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65 pages 2 hours read

Dante Alighieri

Purgatorio

Fiction | Novel/Book in Verse | Adult | Published in 1316

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Cantos 1-5Chapter Summaries & Analyses

Canto 1 Summary

With his guide Virgil, Dante leaves Hell behind and journeys into Purgatory, the “second realm where human spirits purge themselves from stain” and become worthy to “ascend to Heaven” (160). He invokes the Muses, inviting Calliope to “play her part” (160). As Dante emerges from Hell’s “morbid air” that “weighed so heavy on my eyes and heart,” (160) the sight of dawn breaking delights him.

Dante notices a respectable older man, Cato of Utica, who is the caretaker of Purgatory. Concerned that they are escaping from Hell, Cato questions Dante and Virgil. Virgil explains that, though Dante is still living, “a lady from Heaven” (161) has appointed him Dante’s guide. Virgil has shown Dante the damned and will now show him the spirits who seek to purify themselves. Virgil asks Cato to “[…] look kindly on his coming” (162) since he seeks liberty.

Cato instructs Virgil to bind Dante with a belt made from a reed, cleanse him of “filth and stains” (163), and follow the sun. As dawn chases night away, Virgil performs the cleansing ritual, and Dante has tears on his cheeks. Virgil binds Dante, and he notices that a new reed immediately grows to replace the one Virgil plucked.

Canto 2 Summary

Dante contemplates the sunrise as he and Virgil walk along the seashore. A light across the sea grows brighter as it gets closer, surrounded by something white. It is a boat, filled with penitent souls and propelled by an angel who needs neither oars nor sails but only its wings. Virgil urges Dante to kneel and pray. The light is so bright that Dante averts his eyes. The penitents are singing “Psalm 114.” The angel makes the sign of the cross over them, sets them ashore, and leaves.

Disoriented, the penitents ask Virgil for directions. He replies that he and Dante are “pilgrim foreigners” who do not know the way (165). Realizing that Dante is alive, the penitents gaze at him in awe. One steps forward, and Dante realizes that it is his friend Casella. They cannot embrace because Casella is a spirit. Dante asks him how he ended up here. Casella explains that he died at the mouth of the Tiber.

Dante asks Casella to sing a song to “ease [his] soul,” (167) which has become weary because of the difficult journey his physical body has taken. Casella complies, singing a song that soothes everyone who listens. However, Cato urges them to continue their journey, telling them to “[…] shed that skin/which won’t let God be manifest to you” (167). As quickly as startled doves, the spirits disperse, and Virgil and Dante continue on their way.

Canto 3 Summary

As Virgil and Dante climb up Mount Purgatory, Dante draws closer to his trusted guide. Surveying the ground, the fact that only Dante casts a shadow alarms him. Virgil explains that his body remains buried in Napoli. Reminding Dante of the philosophers and poets they saw in Limbo, Virgil tells Dante that it is “madness” for “rational minds” to think that they can understand the Holy Trinity. Instead, Dante should concern himself with “human kind” (169).

As they contemplate how to scale a sheer cliff, a group of souls appears. Dante suggests that he and Virgil ask the souls if they know how to climb the mountain. They approach the group, and Virgil asks if they know the way. Docile as sheep, the group moves toward Virgil and Dante but startle at Dante’s shadow. He explains that “the sunlight on the earth is split” (170) because he is still alive.

One of the souls—“[…] fair-haired and handsome, with a noble look” (171)—approaches Dante and identifies himself as Manfred. He died a violent death after being excommunicated, and Pope Clement did not allow him burial in Benevento. Manfred further explains that the excommunicated can repent and receive “love eternal,” though they have to wait a certain length of time. Manfred then asks Dante to, when he returns to the living, bring word to his daughter that the prayers of the living impact the dead.

Canto 4 Summary

While talking with Virgil, Dante does not notice the sun continuing its climb. This inspires him to reflect on how becoming absorbed in an activity can cause one to lose track of time. Since the whole self becomes consumed by a single thought, Dante concludes that a unified, rather than multi-part, soul animates humans.

A group of souls cries out that they have found the route. The passage is narrow and difficult, requiring the use of “feet and hands” (174). Virgil leads the way, urging Dante on when he lags behind. When they reach a ledge, they sit, and Dante notices that the sun is coming from the left. Virgil explains the position of the constellations, leading Dante to realize they are in the Southern Hemisphere.

