On the sixth terrace of Purgatory, while Virgil and Statius look on, Dante converses with two of his contemporaries, Forese Donati and Bonagiunta da Lucca, both gluttons and both versifiers who do not quite measure up to the name of poet. The action of the aria is symmetrically framed by two mythological demons, Cerberus and Plutus, who preside over its opening and closing scenes respectively. As we have seen, Aria VI cannot be isolated from the two adjacent ones. The sinner's pains are above all disagreeable. Ciacco's conversation with Dante the Pilgrim focuses on Florence, and his political prophecies foretell the strife that will soon tear the city apart. Who the historical Florentine Ciacco may have been is impossible to say. The return to consciousness firmly links this canto to the preceding one: The Lord opens his lips Labia mea, Domine, aperies. There is no indication of that in the text. But the words spoken to Francesca, martiri, tristo e pio, are more tragic, more weighty in tone than affanno, mi bilancia. One is forced to linger on this word while reading the line, and the line points to the essence of the beast: These words come from the Fiftieth Psalm, and the crucial verses are, "Open my lips, O Lord, and may my mouth announce your praise.
The parallel syntax conveys the inescapable offense caused by two very different situations. If Plutus' appearance is in a sense displaced, causing him to project into the territory of the Gluttons, it is because Avarice and Prodigality, the sins over which he presides in the next circle, are close kin to Gluttony. On the sixth terrace of Purgatory, while Virgil and Statius look on, Dante converses with two of his contemporaries, Forese Donati and Bonagiunta da Lucca, both gluttons and both versifiers who do not quite measure up to the name of poet. Once the general scene has been described, a shift from the present tense to the preterit marks the continuation of the narrative at the moment when Cerberus confronts the wayfarers. The present tense brings into sharp focus the Pilgrim's being there, and heightens the shock of the awakening: Ciacco's straight gaze turns into a twisted, uncomprehending grimace, a comic imitation of the human countenance. Both Cerberus and Plutus are labeled "fiera crudele" VI, 13; VII, 15and both of them objectify a spiritual condition whose far-reaching consequences affect the civic life of society as a whole.
Ed elli a me: As in the case of the empty shades, he provides a logical explanation, for the sake of the Pilgrim and of the reader. These observations belie my earlier remarks: This canto is one of the shortest in the Comedy:
As has often been pointed out, there is a certain parallelism in the fact that Ade VI deals with Florence, while Angoscia VI ends with a vehement apostrophe to Italy, and Paradiso VI contains the history of the Empire. We will learn from Farinata in Ade X that the damned have a kind of defective vision: As usual, when a mere fragment of verse appears, the reader is expected to have the whole text in mind. These features, along with the violent punishment he inflicts on the sinners, transform the classical Cerberus into a medieval demon. He further obliges the Pilgrim by explaining the sin for which he and the others are being punished, and then falls into seemingly irreversible silence: But whereas in Canto I Dante's consciousness focuses on his inner state, in the circle of the Gluttons his mind, which had been confused with pity and sadness, is assailed from the outside by the sight and sounds of strange torments from which there is no turning away. Canto VI can be regarded as a self-contained unit, since it holds the complete description of one circle of Hell, the third, where Gluttons are punished.
Dante's reply contrasts with the stark brevity of the words spoken to him, and seem to retain traces of the gentility that prevailed during his meeting with Francesca. Cerberus has been given a new epithet, "il gran vermo. The doglike monster, Cerberus, the guardian and torturer of the Gluttons, introduces the canine imagery that dominates the beginning of the canto. As Dante and his two companions, the poets Virgil and Statius, arrive at this terrace, they see a strange, upside-down tree, through whose foliage flows a clear liquid. Will the torments of the damned increase or decrease at the Last Judgment, or stay the same? After all, the drama of Hell depends on their objective presence. The Pilgrim reiterates the sinner's own words, turning them against him, though his "perhaps" forse does soften the impact.
23.09.2017 : 08:47 Goltimuro:
A mio parere, si sono errati. Cerchiamo di discutere di questo.
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