Dante’s Inferno Ross Smith A dissertation submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in fulfilment of the requirements of the degree of Master of Arts. Supervisor: Dr Sonia Fanucchi Johannesburg, March 2020 Declaration I declare this dissertation my own unaided work. It is submitted for the degree of Master of Arts in the University of the Witwatersrand, Johannesburg. It has not been submitted before for any other degree or examination in any other university. Ross Smith March 2020 Abstract This dissertation examines Dante’s apocalyptic imagination which manifests in Inferno in the conception of history and time, and its effect on the stylistic presentation of allegory. In this dissertation, I argue that Dante creates ‘pockets of historical time’ in which his presentation of earthly time and history is housed within an aevum-like state against the backdrop of the eternal-infernal environment. I explore Dante’s apocalyptic imagination focussing on his conception of time and history and its manifestation in allegorical representation in Inferno. Anagogical allegorical interpretation is at the forefront of interpretation of apocalyptic instances, and I place emphasis on this mode of reading in the study. Dante’s interpretations of the journey motif are the narrative context in which understandings of time are demonstrated and in which canonised sources of apocalyptic narratives are displayed. The journey convention inherently invites allegorical interpretation and, since it houses temporal representations, allows for the representation of apocalyptic moments. The journey topos, by nature, invites allegorical interpretation and further contains representations of history. Dante’s representation of history and time are elements of apocalyptic instances which I explore in this dissertation. This study proposes a different understanding of Dante’s sense of time and history and how this affects his allegorical representation. Key Words Dante; Inferno; La Commedia, Medieval Literature; Apocalypse; Apocalyptic Imagination; Allegory; History; Time; Eternity; Pockets of Historical Time Acknowledgements I would like to express my sincere thanks and gratitude to my supervisor, Dr Sonia Fanucchi, without whom this dissertation would not have come to fruition. Thank you, Sonia, for your multiple readings and comments on everything I have written, and for your dedicated time and effort to my supervision. Your insight into Dante and unravelling of my ramblings, particularly in the early stages of this research, is much appreciated. Thank you for your comments and suggestions during the later stages of this research which coincided with a particularly busy time of year. Every effort you have put into this study has been appreciated. Per ch’io: “Maestro, il senso lor m’ѐ duro.” Ed elli a me, come persona accorta: 13 “Qui si convien lasciare ogne sospetto ogne viltà convien che qui sia morta.1 I would also like to thank Professor Victor Houliston, for agreeing to read my proposal at the start of this study. Your helpful comments and criticisms did not fall on deaf ears. Thank you also, to academics and friends who attended my proposal seminar and provided me with both support and suggestions. I extend my gratitude to Professor Robin Kirkpatrick for providing me with a number of suggestions of articles and critics. I also thank Professor Michael Titlestad for the loan of multiple books from his personal library on apocalypse, apocalypse theory, and apocalypticism. I express my gratitude to my support system of family and friends who gave me the time and the space required to bring this dissertation to completion. 1 Inf., III. 12-15. Preface This dissertation developed from my consideration of the nature of time and the representation thereof on Inferno. The dimension of time has always been an interest of mine and the way in which the temporal realm(s) function(s) in Hell and the Hellscape portrayed in Dante’s Inferno is enigmatic. To a greater extent, my fascination with La Commedia is due to its enigmatic and perplexing nature. The temporal realm, represented by history and eternity, significantly contributes to the enigma that is Inferno. This dissertation is an attempt at satiating the desire to unravel and reveal the mysteries of the enigma of the Inferno. The title of my dissertation signifies apocalyptic moments which transpire in an aeviternal space, relating to the motion of living beings in history and the stasis of eternity which is experienced and possessed by God. The aeviternal space is a space which contains qualities of both the historical and the eternal, as it is a liminal time-space between the movement of reality and the historical realm, i.e. things that exist in history, and the static nature of eternity which is “il punto a cui tutti li tempi son presenti.”2 Within apocalyptic instances the representation of history is a crucial element, a dimension of apocalypse which I have foregrounded in my dissertation. According to Medieval, Neoplatonic conceptions and Classical theories of time, the measurement of time is connected to motion. Thus, eternity is the absence of movement, as time does not progress in eternity. In eternity, there also exists no beginning or end point of time. It is only in the historical realm, where movement takes place, that time can be said to exist. Therefore, “stasis and motion” refers to the movement and the lack of movement, in the historical and eternal realms. Dante blends these realms in his representation of time in Inferno. The representation of history is evident in the motion in which time is measured. Time only 2 Par., XVII. 17-18. exists in relation to motion, thus things which possess motion exist in history. This was the inspiration for the study that follows. Bibliographical Note I have used the Modern Library Classics edition of Inferno, which provides both the original Italian poem and an English translation by Anthony Esolen; published in 2002, reprinted in 2005, New York. The full reference for this edition is: Alighieri, Dante. Inferno. Trans. A. Esolen. New York, NY: The Modern Library, 2002. Rpt. 2005. Print. When referring to the text in footnotes I will use: Inf. Canto -, [line number]., as I have quoted in the original Italian verse. Lo buono camminatore giugne a termine e a posa; lo erroneo mai l’aggiugne, ma con molta fatica del suo animo sempre con li occhi gulosi si mira innanzi. ~ Convivio, Chapter XII. Lo desiderio de la scienza non ѐ sempre uno, ma ѐ molti, e finite l’uno, viene l’altro; sì che, propriamente parlando, non ѐ crescere lo suo dilatare, ma successione di piccola cosa in grande cosa. ~ Convivio, Chapter IV. Table of Contents Declaration ...................................................................................................................................................... 2 Abstract ........................................................................................................................................................... 3 Key Words ...................................................................................................................................................... 3 Acknowledgements ......................................................................................................................................... 4 Preface ............................................................................................................................................................ 5 Bibliographical Note ....................................................................................................................................... 6 Chapter 1: Introduction to Dantesque Aeviternal Apocalypses ...................................................................... 8 Apocalypse and the Apocalyptic Narrative ..............................................................................................11 The Apocalyptic Dimensions of Dante’s Context ....................................................................................26 Concluding Comments .............................................................................................................................30 Chapter 2: Introduction to Allegory in La Commedia ..................................................................................32 Concluding Comments .............................................................................................................................46 Chapter 3: Dante’s Allegorical Apocalyptic Imagination .............................................................................48 Introduction to Chapter .............................................................................................................................48 Inferno I ....................................................................................................................................................50 Regio Dissmilitudinis ............................................................................................................................53 Dante’s Three Beasts ............................................................................................................................66 Virgil’s Veltro .......................................................................................................................................72 The Gran Veglio .......................................................................................................................................75
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