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Freely and Liberally Vertical Readings in Dante’s Comedy Volume 3 EDITED BY GEORGE CORBETT AND HEATHER WEBB Vertical Readings in Dante’s Comedy Volume 3 edited by George Corbett and Heather Webb http://www.openbookpublishers.com © 2017 George Corbett and Heather Webb. Copyright of individual chapters is maintained by the chapter’s author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: George Corbett and Heather Webb (eds.), Vertical Readings in Dante’s ‘Comedy’: Volume 3. Cambridge, UK: Open Book Publishers, 2017. http://dx.doi.org/10.11647/OBP.0119 In order to access detailed and updated information on the license, please visit https://www. openbookpublishers.com/product/623#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/ by/4.0/ All external links were active on 22/11/2017 unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher. Digital material and resources associated with this volume are available at https://www. openbookpublishers.com/product/623#resources ISBN Paperback: 978-1-78374-358-2 ISBN Hardback: 978-1-78374-359-9 ISBN Digital (PDF): 978-1-78374-360-5 ISBN Digital ebook (epub): 978-1-78374-361-2 ISBN Digital ebook (mobi): 978-1-78374-362-9 DOI: 10.11647/OBP.0119 Cover image: Fra Angelico (circa 1395–1455), The Last Judgement circa 1450, Gemäldegalerie, Berlin. Photo by Anagoria https://commons.wikimedia.org/wiki/File:1450_Fra_Angelico_Last_ Judgement_anagoria.JPG, public domain. All paper used by Open Book Publishers is SFI (Sustainable Forestry Initiative), and PEFC (Programme for the endorsement of Forest Certification Schemes) Certified. Printed in the United Kingdom, United States and Australia by Lightning Source for Open Book Publishers (Cambridge, UK). Contents Acknowledgements vii Editions Followed and Abbreviations ix Notes on the Contributors xi Introduction 1 George Corbett and Heather Webb 23. Our Bodies, Our Selves: Crucified, Famished, and Nourished 11 Peter S. Hawkins 24. True Desire, True Being, and Truly Being a Poet 31 Janet Soskice 25. Changes 51 George Ferzoco 26. The Poetics of Trespassing 71 Elena Lombardi 27. Containers and Things Contained 89 Ronald L. Martinez 28. Cosmographic Cartography of the ‘Perfect’ Twenty-Eights 111 Theodore J. Cachey Jr. 29. Truth, Untruth and the Moment of Indwelling 139 John Took 30. Brooks, Melting Snow, River of Light 155 Piero Boitani 31. Beauty and the Beast 173 Catherine Pickstock 32. Particular Surprises: Faces, Cries and Transfiguration 197 David F. Ford 33 and 34. Ice, Fire and Holy Water 217 Rowan Williams Bibliography 229 Index of Names 243 26. The Poetics of Trespassing Elena Lombardi On a first reading, one textual detail links the three canto Twenty-Sixes: the image of flames. In Inferno xxvi, the fraudulent counsellors are placed inside tongues of fire, and among them Virgil and Dante meet the two- pronged flame engulfing Ulysses and Diomedes. The speech that follows, retelling Ulysses’s journey in the southern hemisphere, is considered one of the high points of the poem (and of world literature). In Purgatorio xxvi, the purging souls of the lustful lovers are surrounded by flames. Homosexual and heterosexual ranks meet and exchange embraces and kisses, shouting out examples of their erotic excesses. Here Dante encounters the soul of Guido Guinizzelli, the ‘padre’ [father] (Purg., xxvi. 97) of the sweet new style (‘dolce stil novo’) previously celebrated in Purgatorio xxiv. 49–63 (especially line 57), as well as the Occitan poet Arnaut Daniel (Purg., xxvi. 136–48). Paradiso xxvi brings to completion the so-called ‘cycle of exams’: Dante is tested on the last theological virtue, caritas, or divine love, by the Apostle John, and meets the soul of the first human being, Adam, with whom he discusses language and original sin, among other things. The blessed souls appear as flames in this canto as well. These three cantos act like magnets within the Comedy — they attract multiple readings and diverse textual alliances, and they have drawn uninterrupted critical attention since the early commentaries. Indeed, the canto of Ulysses is one of the pillars of the Comedy, as the Greek hero stands as an exciting and threatening alter ego of Dante, and his flight beyond Hercules’ pillars is an image of Dante’s daring intellectual and poetic enterprise. With one unforgettable line, ‘dei remi facemmo ali al folle volo’ [of our oars we made wings for the mad flight] (Inf., xxvi. 125), Dante makes © Elena Lombardi, CC BY 4.0 