Dante's Inferno, The Indiana Critical Edition

Dante Alighieri, Mark Musa

• Editore: Indiana University Press
• Anno: 1995
• ISBN:
  9780253012401
• Argomento: Literature
• Categoria: Ancient & Classical Literary Criticism

This new critical edition, including Mark Musa's classic translation, provides students with a clear, readable verse translation accompanied by ten innovative interpretations of Dante's masterpiece.

Dante’s

INFERNO

SYNOPSIS

CANTO I

HALFWAY through his life, DANTE THE PILGRIM wakes to find himself lost in a dark wood. Terrified at being alone in so dismal a valley, he wanders until he comes to a hill bathed in sunlight, and his fear begins to leave him. But when he starts to climb the hill his path is blocked by three fierce beasts: first a LEOPARD, then a LION, and finally a SHE-WOLF that fills him with fear and drives him back down to the sunless wood. At that moment the figure of a man appears before him; it is the shade of VIRGIL, and the Pilgrim begs for help. Virgil tells him that he cannot overcome the beasts which obstruct his path, but that some day a “GREYHOUND” will come to drive the wolf back to Hell. Rather by another path will the Pilgrim reach the sunlight, and Virgil promises to guide him on that path through Hell and Purgatory, at which time another spirit, more fit than Virgil, will lead him to Paradise. The Pilgrim begs Virgil to lead on, and the Guide starts ahead. The Pilgrim follows.

CANTO II

BUT THE PILGRIM begins to waver; he expresses to Virgil his misgivings about his ability to undertake the journey proposed by Virgil. His predecessors have been Aeneas and St. Paul, and he feels unworthy to take his place in their company. But Virgil rebukes his cowardice, and relates the chain of events which led him to come to the aid of the Pilgrim. The VIRGIN MARY took pity on the Pilgrim in his despair and instructed ST. LUCIA to aid him. The Saint turned to BEATRICE because of Dante’s great love for her, and Beatrice in turn went down to Hell, into Limbo, and asked Virgil to guide her friend until that time when she herself would become his guide. The Pilgrim takes heart at Virgil’s explanation and agrees to follow him.

CANTO III

AS THE TWO POETS enter the vestibule that leads to Hell itself, Dante sees the inscription above the gate, and he hears the screams of anguish from the damned souls. Rejected by God and not accepted by the powers of Hell the first group of souls are “nowhere,” because of their cowardly refusal to make a choice in life. Their punishment is to chase after a banner forever, and to be tormented by flies and hornets. The Pilgrim recognizes several of these shades but mentions none by name. Next they come to the River Acheron where they are greeted by the infernal boatman CHARON. Among those doomed souls who are to be ferried across the river, Charon sees the living man and challenges him, but Virgil lets it be known that his companion must pass. Then across the landscape rushes a howling wind which blasts the Pilgrim out of his senses, and he falls to the ground.

CANTO IV

WAKING FROM HIS SWOON, the Pilgrim is led by Virgil to the First Circle of Hell, known as Limbo, where the sad shades of the virtuous non-Christians dwell. The souls here, including Virgil, suffer no physical torment, but they must live, in desire, without hope of seeing God. Virgil tells about Christ’s descent into Hell and His salvation of several Old Testament figures. The poets see a light glowing in the darkness, and as they proceed toward it, they are met by the four greatest (other than Virgil) pagan poets: HOMER, HORACE, OVID, and LUCAN, who take the Pilgrim into their group. As they come closer to the light, the Pilgrim perceives a splendid castle where the greatest non-Christian thinkers dwell together with other famous historical figures. Once within the castle, the Pilgrim sees, among others, ELECTRA, AENEAS, CAESAR, SALADIN, ARISTOTLE, PLATO, ORPHEUS, CICERO, AVICENNA, and AVERROËS. But soon they must leave; and the poets move from the radiance of the castle toward the fearful encompassing darkness.

CANTO V

FROM LIMBO Virgil leads his ward down to the threshold of the Second Circle of Hell where, for the first time, he will see the damned in Hell being punished for their sins. There, barring their way, is the hideous figure of Minòs, the bestial judge of Dante’s underworld; but after strong words from Virgil, the poets are allowed to pass into the dark space of this circle, where can be heard the wailing voices of the LUSTFUL, whose punishment consists of being forever whirled about in a dark, stormy wind. After seeing a thousand or more famous lovers—including SEMIRAMIS, DIDO, HELEN, ACHILLES, and PARIS—the Pilgrim asks to speak to two figures he sees together. They are FRANCESCA DA RIMINI and her lover PAOLO, and the scene in which they appear is probably the most famous episode of the Inferno. At the end of the scene, the Pilgrim, who has been overcome by pity for the lovers, faints to the ground.

