Undergraduate Review
Volume 11 | Issue 1
Article 8
1998
From Literal Path to Transcendent Journey: The
Pilgrim's Movement Throughout Inferno
Shelly Manning '99
Illinois Wesleyan University
Recommended Citation
Manning '99, Shelly (1998) "From Literal Path to Transcendent Journey: The Pilgrim's Movement Throughout Inferno,"
Undergraduate Review: Vol. 11: Iss. 1, Article 8.
Available at: http://digitalcommons.iwu.edu/rev/vol11/iss1/8
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©Copyright is owned by the author of this document.
~iew
Manning '99: From Literal Path to Transcendent Journey: The Pilgrim's Movemen
ng Point: The Inside Story of the Papal Birth
~sion, and How "Humanae Vitae" Changed
, Crowley and the Future of the Church. New
IPublishing Company, 1995.
-ter, July 16, 1966.
New International Version. Grand Rapids, MI:
shing House, 1992.
ntraception: A History of Its Treatment by the
19ians and
Canonists. Cambridge:
lity Press, 1986.
From Literal Path to Transcendent Journey:
The Pilgrim's Movement
Throughout Inferno
by Shelley Manning
ve, and the Serpent. New York: Vintage
~ford,
John, Faith Alive: A new presentation
if and practice. Mystic, CT: Twenty-Third
O.
~:
On the Regulation of Birth Control. Boston:
Paul, 1968.
Irch Fathers, Independant Virgins. New York:
'Jarriage and Remarriage. transl. William P.
{ork: Newman Press, 1951.
He will show himself to be a desperate
homo viator, who sails his way into a
heavenly port at the end of his journey,
but only after undergoing the crisis of
conversion and an arduous passage
across the landscapes of sin and
purgation.
("Out Upon Circumference" 194)
In his "Letter to Can Grande," Dante establishes the concept of
polysemy, which means "many levels." In the letter, Dante states: "For
the clarification of what I am going to say, then, it should be understood
that there is not just a single sense in this work: it might rather be called
polysemous, that is having several senses" ("Letter" 99). This concept
not only applies to the multi-layered construction ofthe Divine Comedy
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but also to interpretation as well. Although most critics rely upon the
"Letter," I find his "Four Levels ofInterpretation" more useful. The
combination ofpolysemy and hierarchical interpretation is key to this
study of the poem.
Dante's Aristotelian and Ptolemaic universe directs the Pilgrim's
arduous path, while his Pseudo-Dionysian theology helps construct the
Pilgrim's journey toward and within heaven. According to Aristotle's
situation of the cosmos, Dante's Pilgrim must first travel downward in
order to travel upward into heaven. This continual upward motion relates
to Dionysius' concept ofspiritual uplifting into the immaterial heaven,
anagogy. Theologically speaking, the Pilgrim's entire journey, both
spiritually and physically, moves him upward to heaven and the
understanding of salvation. Dionysius describes the anagogical moment:
"Yet it is possible that the iconography of the wheels of the mind be
explained by another uplifting ofthe mind from perceptible images to
intelligent meanings" ("The Celestial Hierarchy" 190). For Dionysius at
least, anagogy is synonymous with uplifting. As the Pilgrim moves
upward through hell's physical space, his spirit is uplifted to heaven and
his mind to divine understanding.
Dante intended the poem to be an instructional device for
Christian salvation. According to his "Four Levels ofInterpretation,"
Dante also understood that readers must interpret the poem in various
ways in order for them to arrive at the same moment of full intellection
that the Pilgrim reaches in Paradiso.
While Aristotelian cosmology dictates the upward direction of his
physical journey, gatekeepers mark the Pilgrim's uplifting intellectual and
spiritual progressions. Dante's use of guards dates back to the ancient
Apocalyptic literature where gatekeepers stop souls traveling through
heaven to ask their names and their reasons for being there. The
gatekeepers illustrate the Pilgrim's increasing knowledge of sin.
This study utilizes Aristotelian cosmology to map the Pilgrim's
physical journey and employs the gatekeeper tradition to mark the
Pilgrim's spiritual progression - using Inferno as a test case. By
connecting Dionysius' definition ofanagogy with Dante's "Four Levels of
Interpretation," this paper illustrates the parallel images ofthe Pilgrim's
spiritual and physicaljourneys.
