The Divine Comedy by Dante ALIGHIERI · Digital Dante Edition with Commento Baroliniano · MMXV · Columbia University Purgatorio 12 Inferno: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 Purgatorio: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 Paradiso: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 Commento & MediaText & Translations God’s Acrostic Coordinated Reading: The Undivine Comedy, Chapter 6, “Re-Presenting What God Presented: The Arachnean Art of the Terrace of Pride,” entire. Chapter 6 is devoted to the three canti of the terrace of pride: Purgatorio 10-11-12. We recall from Purgatorio 10 that the sculptural art the pilgrim sees engraved on the walls of purgatory is so “real” that it seems alive: Dante feels the wind moving in Trajan’s banners, he smells the incense, he hears the spoken words exchanged between Trajan and the widow. Ultimately Dante confirms that this is God’s art, and calls it “visibile parlare”—visible speech—in Purgatorio 10.95. Essentially Dante devises in Purgatorio 10 a way of describing moving images in words: he is describing moving pictures/movies/film, though the medium does not yet exist. The same miraculous medium is used for the 13 examples of punished pride that are described in Purgatorio 12. While the carved examples of the virtue of humility are on the wall of the terrace, the examples of the vice of pride are on its pavement, like pavement tombs the pilgrim has seen on earth, but more lifelike due to the “artificio” (artifice [Purg. 12.23]) of their maker. A spectacular acrostic displays the 13 examples of pride almost “visually”; see the attached chart for a list of all the examples. Note the interweaving of biblical and classical examples and how the exempla of pride reflect the three types of pride dramatized by the encounters with the three souls of Purgatorio 11. The examples are arranged in the following pattern: four sets of terzine begin with the word “Vedea”; four sets of terzine begin with the word “O”; four sets of terzine begin with the word ‘Mostrava”. Thus twelve examples of pride spell out VOM or UOM, “man” in Italian, signifying that pride is man’s besetting sin. The thirteenth terzina offers the final example, which sums up all the others by referring to a city rather than to a person and by replicating in one terzina all three of the letters that spell the acrostic: Vedeva Troia in cenere e in caverne; o Ilión, come te basso e vile mostrava il segno che lì si discerne! (Purg. 12.61-63) I saw Troy turned to caverns and to ashes; O Ilium, your effigy in stone— it showed you there so squalid, so cast down! The characters featured as examples of pride would repay lengthy discussion. Here we find Nembrot, he who built the tower of Babel and who spoke gibberish to Dante and Virgilio in Inferno 31: Vedea Nembròt a piè del gran lavoro quasi smarrito, e riguardar le genti che ’n Sennaàr con lui superbi fuoro. (Purg. 12.34-36) I saw bewildered Nimrod at the foot of his great labor; watching him were those of Shinar who had shared his arrogance. Most important to my reading of the terrace of pride is the mythological figure of Arachne, marked by the Ulyssean adjective “folle”: O folle Aragne, sì vedea io te già mezza ragna, trista in su li stracci de l’opera che mal per te si fé. (Purg. 12.43-45) O mad Arachne, I saw you already half spider, wretched on the ragged remnants of work that you had wrought to your own hurt! Arachne was famous for her weavings that were so lifelike that they seemed alive. The passage describing her work in Ovid’s Metamorphoses, discussed in Chapter 6 of The Undivine Comedy, nourished Dante in his conceptualizing of representational arrogance as the cornerstone of his terrace of pride (see the Introduction to Purgatorio 11). Again, as in Purgatorio 10’s depiction of the “visibile parlare” of the sculpted virtues, in Purgatorio 12 the point is hammered home that this art is not just “life-like”, it is “life” itself: Morti li morti e i vivi parean vivi: non vide mei di me chi vide il vero, quant’io calcai, fin che chinato givi. (Purg. 12.67-69) The dead seemed dead and the alive, alive: I saw, head bent, treading those effigies, as well as those who’d seen those scenes directly. At the end of the canto we encounter another of the ritual components of the purgatorial experience, repeated on each terrace: Dante meets the angel and a “P” is removed from his brow, signifying his successful participation in the purgation of one “peccatum” or vice/sin. He climbs toward the next terrace, and as he climbs he hears a shortened form of the first Beatitude: “Beati pauperes spiritu” (Matthew 5:3). The eight Beatitudes are from Christ’s Sermon on the Mount (Matthew 5:3-10) and will be featured on the purgatorial terraces. In full, this Beatitude, featured on the terrace of pride to celebrate the soul’s new acquisition of a pride-less “poverty of spirit”, is: “Blessed are the poor in spirit, for theirs is the kingdom of heaven.” Recommended Citation Barolini, Teodolinda. "Purgatorio 12 : God’s Acrostic." Commento Baroliniano, Digital Dante. Center for Digital Research and Scholarship. New York, NY: Columbia University Libraries, 2015. http://digitaldante.columbia.edu/dante/divine-comedy/purgatorio/purgatorio-12/ Coordinated Reading Image Gallery Choose a Text Select a text Poem (Petrocchi Edition) Longfellow (Eng) Mandelbaum (Eng) Poem/Longfellow Poem/Mandelbaum Mandelbaum/Longfellow You need an iframes capable browser to view this content.