http://dx.doi.org/10.11647/OBP.0119.05 72 Vertical Readings in Dante’s ‘Comedy’ Ulysses a creature of flight and folly, establishing a thread of navigation, flight, and madness that crosses the entire poem. Echoes of the canto Twenty-Sixes resound throughout the poem at several levels. For instance, in the discourse on charity, Dante inserts the image of ‘il mare dell’amor torto’ [the sea of twisted love] (Par., xxvi. 62), from which the love for God has saved the traveller by putting him on the shore of the right love:1 ché l’essere del mondo e l’esser mio la morte ch’el sostenne perch’ io viva, e quel che spera ogne fedel com’ io, con la predetta conoscenza viva, tratto m’hanno del mar de l’amor torto, e del diritto m’han posto a la riva. (Par., xxvi. 58–63) [for the existence of the world and my existence, the death that he underwent that I might live, and what each believer hopes for, as I do, along with the aforesaid lively knowledge, have drawn me from the sea of twisted love and placed me on the shore of right love.] In the expression ‘mare dell’amor torto’ readers encounter one of the great ciphers of the Comedy, which encapsulates and weaves complex and crucial discourses within the poem. With it, Dante brings them back to the beginning of his poem, just after a ‘diritta via’ [straight way] (Inf., i. 3) is lost, to find him represented as a sailor that has just survived shipwreck, with the same rhyme ‘riva’ / ‘viva’ establishing a clear link between the passages: E come quei che con lena affannata, uscito fuor del pelago a la riva, si volge a l’acqua perigliosa e guata, così l’animo mio, ch’ancor fuggiva, si volse a retro a rimirar lo passo che non lasciò già mai persona viva. (Inf., i. 22–27) [And like one with laboring breath, come forth out of the deep onto the shore, who turns back to the perilous water and stares: so my spirit, still fleeing, turned back to gaze again at the pass that has never yet left anyone alive.] 1 For this image, and for Paradiso xxvi, see Elena Lombardi, ‘Identità lirica e piacere linguistico: una lettura di Paradiso xxvi’, forthcoming in Studi danteschi. 26. The Poetics of Trespassing 73 Readers are almost automatically redirected to Ulysses, who has navigated the sea of twisted love because of his excessive desire for knowledge, and to the beginning of Purgatorio and the non-mad flights of both the poet, his talent lifting the sails and leaving behind the ‘mar sì crudele’ [sea so cruel] (Purg., i. 3), and the traveller, who witnesses the angel’s anti-Ulyssean navigation-cum-flight (Purg., ii. 31–36). From there, readers are led to the great discourse on just and twisted loves and on desire at the centre of Purgatorio (cantos xvi–xix), which ends, not by chance, with a Siren, full of pleasure (‘di piacer […] piena’, Purg., xix. 21), who twists sailors (and Ulysses himself, according to her) away from their journey. This is the same misleading and illusive pleasure that Beatrice criticizes in Eden, when accusing her lover of having forsaken her memory for the attraction of temporal and deceptive delights (Purg., xxx. 131: ‘imagini di ben […] false’ [false images of good]; and xxxi. 34–35: ‘le presenti cose / col falso lor piacer’ [present things with their false pleasure]), delights that have very complex and compelling links with Dante’s own lyrical and philosophical past. The image of the sea then brings the readers to the beginning of Paradise, where natural desire helps all creatures to navigate ‘lo gran mar de l’essere’ [the great sea of being] (Par., i. 113), but can also set the creatures off course when that desire is ‘torto da falso piacere’ [twisted by false pleasure] (i. 135). That very sea is, according to Piccarda Donati in Paradiso iii, the image of God: ‘ell’ è quel mare al qual tutto si move / ciò ch’ella crïa o che natura face’ [he is that sea to which all moves that his will creates or Nature makes’] (Par., iii. 86–87). In sum, the image of the twisted and right seas of love in Paradiso xxvi evokes a complex and structural discourse on natural desire, and its relation to reason, will, the senses, divine and human love, and poetry. Moreover, each canto is deeply embedded in its own surroundings. In particular, Inferno xxvi is fastened to the following canto xxvii by both the image of navigation (employed literally by Ulysses and metaphorically by Guido da Montefeltro) and by a linguistic puzzle that involves grammatical languages (Latin and Greek) and the Lombard dialect.
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