Cosmology and Theology
But my argument now rises from what is
below up to the transcendent, and the more
it climbs, the more language falters, and
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2
when it has passed up and beyo
ascent, it will turn silent complet,
will tinally be at one with him wi
indescribable. ("Mystical Theol,
At one time, hell was thought to be a J
place - a part of the Earthly cosmology crea
combining both Aristotelian and Ptolemaic un
Dante verbally maps these cosmological spacl
heaven, as the Pilgrim travels through them.
Aristotle plays a key role in Dante's t
universe and cannot be neglected in any stud)
surroundings. Charles S. Singleton even expl
Aristotle "The Philosopher." Like Ptolemy aJ
the Earth at the center of the spherical univer
the sphere embodies the perfect shape: "The
spherical. That is most suitable to its substan
in nature" (On the Heavens 155). Aristotle (
form the concentric spheres upon which he b
same must be true of the body which is contil
contiguous to the spherical is spherical, and a
nearer the centre, for bodies which are SUITOI
touch it at all points must themselves be sphe
movement, a combination ofboth linear and c
Pilgrim to move between Aristotle's concent:
Pseudo-Dionysius the Aereopagite's
and "The Celestial Hierarchy" help connect 1
universes. Dionysius' works focus on the me
the immaterial. The Pilgrim's movement tlm
from hell, to purgatory, to heaven structurall)
explains as anagogical movement, or spiritua
Dionysian concept of uplifting to illustrate th
divine understanding as he reaches heaven..
in or4er to move as far as humanly possible, ;
and looks into God's face. By understanding
and their various levels of symbolic meaning,
for an instant, into unity with God.
Reyiew
m as well. Although most critics rely upon the
ur Levels of Interpretation" more useful. The
ny and hierarchical interpretation is key to this
telian and Ptolemaic universe directs the Pilgrim's
:Pseudo-Dionysian theology helps construct the
rd and within heaven. According to Aristotle's
,Dante's Pilgrim must first travel downward in
into heaven. This continual upward motion relates
~f spiritual uplifting into the inunaterial heaven,
f speaking, the Pilgrim's entire journey, both
ly, moves him upward to heaven and the
ion. Dionysius describes the anagogical moment:
he iconography of the wheels of the mind be
,lifting ofthe mind from perceptible images to
"The Celestial Hierarchy" 190). For Dionysius at
lymOUS with uplifting. As the Pilgrim moves
lhysical space, his spirit is uplifted to heaven and
~standing.
l the poem to be an instructional device for
:cordingto his "Four Levels ofInterpretation,"
that readers must interpret the poem in various
to arrive at the same moment of full intellection
s in Paradiso.
ian cosmology dictates the upward direction of his
:epers mark the Pilgrim's uplifting intellectual and
Dante's use of guards dates back to the ancient
vhere gatekeepers stop souls traveling through
les and their reasons for being there. The
.e Pilgrim's increasing knowledge of sin.
~es Aristotelian cosmology to map the Pilgrim's
1ploys the gatekeeper tradition to mark the
resSion - using ltiferno as a test case. By
lefinition ofanagogy with Dante's "Four Levels of
er illustrates the parallel images of the Pilgrim's
lffieys.
~osmology
Manning '99: From Literal Path to Transcendent Journey: The Pilgrim's Movemen
Manning
when it has passed up and beyond the
ascent, it will turn silent completely, since it
will finally be at one with him who is
indescribable. ("Mystical Theology" 139)
At one time, hell was thought to be a physical and mappable
place - a part of the Earthly cosmology created with the universe. By
combining both Aristotelian and Ptolemaic understandings of the universe,
Dante verbally maps these cosmological spaces, hell, purgatory, and
heaven, as the Pilgrim travels through them.
Aristotle plays a key role in Dante's understanding of the
universe and cannot be neglected in any study ofthe Pilgrim's
surroundings. Charles S. Singleton even explains that Dante simply called
Aristotle "The Philosopher." Like Ptolemy and Aristotle, Dante places
the Earth at the center of the spherical universe. According to Aristotle,
the sphere embodies the perfect shape: "The shape of Heaven must be
spherical. That is most suitable to its substance, and is the primary shape
in nature" (On the Heavens 155). Aristotle depends upon this shape to
form the concentric spheres upon which he bases his universe: "The
same must be true of the body which is contiguous to it, for what is
contiguous to the spherical is spherical, and also of those bodies which lie
nearer the centre, for bodies which are surrounded by the spherical and
touch it at all points must themselves be spherical" (157). Gyral
movement, a combination of both linear and circular motion, allows the
Pilgrim to move between Aristotle's concentric spheres.
