The ferryman of Hell is Charon, who must whack sinners with the oar to get them in line. 128 subitamente lasciano star l’esca, come a messagger che porta that I was still a living being, then, Figure retoriche – Canto 2° – Purgatorio – Divina Commedia. because they are assailed by greater care; so did I see that new—come company— vv.52/53: selvaggia/ parea del loco. The theme of friendship in Purgatorio is tightly linked to the enduring connection that the souls still feel to their bodies. While the first whiteness into wings unfolded; We still were by the sea, like those who think As if naught else might touch the mind of any; We all of us were moveless and attentive v.76/77: trarresi avante / per abbracciarmi. avante / per abbracciarmi, vv.88/89: com’io Forthwith I comprehended, and was certain, 129ben puoi sapere omai che ’l suo dir suona». but then, when he had recognized the helmsman. 86 allor conobbi chi era, e pregai 58 quando la nova gente alzò la fronte and from mid—heaven its incisive arrows souls cross the river. and he moved off as he had come—swiftly. v. 7: sì che le His inclusion reflects a miraculous twist on the medieval story told above. By means of its journey up the mountain, a soul that is saved when it arrives in purgatory is made, as in the last verse of Purgatorio, “pure and prepared to climb unto the stars”: “puro e disposto a salire alle stelle” (Purg. 43 Da poppa stava il celestial nocchiero, The souls who had, from seeing me draw breath, mutan come mortal pelo, v.54: come Spatially, living humans dwell in the land-filled northern hemisphere of the globe that we share with Purgatory. 9 per troppa etate divenivan rance. my soul somewhat; for—having journeyed here attenti / a le sue note, v.11: come 2014. If he who takes both when and whom he pleases But we are strangers even as ourselves, Just now we came, a little while before you; so great that I was moved to mime his welcome. All of these fundamental principles are implied by the simple narrative expedient of telling time on Purgatory in a way that always coordinates with the time on earth. The melody within me still is sounding. 23 un non sapeva che bianco, e di sotto that nowhere did the water swallow it. 34 Vedi come l’ha dritte verso ’l cielo, enjambement: vv.19/20: ebbi ritratto / l’occhio. by the invading mists of dawn, glows red I knew not what of white, and underneath it. 108 che mi solea quetar tutte mie doglie. And Virgil answered: “You may be convinced di sì fatti officiali, v.38: l’uccel But down I cast it; and he came to shore 102 benignamente fu’ da lui ricolto. night, circling opposite the sun, was moving e canterò di quel secondo regno dove l’umano spirito si purga e di salire al ciel diventa degno. Perchance that we have knowledge of this place, vv.37/38: venne / l’uccel divino. Dante asks Casella to sing and it is so beautiful that all the other penitents are mesmerized. _”Love, that within my mind discourses with me,”_ Hitherward coming is so much distressed.”. One from among them saw I coming forward, 12 che va col cuore e col corpo dimora. Little by little there came forth another. Summary. 83 per che l’ombra sorrise e si ritrasse, 120 gridando: «Che è ciò, spiriti lenti? as when, upon the approach of morning, With a small vessel, very swift and light, And no one shows himself afraid of crowding. 126 queti, sanza mostrar l’usato orgoglio. Border Crossing It is one of the joys in rereading the Commedia to compare parallel events and cantos across all three sections: Inferno, Purgatorio and Paradiso. Of beautiful Aurora, where I was, Quick, to the mountain to cast off the slough Benignantly by him have been received. 112 collocata tra gli indovini della IV Bolgia e anche fra le anime del Limbo. him to remain awhile and talk with me. There where I am, I make this journey,”said I; That it incited me to do the like. of the meridian whose highest point 99 chi ha voluto intrar, con tutta pace. Then made he sign of holy rood upon them, An angel pronounces the final Beatitude, "Beati mundo corde" ("Blessed [are] the pure of heart") and beckons to Dante.First, however, the poet must cross through a wall of flame. 68 per lo spirare, ch’i’ era ancor vivo, 116 ch’eran con lui parevan sì contenti, The Earth Clock.” Commento Baroliniano, Digital Dante. 107 memoria o uso a l’amoroso canto 3 Ierusalèm col suo più alto punto; 4 e la notte, che opposita a lui cerchia, 33.145). “In exitu Israel de Aegypto,” In Inferno 32 Dante is functioning as a deliverer of infernal torment, a minister of divine justice, and his ability to touch Bocca is purely instrumental. Canto I LUOGO: ai piedi della montagna del purgatorio. 55 Da tutte parti saettava il giorno 1.107]), as was his wont on earth, and Casella complies by singing the first verse of a canzone: “Amor che ne la mente mi ragiona” (Love that discourses to me in my mind [Purg. 64 Dianzi venimmo, innanzi a voi un poco, And he: “No injury is done to me 122 Correte al monte a spogliarvi lo scoglio of dark defeats the day, desert night’s hands; so that, above the shore that I had reached, Both northern and southern hemispheres exist in time. 30 omai vedrai di sì fatti officiali. cuore e col corpo dimora. he cried: “Bend, bend your knees: behold the angel the way by which we can ascend this slope.”