In the last pages of Chapter 7 of The Undivine Comedy, “Nonfalse Errors and the True Dreams of the Evangelist,” I treat the events of the earthly paradise as a key moment in the Commedia’s exploration of a visionary modality. As he has explored poetic genealogies unfolding in time—from its Occitan origins (Arnaut Daniel and Giraut de Bornelh in Purgatorio 26) to the Sicilian School (the “Notaio” of Purgatorio 24) to the Tuscan school (Bonagiunta da Lucca, Guittone d’Arezzo of Purgatorio 24) to Guinizzelli, the “sweet father” of Purgatorio 26, and finally to Dante himself and the dolce stil novo—so now Dante designs a visionary genealogy unfolding in time: from the Old Testament prophet and visionary Ezekiel, to the New Testament visionary author of the Apocalpyse, St. John, to Dante himself. Both genealogies, the poetic and the prophetic, conclude with the Divine Comedy.
Purgatorio 29 is a canto devoted to macro-history, in particular to the prophetic genealogy and to the visionary mode. In this canto a procession slowly takes shape, item by item, personage by personage, for the pilgrim’s viewing. Attached is an attempt at a schematic diagram of the procession.
A second diagram represents a linear unfolding of the events between Purgatorio 29 and 33, divided into five Acts. As you can see, Purgatorio 29 is the site for Act 1: the formation of the procession.
The first terzina of Purgatorio 29 is one of the great examples of Dante’s cultural density:
Cantando come donna innamorata, continuò col fin di sue parole: ‘Beati quorum tecta sunt peccata!’. (Purg. 29.1-3)
Her words were done, but without interruption she sang—like an enamored woman—thus: “Beati quorum tecta sunt peccata!”
The first verse echoes Guido Cavalcanti’s pastorella (a sensuous love poem written by Dante’s friend), gesturing back toward the delicate sensuality of Purgatorio 28, and the third verse is a Psalm, looking forward to the biblical character of Purgatorio 29. The Cavalcantian first verse describes the way that Matelda sings (“Cantando come donna innamorata”), while the biblical third verse constitutes the words of her song. So Cavalcanti qualifies a Psalm!
The affect of the episode shifts sharply, as Matelda becomes teacher rather than lyric lover, and directs Dante to focus on the unfolding of the procession that represents the coming of the word of God into history.
The books of the Bible arrive as embodied figures. First to arrive are twenty-four old men representing the Old Testament. They are followed by an empty chariot, which represents the church, drawn by a griffin, traditionally taken as a representation of Christ. The chariot is surrounded by seven female figures who represent the four cardinal virtues and the three theological virtues, as well as by four figures who represent the four evangelists. Behind the chariot are the Acts of the Apostles, the Epistles of Paul, and the minor Epistles of James, Peter, John, and Jude. Bringing up the rear is “un vecchio solo . . . dormendo, con la faccia arguta”: “a lone old man, his features keen, advanced, as if in sleep” (Purg. 29.143-44). This is John, the author of the Apocalypse (in Dante’s day the author of the Gospel of John and the author of the Apocalypse were held to be the same John); he is in a visionary trance, “asleep”, yet keenly sighted.
Very important is the section in which Dante addresses the reader, comparing his task in describing what he saw to the tasks of the biblical prophet-visionaries: Ezekiel (Old Testament) and John (Apocalypse, New Testament). This is the section where he places himself in a visionary genealogy. He describes the four animals that represent the four Gospels in the procession, explicitly stating that he disagrees with Ezekiel as to the number of their wings (Ezekiel had posited four). He, Dante, agrees with John that each one had six wings:
Ognuno era pennuto di sei ali; le penne piene d'occhi; e li occhi d'Argo, se fosser vivi, sarebber cotali. A descriver lor forme più non spargo rime, lettor; ch’altra spesa mi strigne, tanto ch’a questa non posso esser largo; ma leggi Ezechiel, che li dipigne come li vide da la fredda parte venir con vento e con nube e con igne; e quali i troverai ne le sue carte, tali eran quivi, salvo ch’a le penne Giovanni è meco e da lui si diparte. (Purg. 29.94-105)
Each had six wings as plumage, and those plumes were full of eyes; they would be very like the eyes of Argus, were his eyes alive. Reader, I am not squandering more rhymes in order to describe their forms; since I must spend elsewhere, I can’t be lavish here; but read Ezekiel, for he has drawn those animals approaching from the north; with wings and cloud and fire, he painted them. And just as you will find them in his pages, such were they here, except that John’s with me as to their wings; with him, John disagrees.
As I write in The Undivine Comedy:
In this passage Dante instructs us regarding the appearance of the four animals representing the evangelists in the procession: each one has six wings, covered with eyes, as plentiful as the eyes of Argus, whose hundred watchful eyes were enlisted by Juno to guard her rival Io, as recounted by Ovid. Since the poet cannot spare the time to describe (“descriver”) the gospel animals in greater detail, we are to read Ezekiel, who “paints them as he saw them”; in the matter of the number of their wings, however, we are to John, the seer who relived Ezekiel’s vision and who agrees with Dante that they have six wings rather than four. The passage presents a visionary genealogy: Dante moves from Ovidian Argus, to an Old Testament prophet, to a prophet of the new dispensation, the author of the text that will appear at canto’s end in visionary posture, as the senex who approaches “dormendo, con la faccia arguta”. (The Undivine Comedy, p. 156)
As noted, the four figures representing the four evangelists surround a triumphal chariot pulled by a griffin; much of what occurs in the later canti of the earthly paradise will occur to or around this chariot.
A final note: Dante paved the way for many literary “inventions” that we do not associate with him, because he genially touched on them, without developing them further. For instance, the trope of the “anniversary poem”, which we associate with Petrarch, in fact has its origins in Dante’s Vita Nuova. Similarly, the important Renaissance genre of the “triumph”, which we associate with Boccaccio and Petrarch, has its seminal origin in the procession of Purgatorio 29.
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