Pseudo-Dionysius the Aereopagite's "The Mystical Theology"
and "The Celestial Hierarchy" help connect the Aristotelian and Dantean
universes. Dionysius' works focus on the movement from the material to
the inunaterial. The Pilgrim's movement throughout the physical spaces
from hell, to purgatory, to heaven structurally represents what Dionysius
explains as anagogical movement, or spiritual uplifting. Dante uses this
Dionysian concept of uplifting to illustrate the Pilgrim's movement into
divine understanding as he reaches heaven. The Pilgrim must be purified
in order to move as far as humanly possible, and eventually lift his eyes
and looks into God's face. By understanding his physical surroundings
and their various levels of symbolic meaning, the Pilgrim is brought, ifonly
for an instant, into unity with God.
and Theology
trgument now rises from what is
i> to the transcendent, and the more
, the more language falters, and
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uplifting. Dante expands Dionysius' defmitio
interpretation. Dante believed that anagogicl
the reader's soul and spiritual understanding
The connections between Aristotle's
mystical theology, and the "Four Levels ofIJ
understand the poem on all levels, from the 1
Pilgrim understands Christian theology as D
Pilgrim walks through the Aristotelian work
Method for Interpretation
[T]he first sense is that which is
contained in the letter, while there is
another which is contained in what is
signified by the letter.
("Letter to Can Grande" 99)
A misreading of the Divine Comedy, in Dante's time, would have
been a fatal error that could result in eternal damnation. Dante tried
avoiding this potential danger by distinguishing between the different
levels in the "Four Levels ofInterpretation." In this work, he establishes
a four-tiered reading schema: "In bringing out this meaning [the
anagogical], the literal should always come first, it being the meaning in
which the others are contained and without which it would be impossible
and irrational to come to an understanding ofthe others, particularly the
allegorical" ("Levels" 113). According to Dante, interpretation works
hierarchically and moves upward from the literal to the figurative.
Dante defines the four levels of reading as literal, allegorical,
moral, and anagogical (112). In describing the interpretational levels,
Dante also describes the futility of attempting to approach an allegorical
meaning or anagogical moment before one understands the literal sense.
The literal reading allows a reader to situate herself within the work itself.
More intimate familiarity with a text allows a reader to approach what
Dante states are more difficult, and more important, interpretations.
Upon understanding the literal sense, the reader can then progress to
allegorical interpretation. ·In describing the allegorical Dante emphasizes
the importance oflooking beyond the literal and understanding the
Pilgrim's surroundings as signs and symbols ofdeeper meaning.
According to Dante, the third level is most beneficial for teachers. Dante
believed that religious teachers correctly relied upon this method because
the moral interpretation would uncover applicable lessons in Biblical
passages. Finally, Dante explains the anagogicallevel of interpretation:
"The fourth sense is called the anagogical, or the 'sense beyond.' This
sense occurs when a spiritual interpretation is to be given a text which,
even though it is true on the literal level, represents the supreme things
belonging to eternal glory by means of the things it represents" ("Levels"
113). As stated earlier, Dionysius understood anagogy to be spiritual
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Literal Place
How I entered there I cann(
I had become so sleepy at tl
When I first strayed, leaving tI
The places the Pilgrim visits, the bo
gatekeepers he encounters illustrate the liter
the state of souls after death. These factors
terms of his voyage from the material to the
landscape of Inferno, the Pilgrim learns abc
Douglas Biow suggests: "In Dante's poem, '
impure in order to arrive at knowledge ofth.
that move the universe and govern the laws
must familiarize himself with his surroundin
In this same way, the reader must also becOJ
landscape in order to intellectually advance 1
ultimately anagogical, levels ofinterpretatior
Dante followed cartographical cony
Northern Hemisphere to land and its Southl:
one exception. According to Dante, Jerusal
pole of the Northern Hemisphere. At the 01=
uncharted sea, Dante places the Mountain c
mountain, lie heaven and, thus, the empyrec
Pilgrim to return to heaven he must move in
through hell, up the mountain, and ultimatel~
Dante's preoccupation with directic
. Comedy is the key to his Pilgrim's movemeJ
cosmos. As John Freccero states: "For DaJ
left existed: the 'right' and 'left' ofthec1osl:
("Pilgrim in a Gyre" 72). According to Aris'
~iew
ethod for Interpretation
st sense is that which is
d in the letter, while there is
Nhich is contained in what is
!by the letter.
to Can Grande" 99)
the Divine Comedy, in Dante's time, would have
lid result in eternal damnation. Dante tried
nger by distinguishing between the different
s ofInterpretation." In this work, he establishes
:rna: "In bringing out this meaning [the
ould always come first, it being the meaning in
ained and without which it would be impossible
an understanding of the others, particularly the
3). According to Dante, interpretation works
:upward from the literal to the figurative.
