Canto XXXII, or the 32nd canto, is part of the Divine Comedy, a three-part epic poem written by Dante Alighieri in the early 14th century. The Divine Comedy is considered one of the greatest works of literature in the Italian language and is a cornerstone of Western literature as a whole. It tells the story of Dante's journey through Hell, Purgatory, and Heaven, guided by the spirit of the ancient Roman poet Virgil and eventually by his beloved Beatrice.
In Canto XXXII, Dante and Virgil are making their way through the last circle of Hell, known as the Ninth Circle or Cocytus. This circle is reserved for those who have committed treachery, or betrayal, against their loved ones. Dante and Virgil encounter several famous figures from history and mythology who were guilty of treachery, including Judas Iscariot, Brutus, and Cassius.
As they make their way through the circle, Dante is struck by the sight of two frozen figures locked in an embrace. These figures are Francesca da Rimini and Paolo Malatesta, who were doomed to spend eternity in Hell for their love affair, which was considered a betrayal of their respective spouses. Francesca tells Dante the story of how they fell in love and ultimately met their tragic end, causing Dante to feel great pity for them.
One of the most notable aspects of Canto XXXII is the theme of love and its destructive power. Francesca and Paolo's love affair ultimately led to their demise and their eternal punishment in Hell. This serves as a cautionary tale for Dante and the reader, warning of the dangers of allowing oneself to be consumed by love and the importance of staying true to one's vows and commitments.
Another important theme in Canto XXXII is the idea of forgiveness. Despite the fact that Francesca and Paolo were guilty of treachery, Dante feels great compassion for them and understands the circumstances that led to their actions. He even asks for their forgiveness on behalf of himself and all humanity. This moment serves as a reminder that it is never too late to seek redemption and that even the most heinous of sins can be forgiven.
Overall, Canto XXXII of the Divine Comedy is a powerful and moving reflection on the nature of love, betrayal, and forgiveness. Its themes and characters continue to resonate with readers to this day, making it an enduring and timeless work of literature.
Cantos XXIX
The Ashes of Troy line 61. Notice great imagery of freezing Lake of Cocytus, far from life, far from light, far from salvation. Dante revolutionized the concept of Purgatory by filling the holy mountain with: …the singing of hymns, the recitation of the Our Father and other prayers, the echo of the Beatitudes. Canto XXXIII opens with the sinner's tale. The sudden fall of the flag disheartened the Florentines, and in great measure contributed to the defeat. Another sinner told him they were: the sons of Alberto near Bisenzio.
He took up the throne in 1764 and held it up to the abolition of monarchy in France in 1792. However, the line may be construed to mean that Adams subscribed to these opinions. The neutrals, Dante's invention. With Cacciaguida, Dante discusses his own family, his own personal story, and most shocking to him, hears Cacciaguida's prophecy about his future after 1300 in Florence. We meet Thomas Aquinas in line 99. Dante is beginning to feel chilled and also feels a wind blowing over the ice — Virgil says that the source of the wind will soon be known.
Dante is coming to understand the nature of sin and is learning to be disgusted by it. Dante is totally absorbed by the sight of Beatrice. The Third Terrace: Anger The purgation of blinding anger. The others mentioned also betrayed their parties. The Power of Intercession.
Ugolino had been in prison for several months with his four young sons. De Nemours helped Ronaldson procure the antimony in France and ship it to the U. Sphere of Sun: Prudence. And one who wanted both ears, which the frost Had bitten off, with face still downward thrown, Asked: 'Why with us art thou so long engrossed? Then called another: 'Bocca, what now ails? In the ice, souls stand frozen up to their heads, their teeth chattering. We kept in touch over the years. Thus commences an allegorical drama that could have been taken from St. It would not be out of character for this poem, which interweaves wildly varying styles, to incorporate a bit of ironic comedy just before the dramatic climax: the approach of.