CANTO VI

ON RECOVERING consciousness the Pilgrim finds himself with Virgil in the Third Circle where the GLUTTONS are punished. These shades are mired in filthy muck and are eternally battered by cold and dirty hail, rain, and snow. Soon the travellers come upon CERBERUS, the three-headed, doglike beast who guards the Gluttons, but Virgil pacifies him with fistfuls of slime and the two poets pass on. One of the shades recognizes Dante the Pilgrim and hails him. It is CIACCO, a Florentine who, before they leave, makes a prophecy concerning the political future of Florence. As the poets move away, the Pilgrim questions Virgil about the Last Judgment and other matters until the two arrive at the next circle.

CANTO VII

AT THE BOUNDARY of the Fourth Circle the two travellers confront clucking PLUTUS, the god of wealth, who collapses into emptiness at a word from Virgil. Descending farther, the Pilgrim sees two groups of angry, shouting souls who clash huge rolling weights against each other with their chests. They are the PRODIGAL and the MISERLY. Their earthly concern with material goods prompts the Pilgrim to question Virgil about Fortune and her distribution of the worldly goods of men. After Virgil’s explanation, they descend to the banks of the swamp-like river Styx, which serves as the Fifth Circle. Mired in the bog are the WRATHFUL, who constantly tear and mangle each other. Beneath the slime of the Styx, Virgil explains, are the SLOTHFUL; the bubbles on the muddy surface indicate their presence beneath. The poets walk around the swampy area and soon come to the foot of a high tower.

CANTO VIII

BUT BEFORE THEY had reached the foot of the tower, the Pilgrim had noticed two signal flames at the tower’s top, and another flame answering from a distance; soon he realizes that the flames are signals to and from PHLEGYAS, the boatman of the Styx, who suddenly appears in a small boat speeding across the river. Wrathful and irritated though he is, the steersman must grant the poets passage, but during the crossing an angry shade rises from the slime to question the Pilgrim. After a brief exchange of words, scornful on the part of the Pilgrim, who has recognized this sinner, the spirit grabs hold of the boat. Virgil pushes him away, praising his ward for his just scorn, while a group of the wrathful attack the wretched soul whose name is FILIPPO ARGENTI. At the far shore the poets debark and find themselves before the gates of the infernal CITY OF DIS where howling figures threaten them from the walls. Virgil speaks with them privately, but they slam the gate shut in his face. His ward is terrified, and Virgil too is shaken, but he insists that help from Heaven is already on the way.

CANTO IX

THE HELP FROM Heaven has not yet arrived; the Pilgrim is afraid and Virgil is obviously worried. He reassures his ward by telling him that, soon after his own death, he was forced by the sorceress Erichtho to resume mortal shape and go to the very bottom of Hell in order to bring up the soul of a traitor; thus Virgil knows the way well. But no sooner is the Pilgrim comforted than the THREE FURIES appear before him, on top of the tower, shrieking and tearing their breasts with their nails. They call for MEDUSA whose horrible face has the power of turning anyone who looks on her to stone. Virgil turns his ward around and covers his eyes. After an “address to the reader” calling attention to the coming allegory, a strident blast splits the air, and the poets perceive an ANGEL coming through the murky darkness to open the gates of the City for them. Then the angel returns on the path whence he had come, and the two travellers enter the gate. Within are great open burning sarcophagi from which groans of torment issue. Virgil explains that these are ARCH-HERETICS and their lesser counterparts.

CANTO X

THEY COME TO the tombs containing the Epicurean heretics, and as they are walking by them, a shade suddenly rises to full height in one tomb, having recognized the Pilgrim’s Tuscan dialect. It is the proud FARINATA who, in life, opposed Dante’s party; while he and the Pilgrim are conversing, another figure suddenly rises out of the same tomb. It is the shade of CAVALCANTE DE’ CAVALCANTI who interrupts the conversation with questions about his son Guido. Misinterpreting the Pilgrim’s confused silence as evidence of his son’s death, Cavalcante falls back into his sepulchre, and Farinata resumes the conversation exactly where it had been broken off. He defends his political actions in regard to Florence and prophesies that Dante, like himself, will soon know the pain of exile. But the Pilgrim is also interested to know how it is that the damned can see the future but not the present. When his curiosity is satisfied, he asks Farinata to tell Cavalcante that his son is still alive, and that his silence was caused only by his confusion about the shade’s inability to know the present.

CANTO XI

CONTINUING THEIR WAY within the Sixth Circle where the heretics are punished, the poets are assailed by a stench rising from the abyss ahead of them which is so strong that they must stop in order to accustom themselves to the odor. They pause beside a tomb whose inscription declares that within is...