~ four levels ofreading as literal, allegorical,
[2). In describing the interpretational levels,
futility ofattempting to approach an allegorical
loment before one understands the literal sense.
~ a reader to situate herself within the work itself.
(with a text allows a reader to approach what
licult, and more important, interpretations.
literal sense, the reader can then progress to
,·In describing the allegorical Dante emphasizes
~ beyond the literal and understanding the
) signs and symbols ofdeeper meaning.
thir<,llevel is most beneficial for teachers. Dante
ichers correctly relied upon this method because
'ould uncover applicable lessons in Biblical
explains the anagogicallevel ofinterpretation:
xl the anagogical, or the 'sense beyond.' This
ltual interpretation is to be given a text which,
he literal level, represents the supreme things
{by means of the things it represents" ("Levels"
ionysius understood anagogy to be spiritual
Manning '99: From Literal Path to Transcendent Journey: The Pilgrim's Movemen
Manning
uplifting. Dante expands Dionysius' definition to explain his final level of
interpretation. Dante believed that anagogical interpretation could uplift
the reader's soul and spiritual understanding.
The connections between Aristotle's cosmology, Dionysius'
mystical theology, and the "Four Levels ofInterpretation" help the reader
understand the poem on all levels, from the literal to the figurative. The
Pilgrim understands Christian theology as Dante would have, and the
Pilgrim walks through the Aristotelian world as Dante did.
Literal Place
How I entered there I cannot truly say,
I had become so sleepy at the moment
When I first strayed, leaving the path of truth...
(Inf 1.10-12)
The places the Pilgrim visits, the borders he crosses, and the
gatekeepers he encounters illustrate the literal meaning of his journey­
the state of souls after death. These factors act as the "material" in
terms of his voyage from the material to the immaterial. In the literal
landscape of Inferno, the Pilgrim learns about the nature of sin. As
Douglas Biow suggests: "In Dante's poem, one must pass through the
impure in order to arrive at knowledge of the self and of the higher truths
that move the universe and govern the laws of hell" (48). The Pilgrim
must familiarize himself with his surroundings in order to learn from them.
In this same way, the reader must also become intimate with the poem's
landscape in order to intellectually advance to the allegorical, and
ultimately anagogical, levels ofinterpretation.
Dante followed cartographical convention and committed Earth's
Northern Hemisphere to land and its Southern Hemisphere to water with
one exception. According to Dante, Jerusalem occupies the terrestrial
pole of the Northern Hemisphere. At the opposite pole, amidst an
uncharted sea, Dante places the Mountain of Purgatory. Beyond the
mountain, lie heaven and, thus, the empyrean. Therefore, in order for the
Pilgrim to return to heaven he must move in an absolute upward direction
through hell, up the mountain, and ultimately out into the empyrean.
Dante's preoccupation with direction throughout the Divine
Comedy is the key to his Pilgrim's movement through the Aristotelian
cosmos. As John Freccero states: "For Dante ... an absolute right and
left existed: the 'right' and 'left' of the closed Aristotelian cosmos"
("Pilgrim in a Gyre" 72). According to Aristotle, "right" begins in the
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symbolic borders and make sure that they are
Just as souls in the apocalyptic traditic
gatekeepers before they were allowed entranc
is the Pilgrim. He must cross a series ofbord
inquiries of gatekeepers in, order to keep movi
question the living soul, they typically carry or
ofhis voyage. Dante's gatekeepers signify the
uplifting.
The sinners around the gatekeepers in
about the nature of sin, and the Pilgrim's suce
gatekeepers mark his intellectual progression.
gatekeepers and borders that mark the Pilgrim
today I will only be discussing a few ofthe pri
Minos, the judge at the entrance of heI
the Pilgrim from such an arduous journey. Virl
however, that the journey has been divinely Sal
must continue. "Do not attempt to stop his fate
there where the power is / for what is willed; t
(In! 5.22-24). This portion ofthe poem establ
the Pilgrim, thus validating his passage past M:
hell.