Dante asks Virgil how long they have to travel, noting that the “slope climbs higher by far than these eyes of mine can go” (175). Virgil assures him that the higher they go, the easier it will get. They can rest after they have passed through the most difficult part, though a voice calls out that they may need to rest earlier. Turning around, Virgil and Dante see a group of people sitting “in postures, one might say, of negligence” (176). Recognizing one of them as his friend Belacqua, Dante is relieved but wonders if his friend is “back again to your old ways” (176). Belacqua replies that there is no point going up yet. Because he delayed to repent, he must wait a length of time before admission “to the Penances” (176) unless aided by others’ prayers.

Canto 5 Summary

As Virgil and Dante continue to climb, Dante hears the souls they left behind exclaiming at his shadow and noting that he seems alive. Their exclamations preoccupy Dante. Virgil tells him not to “be bothered by their whisperings” (178) but to stand strong and avoid becoming distracted.

Another group of souls appears ahead, singing a penitential psalm, but they break off when they too notice Dante’s shadow. Two representatives of the group approach and question Dante and Virgil. Virgil explains that Dante is still alive and will repay the souls for honoring him when he returns to earth. Quicker than lightening, the two messengers return to their group. Virgil warns Dante that they will “pester your for prayers,” and he should listen to them but “still press on” (179). Souls cluster around Dante and identify themselves as victims of violent deaths who repented at the last minute. Dante promises to do whatever he can for them.

Three of these penitents identify themselves in turn. First is a murdered and betrayed man from Fano. Second is Buonconte, who died in battle and over whom Hell and Heaven fought to possess. Finally, La Pia, whose husband murdered her, asks Dante to remember her.

Cantos 1-5 Analysis

Purgatorio’s first five cantos follow Dante’s arrival from Hell to the shores of Mount Purgatory, and establish how Dante will approach the purification process throughout the poem. Purification for Dante is a communal process, achieved through engagement and conversation with others. The poem’s density of sources and symbolism recreates this communal process for its readers, who must work to decode Dante’s intertextual references and figurative language. This process demonstrates that truth isn’t revealed in or accessed through a single moment but as a continual process over the course of human history, both before and after Christ’s birth: Dante’s guide, the pagan Roman poet Virgil, exemplifies this lesson. Virgil resides in Limbo (the first circle of Hell in Inferno) because he was born before Christ. A pagan also serves as Purgatory’s caretaker (Cato, introduced in the first canto).

The prominence of pagan figures and imagery throughout the poem raises an important question: Do pagans deserve to be in Hell simply because they happened to be born before Christ? Dante will subtly pursue this question throughout the poem, incorporating pagan philosophy and poetry that invites readers to find value and meaning in humanity’s intellectual and creative products regardless of whether they originate in explicitly Christian contexts. In Canto 4, for example, Dante invokes a debate about the nature of the soul from Platonic and Aristotelian philosophy, siding with the Aristotelians that only one soul exists. Tellingly, it is the pagan ancient Greek philosophers who provide material for discussion and debate.

Leaving Hell, Dante describes his “ship/of mind” raising its sail to leave “the gulf that proved so cruel” (160). Significantly, Dante characterizes himself both as an intellectual being (a mind) and a being in motion (a ship). The combination of “ship” and “mind” also calls attention to Dante’s poetic vision (160). Throughout the poem, he will combine the imaginative with the physical, simultaneously transcending and returning to material reality. Dante’s journey is imaginative, intellectual, and physical (in that he travels through Purgatory in his physical body, unlike the other penitents with whom he engages). Thus, from the beginning of the poem, Dante draws readers’ attention to the range of faculties that humans have for understanding their experiences and approaching divine truth.

Other notable elements in the first five cantos are Dante’s invocation of the Muses (a feature of pagan epic poetry), his use of visual imagery, and his interactions with penitents (which speak to political circumstances and concerns of Dante’s time). A point Dante repeatedly returns to is that the prayers of the living impact the dead, suggesting that communal purification occurs within and across realms. Of the Muses, he specifically mentions Calliope, the eldest who was associated with eloquence and epic poetry and known as the mother of celebrated musician Orpheus. When the boat filled with penitents approaches Purgatory’s shores, the angel’s bright light forces Dante to avert his eyes, speaking to the difficulty of confronting the divine.

Among the penitents who Dante encounters and with whom he converses are friends and political figures, whose presence grounds his discussion in contemporary references relevant to 14th-century readers. Casella and Belacqua were personal friends of Dante’s. Manfred was a political figure in Italy: His presence early in the poem introduces a political element in Dante’s work. In the 13th century, three political factions were at play in Italy: the Holy Roman Empire, the Roman Catholic Church, and mercantile Italian city-states. Various alliances sprang up and collapsed as they vied for power. Dante supported the Holy Roman Empire, with which Manfred was associated, and opposed the Catholic Church seeking political power and a political role. 

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