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Dante AlighieriA modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.
Throughout Dante’s journey in Purgatory, guides accompany him: first Virgil, then Virgil and Statius, then Matelda and Beatrice. At every level he travels through, he encounters and converses with countless penitents, many of whom are historical figures from 13th- and 14th-century Europe. In addition, figures from classical and biblical texts exist through the poem from the first canto to the last. Dante is never alone, just as the penitents he encounters are never alone. This speaks to a central theme in the poem, which is that purification from sin is not a solitary journey of the self, but a recovery of the communal self, achieved through collaboration and conversation. Through his poetic form (see “Symbols and Motifs”), Dante invites readers to engage in the communal meaning-making process as well.
In Canto 17, approximately mid-way through the poem, Virgil discusses the nature of love and sin. What he calls “natural love” (238) is neither positive nor negative but the God-given desire to continue existing and to pursue what brings joy. All living creatures possess these impulses. What differentiates humans from other living beings is what Virgil calls “mind-love” (238), the rational and intellectual consciousness God gave to humans alone. As with natural love, mind-love is value neutral in itself. Whether it leads to virtue or sin depends on how humans apply it. When misunderstood or misapplied, it can lead humans to self-destructive behavior that can have direct consequences on communal bonds. Virgil explains this in detail in Canto 17, through his summary of the seven forms of sin that penitents atone for: pride, envy, wrath, sloth, greed, avarice, and lust. In all cases, sins don’t equate to transgressions against God but as transgressions against one’s fellow community members.
The first three sins—pride, envy, and wrath—occur when individuals misunderstand what constitutes excellence. Pride provokes humans to jealously hoard achievements, to the detriment of their communities. Roman Emperor Trajan, in Canto 10, demonstrates how humility is the better choice. As he was leaving the city for a military campaign, a woman with a murdered son beseeched him to delay his journey and seek justice for her son. Though he may have longed to achieve fame for himself through military conquest, he chose to stay behind and pursue justice, a more important outcome for the community over which he reigned. Envy and wrath similarly corrupt the individual and the community. In Canto 13, Sapia laments that her envy caused happiness when her fellow Sienese lost in battle. Pisistratus in Canto 15 gently chides his wife for her wrath against one of her husband’s subjects, whose enthusiasm for the family caused him to embrace their daughter. Pisistratus reminds his wife to respect the bonds of love that bind community members.
Errors in application characterize the final four sins: sloth, greed, avarice, and lust. Sloth results from insufficient vigor in applying love, while greed, avarice, and lust result from excessive vigor. The pope who Dante meets in Canto 19 laments that his avarice for earthly things tainted his role as a religious leader, while Hugo Capet regrets the royal line he sired, whose greed resulted in violence, lies, and plunder. With all seven of the sins, self-destructiveness does not harm only the individual but corrupts the relationships among—or directly harms—community members.
The process of atonement involves rebuilding community bonds. Thus, in Canto 7, Dante witnesses Ottakar comforting Rudolph, who was his rival in life. Similarly, in Canto 13, when Dante asks if any of the penitents at that level are Italian, one replies that they are “now all citizens of one true place” (218). Dante repeatedly sees penitents singing hymns together and lifting each other up in small ways, as when the two groups of penitents for lust briefly embrace. Repeatedly, penitents beseech Dante to pray for them or to relay messages to living family members to pray for them, demonstrating the sanctity of communal bonds both within and across realms.
Through his allusions, symbols, and interactions in Purgatory, Dante suggests that truth does not begin at the moment of Christ’s birth, transfiguration, or resurrection but is gradually revealed over the course of human history. Pagan myths and Hebrew Scriptures provide inspiration and prophesy throughout the poem, demonstrating their ability to perceive and communicate elements of divine truth.
Significantly, Dante’s guide through Purgatory (and through his previous poem, Inferno) is a pagan Roman poet, Virgil. Among his works is a pastoral poem, the Fourth Eclogue, written in approximately 40 BC in which he describes the birth of a boy who will usher in a golden age. Some early Christians interpreted it as prophesying the birth of Christ, an interpretation that continued into the Middle Ages. In addition to Virgil, a pagan statesman, Cato the Younger—also known as Cato of Utica, as he’s referred to by Dante—serves as Purgatory’s caretaker. Cato served in the middle of the first century BC, towards the end of the Roman Republic, and was known for his moral integrity, commitment to justice, and rejection of bribes. Both are fitting choices to promote Dante’s pursuit of virtue, but especially relevant is that Dante chooses pagans to serve a critical function in Purgatory.
Dante’s examples of virtue and sin are as telling as his choice of pagans. While progressing through Purgatory’s levels, Dante witnesses examples of the seven deadly sins and their opposing virtues, culled from Greco-Roman mythology and history, as well as books of the Hebrew and Christian bible. For example, Christ’s mother Mary coexists alongside the Hebrew King David and Roman Emperor Trajan as examples of humility. Pagan Greek philosophers Plato and Aristotle provide the basis for a discussion of free will. The contemporary Italian political climate becomes the means of explaining the proper realms of justice (the imperial seat) and morality (the papal seat), and violations against them. Each period in history contributes a valuable piece to human understanding, from antiquity to Dante’s present.
At the same time, Dante identifies Christian faith as the culmination of divine truth. Matelda and Beatrice—Christian women—exemplify this by replacing Virgil when he and Dante reach the Garden of Eden. While Virgil can educate Dante on free will and human virtue, he defers to Beatrice in matters of Christian faith.
For Dante, the divine is not entirely accessible to humanity, as he and Virgil express at several points in the poem. In Canto 3, Virgil tells Dante it is “madness if we hope that rational minds/should ever follow to its end the road/that one true being in three persons takes” (169). Dante learns this himself as he is, at various times, blinded by the brightness of angels’ light, overwhelmed by beauty in the Garden of Eden to the point of falling asleep or fainting, and, in Canto 33, understands the limits of his intellect to perceive and record all that he has seen and experienced. While humans’ distinguishing feature is their rational, self-conscious mind, that quality is not enough to perceive God. The only way that humans can approach the divine is by using all their faculties—imaginative, intellectual, and sensory.
Dante demonstrates his approach to contemplation through his travels in Purgatory’s levels. He records what he sees (the landscape), hears (penitents singing hymns), and feels (angels’ wings brushing his brow, gentle breezes), saturating his verse with figurative language that compels active participation from readers, also echoing his belief in purification as communal. Likewise, he weaves countless allusions to mythology and the Bible and crafts allegories that speak to the political and moral state of the Italy of his day, as he understands it. While demonstrating Dante’s intellectual and imaginative rigor, both also require readers to make connections and associations in order to decode Dante’s meaning. Finally, he engages in discussion with the penitents he meets, conversing about free will, love, and sin, and he submits to the wonders that he cannot understand, alternately by falling asleep, fainting, or simply admitting the limits of his perceptive powers.
By Dante Alighieri