The first sinners whom the Pilgrim en
Here, he speaks to Paolo and Francesca, whO!
misguided desire led to their torment. France~
weeping cause the Pilgrim to feel pity for ther:
blurred my senses; I swooned as though to di~
point in the journey, the Pilgrim's swoon emph
past Francesca's sad story and recognize the f
the Pilgrim's reaction to Francesca illustrates t
and positioning at the beginning ofthe journey
suggests the pilgrimage's necessary and unava
In canto 8, the Pilgrim boards Phlegy.
begins to chart the Pilgrim and Virgil across t1:
out ofthe water and questions the Pilgrim's ide
come before your time?'" (In! 8.33). This sc
Pilgrim's identity. This mirrors the Christian tr
gatekeepers serve to establish the identity ofsc
iIi hell and heaven.
In Canto 12, the Pilgrim and his guide
of hell's seventh circle, where the violent sinn.
east where all motion in space begins. Thus, movement "to the right"
literally means movement to the left, which is west, in order to return to
its point oforigin in the "right," which is east. Following this, Dante
concludes that terrestrial south should be designated as absolute/celestial
up because, if it were, the cosmos would actually be moving to the right.
The key to understanding this confusing argument comes with the
determination that, for Dante at least, terrestrial south was "up" and
terrestrial north was "down" (figs. 1 & 2).
The Pilgrim's movement throughout the poem adheres to this
understanding ofthe cosmos. According to Aristotle's definitions of up
and down, north and south, the Pilgrim indeed moves upward the whole
time. Since Satan fell face-first from heaven, he would have landed
headfirst at the center of the earth, with his feet sticking up in the
Southern Hemisphere. His fall created hell in the Northern Hemisphere,
with the worst sinners being closest to him at the center of the earth, and
the Mountain of Purgatory in the Southern Hemisphere. This explains
why, after the Pilgrim climbs down Satan's body and reaches his waist,
which acts as a kind of equator, he reverses directions and begins to
climb up the beast's leg. For the Pilgrim, passing Satan's waist also
meant passing into the Southern Hemisphere. Although the Pilgrim's
head points in different directions during the journey, towards the north in
the Northern Hemisphere and towards the south in the southern, the
Pilgrim moves in the same direction throughout the whole poem.
While the Aristotelian conception ofthe universe illustrates the
Pilgrim's literal upward movement, the ancient gatekeeper tradition marks
the Pilgrim's spiritual and intellectual uplifting. Gatekeepers have a long
history of interrogating souls in the afterlife. In her book, Seek to See
Him, April DeConick states that Ancient Egyptians believed that "the soul
could expect to be interrogated when it attempts to pass through the
seven 'Arits' or forts" (50). She uses the First Apocalypse ofJames,
where "Jesus tells James the proper responses to the angelic guards," as
a basis for the assertion that the gatekeeper tradition had filtered into
early Christianity (51). It is natural, since The Divine Comedy is a
Christian poem, that such beasts also mark the Pilgrim's journey.
DeConick establishes three main reasons for the gatekeepers'
questioning the souls: to establish identity, to test the soul's knowledge,
and to demonstrate the purity of the soul (51). Espousing each of these
three intentions enables the gatekeepers to distinguish between those
souls who are worthy of entering the holy space and those who are not.
As souls attempt to move toward God, gatekeepers stand watch at
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. iii
view
pace begins. Thus, movement "to the right"
t to the left, which is west, in order to return to
ight," which is east. Following this, Dante
louth should be designated as absolute/celestial
cosmos would actually be moving to the right.
this confusing argument comes with the
mte at least, terrestrial south was "up" and
m" (figs. 1 & 2).
vement throughout the poem adheres to this
lOS. According to Aristotle's definitions of up
1, the Pilgrim indeed moves upward the whole
e-first from heaven, he would have landed
he earth, with his feet sticking up in the
ls fall created hell in the Northern Hemisphere,
ng closest to him at the center of the earth, and
f in the Southern Hemisphere. This explains
nbs down Satan's body and reaches his waist,
uator, he reverses directions and begins to
f"orthe Pilgrim, passing Satan's waist also
lthern Hemisphere. Although the Pilgrim's
rections during the journey, towards the north in
and towards the south in the southern, the
~ direction throughout the whole poem.