Dante listens to them bicker for a while. Virgil interrupts two of the souls who are picking at each other's scabs and asks them if there are any Italians Latians among them. Close to his feet Dante sees two souls whose hair is tangled together and who continually butt heads. Gentle cabrones: I never gave a second thought to Denver before I became a reporter—really, why bother? He says that he imagines sweet water running from the Arno's banks. Take heed thou do not trample with thy feet The heads of the tired, miserable brothers! In this Canto Dante introduces another guide in the person of Publius Papinius Statius 45-96 AD who now augments the leadership of Virgil as an example of Christian Rome as opposed to Virgil's pagan Rome. When he tortures him he doesn't even know who he is, except that he was damned for treachery. Hawkins, following the classicist Jane Harrison, says what we see is the communication of sacra, the holy, into three kinds: exhibitions what is shown , actions what is done , and instructions what is said : Thus an initiate may be shown holy objects or relics, may witness or participate in the performance of sacred drama, and may formally receive the teaching of spiritual guides or adepts.
A nearby sinner with his ears frozen off replies that these two were brothers, and that there are no two more deserving of punishment in all of Caina than these two. Gualandi, Sismondi and Lanfranchi Ghibelline nobles. The sinner replies that he was born in Navarre and worked for a king and began to graft, which is the reason he now suffers in the pitch. Now in his last years, living in Ravenna, Dante seems to become more harsh in his assessment of his beloved Florence. Suddenly, a raging demon appears, and Virgil hides Dante behind a large rock so he can go to the demons and make a deal for their safe passage. He had already pulled out a handful with another shade addressed Dante's victim as Bocca.
This image of resurrection makes us think of springtime, when the trees grow their leaves again the photo above is of the new growth on the fig tree in my backyard. These animals had become without mind and powerless; and so will every hereditary monarch be after a few generations. If thou desire to know who these two are, The valley whence Bisenzio descends Belonged to them and to their father Albert. Dante looks around and sees two sinners clamped tightly together, breast-to-breast, and asks them who they are, to which they do not reply but butt their heads together like goats. He was Count Ugolino, and the soul he feeds upon was Archbishop Ruggieri, on whom he trusted. Dante told Virgil that the Sienese were extremely vain, and the other sinner agreed, listing the names Stricca, Niccolo, Caccia d'Asciano, and Abbagliato as examples.
The ship coming up the Tiber. The universal fashion of this knot Methinks I saw, since more abundantly In saying this I feel that I rejoice. Bonturo politician of Lucca. Ugolino may be said to be both the victim of divine justice and also the instrument of it, in that he also punishes his betrayer, Ruggieri. The exchange resembles an academic examination in the medieval university. Indeed, the poem has endured in large part because of its appeal to human sentiments and to the imagination; in this indulgence, it furthers voyeurism more than it contributes to any quest for moral understanding. Alchemy is another thing which was very important in the Middle Ages and Renaissance, and has disappeared now, though scientists as recent as Isaac Newton were deeply concerned with alchemical questions.
He was considered the very antithesis to his predecessor: indolent, a lover of arts and women, he resented the military backbone of Prussia and weakened it. It is mentioned, not for its size, but the harshness of its name. The other alchemist tells Dante that this raging beast was Gianni Schicchi, who impersonated a dead man so that he cold benefit from the will. The sinners here are suffering from systemic infection within themselves. His kingdom lost the provinces of Nice and Savoy to France.
It repurposes it to create an allegory of the history of the Christian church stretching back over twelve centuries. Two mad shades came running up; one bit Capocchio in the neck. Here the most important theologian is Saint Augustine and his Christian interpretation of Plato. He might have approved of the plague decimating Florence: a scourge from God to punish their misdeeds. There is no time for pure emotion at this point in the journey; time is growing short and Virgil must move Dante along, even if that means taking on a harsher nature. Inferno: Canto XXXII If I had rhymes both rough and stridulous, As were appropriate to the dismal hole Down upon which thrust all the other rocks, I would press out the juice of my conception More fully; but because I have them not, Not without fear I bring myself to speak; For 'tis no enterprise to take in jest, To sketch the bottom of all the universe, Nor for a tongue that cries Mamma and Babbo.