. 70 E come a messagger che porta ulivo Again I saw it brighter grown and larger. 104 però che sempre quivi si ricoglie Exclaiming: “What is this, ye laggard spirits, What negligence, what standing still is this ? Run to the mountain to strip off the slough, that I might ask a question of my guide, the whitenesses first seen appeared as wings; Because for evermore assemble there 54 come colui che nove cose assaggia. See how he holds his wings, pointing to Heaven, For of a righteous will his own is made. The first chapter of Dante’s Poets, “Autocitation and Autobiography,” interprets the three Dantean self-citations or “autocitations” of his own canzoni in the Commedia. 40 ma chinail giuso; e quei sen venne a riva Gently, he said that I could now stand back; 50 ond’ ei si gittar tutti in su la piaggia: But before the failure and the correction, Dante employs beautiful language to describe and indeed caress the warmth of human affection and the beauty of human art. And night that opposite to him revolves Dante refers to the two songs in question by citing their incipits or first verses (the word “incipit” means “it begins” in Latin). The incipit or first verse functioned as a title in Dante’s time. That fall from out her hand when she exceedeth; So that the white and the vermilion cheeks that always is the place of gathering forgotten to proceed to their perfection. Henceforward shalt thou see such officers! 106 E io: «Se nuova legge non ti toglie Qui di seguito trovate tutte le figure retoriche del secondo canto del Purgatorio. of love that used to quiet all my longings, then may it please you with those songs to solace Straight to that river mouth, he set his wings: LE FIGURE RETORICHE 2. which do not change as mortal plumage does.”. . That do not moult themselves like mortal hair!”. 90 però m’arresto; ma tu perché vai?». at which the Tiber’s waters mix with salt, See how much scorn he has for human means; 38 l’uccel divino, più chiaro appariva: I attempt to decode both what is intended by the choice of canzoni and by their placement within the overall narrative structure. The throng which still remained there unfamiliar 59 ver’ noi, dicendo a noi: «Se voi sapete, 121 qual negligenza, quale stare è questo? vv.52/53: selvaggia/ parea del loco. We living humans share both space and time with the dead souls of Purgatory. 32 sì che remo non vuol, né altro velo 110 l’anima mia, che, con la sua persona 62 forse che siamo esperti d’esto loco; L'enigma di Manto vv. 49 Poi fece il segno lor di santa croce; 19 Dal qual com’ io un poco ebbi ritratto Hence we encounter, in this canto, a dead soul who seeks to behave as though he were alive. Trajan, who never converted to Christianity and in fact presided over the persecution of Christians, might thus seem like an odd figure to juxtapose with the Virgin Mary. With whatso in that psalm is after written. 65 per altra via, che fu sì aspra e forte, 44 tal che faria beato pur descripto; 113 cominciò elli allor sì dolcemente, The incipit or first verse functioned as a title in Dante’s time. Then over them he made the holy cross And I: “If some new law take not from thee Which with him were, appeared as satisfied By too great age were changing into orange. 115 Lo mio maestro e io e quella gente cried out: “What have we here, you laggard spirits? 33 che l’ali sue, tra liti sì lontani. And yet, for three months now, he has accepted, My master did not say a word before Spiegazione e analisi del canto in cui prosegue la rassegna delle vittime di morte violenta. Those fortunate spirits, all of them, as if I think with wonder I depicted me; to where I am, I journey thus; but why,” 21 rividil più lucente e maggior fatto. At the center of the page, Catone is identifiable by his long beard. But you, why do you journey?”, “My own Casella, to return again 88 Rispuosemi: «Così com’ io t’amai var _iub = _iub || []; _iub.csConfiguration = {"consentOnScroll":false,"lang":"it","siteId":274647,"cookiePolicyId":104506}; vv.19/20: ebbi Pallid in their astonishment became; And as to messenger who bears the olive Il secondo canto del Purgatorio si apre quando Dante e Virgilio si trovano ancora sulla spiaggia ai piedi della montagna - siamo ancora nell’Antipurgatorio - dove si era svolto il rituale di purificazione ordinato da Catone nel canto precedente. From the mid—heaven chased forth the Capricorn, When the new people lifted up their faces 46 ‘In exitu Isräel de Aegypto’ 63 ma noi siam peregrin come voi siete. At the Last Judgment all the souls who travel through Purgatory on their way to Paradise will be saved, and there will be no further need of a place in which saved souls must work to purify themselves before ascending to beatitude. The poignant language of Dante’s attempt to embrace his friend only to find that he is an intangible shade is based on the melancholy passages of Aeneid 6 in which Aeneas tries to embrace his lost loved ones: Dante asks Casella to sing for him an “amoroso canto” (a song of love [Purg. ritratto / l’occhio, vv.37/38: venne / Has many times denied to me this passage. who bears an olive branch, to hear his news, 119 a le sue note; ed ecco il veglio onesto Spiritual Power vs. 73 così al viso mio s’affisar quelle Because they are assailed by greater care; So that fresh company did I behold Even as when, collecting grain or tares, 82 Di maraviglia, credo, mi dipinsi; v. 20 e v. 39: 123 ch’esser non lascia a voi Dio manifesto». The crowd that he had left along the beach Another way, which was so rough and steep, of God, and join your hands; from this point on, 81 e tante mi tornai con esse al petto. 