Scott D. Moringiello
Scott D. Moringiello is an assistant professor in the Department of Catholic Studies at DePaul University, where he teaches classes on Catholic theology and religion and literature.
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This weekend has been crazier than I thought it would be. Even though I'm up to date with the reading, I haven't had time to put together a post on the beginning of the Purgatorio. I wanted to write about Cato, Virgil, and Sordello, and how each of them carries themes we have seen in the Inferno into the Purgatorio. Dante's journey through Hell was marked by fear and despair. His journey thus far in Purgatory has been marked by hope. Instead of putting all my thoughts together, I've decided to quote two scholars whose insights far exceed mine.
Ive posted the latest installment of Un cammino attraverso la Commedia over on the Verdicts site. As you'll see, I'm interested in how theInferno ends by not ending. We're onto thePurgatorio! As always, comments welcome.
I had hoped that I could tie things together in this post. I wanted to bring together some thoughts on Dante's debt to Virgil both as a poet and a guide, on Dantes poetics, and on the fittingness of the punishments that Cassius and Brutus and Judas receive. But I've been rethinking it all the last day or so, and now believe that the strength of an ending comes from the way it defers its own ending.* And I think Dante does that through his use of the word cammino.
I've posted the latest installment of Uno cammino attraverso la Commedia over on the Verdicts site. My discussion focuses on Ulysses and the tension between one's quest for knowledge and one's duty to family. Please feel free to join our discussion. The post is here.
In Canto 26, in the eighth malebogia where false counselors suffer their torments, Virgil and Dante meet Diomedes and Ulysses. Dante would have known these Greek heroes through Virgil's Aeneid, where they are involved with the plot for the Trojan Horse, which leads to the fall of Troy. The Horse in the Aeneid serves a role similar to the apple in Genesis. They are both felices culpae that lead to the salvation which comes from Rome and from Christ.
Uno cammino attraverso la Commedia continues here. Please join our lively discussion. As you'll see, I incorporated comments from last time into my current post. (If Don Draper can read the Inferno, you can too!)
This is only my third post on the Commedia, but already a little community has formed in the comments. (Of course, I encourage more people to share their thoughts!) To encourage this community, I want to build on two comments I found particularly helpful in my last post. These comments help set up a discussion on how Dante sees his own poetic work, which I think he stresses in these cantos.
Our discussion of the Divine Comedy continues over at Verdicts.The link is here.
In a recent post on dotCommonweal, Robert Imbelli discussed Charles Taylor's term "excarnation," which Imbelli glosses as "the avoidance or denial of those dimensions of humanity that threaten our sense of being autonomous individuals." I have not read all of A Secular Age, but Imbelli's discussion has helped shape my thinking on Inferno Cantos 7-12. After all, one way to think about the seven vices that chart Dante's journey through hell is that each vice becomes progressively more excarnated. In the name of making us more autonomous, sin ends up dividing us from ourselves.
It's always worth thinking about context and expectation when we encounter books, especially books that our culture has deemed important or great. Reading Dostoevsky is something very different from reading a recipe. But I think reading Dante is even more challenging than Dostoevsky, even than Shakespeare, even than Lucretius or Vergil or Homer. Dante implicates his readers in his journey in a way that few other books do. For me, only the Hebrew Scriptures or the New Testament or the Quran come to mind as books that are as challenging. Like them, Dante doesnt let us off the hook.