elian conception ofthe universe illustrates the
lovement, the ancient gatekeeper tradition marks
intellectual uplifting. Gatekeepers have a long
)u1s in the afterlife. In her book, Seek to See
es that Ancient Egyptians believed that ''the soul
gated when it attempts to pass through the
0). She uses the First Apocalypse ofJames,
the proper responses to the angelic guards," as
tat the gatekeeper tradition had filtered into
is natural, since The Divine Comedy is a
beasts also mark the Pilgrim's journey.
shes three main reasons for the gatekeepers'
nablish identity, to test the soul's knowledge,
rity of the soul (51). Espousing each of these
le gatekeepers to distinguish between those
ntering the holy space and those who are not.
toward God, gatekeepers stand watch at
Manning
Manning '99: From Literal Path to Transcendent Journey: The Pilgrim's Movemen
symbolic borders and make sure that they are worthy of passage.
Just as souls in the apocalyptic tradition were questioned by
gatekeepers before they were allowed entrance to sacred spaces, so too
is the Pilgrim. He must cross a series of borders and answer the harsh
inquiries of gatekeepers in. order to keep moving. After the guards
question the living soul, they typically carry or escort him to the next level
ofhis voyage. Dante's gatekeepers signify the Pilgrim's spiritual
uplifting.
The sinners around the gatekeepers in hell teach the Pilgrim
about the nature of sin, and the Pilgrim's successful passage past the
gatekeepers mark his intellectual progression. Although there are many
gatekeepers and borders that mark the Pilgrim's attainment of knowledge,
today I will only be discussing a few of the prime examples.
Minos, the judge at the entrance of hell, attempts to discourage
the Pilgrim from such an arduous journey. Virgil explains to Minos,
however, that the journey has been divinely sanctioned and the Pilgrim
must continue. "Do not attempt to stop his fated journey; / it is so willed
there where the power is / for what is willed; that's all you need to know"
(In! 5.22-24). This portion ofthe poem establishes God's invitation to
the Pilgrim, thus validating his passage past Minos and his trip through
hell.
The first sinners whom the Pilgrim encounters are the lustful.
Here, he speaks to Paolo and Francesca, whose misreading and
misguided desire led to their torment. Francesca' s sorrowful story and
weeping cause the Pilgrim to feel pity for them: "[I]n such a way that pity
blurred my senses; I swooned as though to die" (In! 5.140-141). At this
point in the journey, the Pilgrim's swoon emphasizes his inability to see
past Francesca's sad story and recognize the fault of her sin. Although
the Pilgrim's reaction to Francesca illustrates his immature knowledge
and positioning at the beginning ofthe journey, his movement past Minos
suggests the pilgrimage's necessary and unavoidable completion.
In canto 8, the Pilgrim boards Phlegyas' skiff. As the boatman
begins to chart the Pilgrim and Virgil across the river Styx, a soul arises
out ofthe water and questions the Pilgrim's identity: "'Who are you, who
come before your time?''' (In! 8.33). This soul seeks to determine the
Pilgrim's identity. This mirrors the Christian tradition, in which
gatekeepers serve to establish the identity ofsouls, especially living souls,
in hell and heaven.
.
In Canto 12, the Pilgrim and his guide encounter the gatekeeper
ofhell's seventh circle, where the violent sinners reside. The furious
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Minotaur presides over this circle and serves as another bestial obstacle
along the Pilgrim's path. Virgil insults the bull, and his words throw the
animal into a fit of rage. Virgil and the Pilgrim use the Minotaur's own
violence against himself, in the circle of the violent, in order to defeat the
beast. The Pilgrim recognizes how they beat the animal by consuming
him with fury and sees that violence can consume emotions and
intelligence. At the beginning ofthe next canto, Virgil reminds the Pilgrim
of the lesson he has just learned about violence. His passage past the
Minotaur illustrates the successful completion ofthis lesson.
The Pilgrim next reaches the Great Barrier that leads down to
the eighth circle of hell. Since the Great Barrier is devoid of any bridges
or paths, it can only be crossed by air travel. In order to move to this
next level, Virgil summons a flying beast to carry the two down. Virgil
takes a cord the Pilgrim wears and throws it over the edge of a cliff to
summon Geryon, a bestial symbol of fraud. Mark Musa is one critic who
believes that the Pilgrim's giving up his sash symbolizes his newfound
humility. In his notes to Inferno, Musa states: "It is at the command of
his guide, Reason, that he frees himselfof the cord, to rely on him fully in
the coming encounter with Fraud" (Inf. 16 n.l 06-1 08). By taking the
Pilgrim's cord, Virgil forces his companion to humbly rely upon his guide
and their bestial transportation. At this point, the Pilgrim learns humility
because he must rely completely upon another creature to carry him to
the next level.