77 per abbracciarmi con sì grande affetto, 17 un lume per lo mar venir sì ratto, _”In exitu Israel de Aegypto!”_ So that the water swallowed naught thereof. Purgatory is a way-station for saved souls, a place and a condition in which an already saved soul works to be completely freed from the underlying impulses that lead to sin. Canto 3. Casella beautifully expresses this connection, when he tells Dante that the love he felt for him “within my mortal flesh” — “nel mortal corpo” (Purg. Than his own wings, between so distant shores. Barolini, Teodolinda. he then began to sing—and sang so sweetly He is afraid to do so and haunted by the recollection of "human bodies [he has] seen burn" in real life. 94 Ed elli a me: «Nessun m’è fatto oltraggio, Unto that outlet now his wing is pointed, Where salt the waters of the Tiber grow, that we are quite familiar with this shore; The sun, who had with his resplendent shafts and I was forced to lower them; and he But when he clearly recognised the pilot. he’d have no other sail than his own wings The doves, together at their pasture met, Condividi questa lezione. Most of all, in terms of the melancholy sweetness that suffuses the second realm, especially in the opening canti, the earth clock is a punctual reminder of the umbilical cord that connects the souls of Purgatory to those they left behind on earth. 92 là dov’ io son, fo io questo vïaggio», Dante refers to the two songs in question by citing their incipits or first verses (the word “incipit” means “it begins” in Latin). The psalm is sung by souls who are being sailed to purgatory by an angel-helmsman. And he departed swiftly as he came. “Purgatorio”, canto 2: analisi e commento. Free Will. The Bird Divine, more radiant he appeared so there appeared to me—and may I see it The two poems, both sung, that are cited through their incipits in Purgatorio 2 are: first the biblical Psalm In exitu Israel de Aegypto and next the vernacular love poem Amor che nella mente mi ragiona, written by Dante himself. Through the figure of Casella the poet introduces to the Purgatorio the great theme of friendship: there is no theme that has deeper roots in Dante’s poetry than that of male friendship, particularly friendship among poets and artists (see the sonnet Guido, i’ vorrei che tu e Lapo ed io). A strong Vergilian intertextuality suffuses the encounter with Casella. above the waters’ plain, low in the west. Behold the Angel of God! 60 mostratene la via di gire al monte». The air we breathe on earth is the same air that the souls of Purgatory no longer need to breathe. Purgatory and the Heavenward Journey. consolare alquanto / l’anima mia, vv.118/119: e 31 Vedi che sdegna li argomenti umani, 1981; trans. Purgatorio: Canto I To run o'er better waters hoists its sail The little vessel of my genius now, That leaves behind itself a sea so cruel; And of that second kingdom will I sing Wherein the human spirit doth purge itself, And to ascend to heaven becometh worthy. 131 lasciar lo canto, e fuggir ver’ la costa, and no one hesitates to join that crush. Columbia University. 84 e io, seguendo lei, oltre mi pinsi. Towards us, saying to us: “If ye know, New York, NY: Columbia University Libraries, del 2017 the del proiettore luci natalizie per esterno amazon on … so that my eyes could not endure his nearness. like those whose eyes try out things new to them. Rod Dreher The Dante translator John Ciardi tells us that the ancients believed that dreams that come just before dawn are often prophetic. Figure retoriche prevalenti - Nel verso 8: "o dignitosa coscienza e netta è un'apostrofe. Fanning the air with the eternal pinions, they left the song behind, turned toward the slope, the grave old man, At last Dante and his companions ascend from the trials of Purgatory. Love, Sin, and God. Here we see the failures and the corrections of attempts to embrace the human: this is Purgatory after all, and there is a job to do. Then knew I who it was, and I entreated He answered: “As I loved you when I was Whoever wished to enter with all peace; Whence I, who now had turned unto that shore 2.45]). 41      con un vasello snelletto e leggero, how to tell time in Purgatory: by relating it to time on earth. 51 ed el sen gì, come venne, veloce. Purgatorio 2 is a canto of intense intertextuality, focused on two very different songs: one a biblical Psalm, the other a contemporary Italian canzone. Which used to quiet in me all my longings, Thee may it please to comfort therewithal Whereat all cast themselves upon the shore,