Geryon takes the Pilgrim down to hell's eighth circle, which
consists of the malebolge, where the fraudulent sinners are punished. In
canto 28, the Pilgrim encounters Bertran de Born, one of the schismatics.
This sinner teaches the Pilgrim about contrapasso, whereby sins
committed on earth directly correlate with their punishments in hell.
Martha Himmelfarb states that "measure for measure" punishments are
common injoumeys through hell. Bertran de Born states: "Because I cut
the bonds of those so joined, / I bear my head cut off from its life-source,
/ which is back there, alas, with its trunk" (28.139-141). According to
this statement, Bertran claims to be a perfect illustration of contrapasso.
The Pilgrim would not have understood the implications of
Bertran's statement without having seen first-hand the other sinners
enduring their proper punishments; for instance, the slothful ofthe
seventh circle who live in a pit of heavy slime, the suicides who lose the
rights to their physical bodies in hell and become trees, and the flatterers
in the second malebolgia who"are up to their faces in feces. All of the
punishments in hell, as Bertran explains, fit the sins committed on earth.
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Thus, after passing via Geryon into the eight
gains even more knowledge about the nature
In canto 31, Virgil warns the Pilgrin
canto 32, however, the Pilgrim illustrates his
these sinners. Where the r;;ins of betrayal art
across the frozen river of Caina. In thIs riveJ
to their necks. The Pilgrim ignores one sinr
any of their heads: "[B]y fate or chance or VI
know - but stepping among the heads, / my
of those faces" (In! 32.76-78). This intuith
illustrates the Pilgrim's lack ofpity. As the:
after refusing to help yet another sinner: "T.
generous reward" (33.150). By the end of,
longer moved to swoon over these poor sim
with contempt and proves that he is ready t.
purgation.
Conclusion
We climbed, he first and I b.
through a small round open
I saw the lovely things the ~
and we came out to see on
(I~
This project uses Inferno as a test c
construction of the world and its interpretati
Comedy; additionally, this schema applies 1
In Purgatorio, the Pilgrim continues to lear
through the process of its purgation. He me
Purgatory and cleanses his soul in the proCI
the different borders throughout this portior
remove the Ps from the Pilgrim's forehead,
purgation. In Paradiso, the Pilgrim reache
becomes his guide. In the empyrean, the Pi:
love moves the sun and other stars. Aristot
the borders the Pilgrim must cross in this se.
gatekeepers, borders, and guides throUghOll
.would illustrate the model this project posits
Dante's "Four Levels of Interpretat
polysemous nature of interpretation, where
literal space to its final anagogical moment.
8
.
;~
view
tis circle and serves as another bestial obstacle
Virgil insults the bull, and his words throw the
Virgil and the Pilgrim use the Minotaur's own
in the circle of the violent, in order to defeat the
rtizes how they beat the animal by consuming
at violence can consume emotions and
ningofthe next canto, Virgil reminds the Pilgrim
earned about violence. His passage past the
lccessful completion of this lesson.
reaches the Great Barrier that leads down to
Since the Great Barrier is devoid of any bridges
ossed by air travel. In order to move to this
15 a flying beast to carry the two down. Virgil
",ears and throws it over the edge of a cliff to
II symbol of fraud. Mark Musa is one critic who
;giving up his sash symbolizes his newfound
lnferno, Musa states: "It is at the command of
'frees himselfofthe cord, to rely on him fully in
:h Fraud" (Inf 16 n.1 06-1 08). By taking the
:es his companion to humbly rely upon his guide
ation. At this point, the Pilgrim learns humility
Ipletely upon another creature to carry him to
Pilgrim down to hell's eighth circle, which
where the fraudulent sinners are punished. In
ounters Bertran de Born, one of the schismatics.
ilgrim about contrapasso, whereby sins
:ly correlate with their punishments in hell.
~ that "measure for measure" punishments are
ugh hell. Bertran de Born states: "Because I cut
led, I I bear my head cut off from its life-source,
i, with its trunk" (28.139-141). According to
aims to be a perfect illustration of contrapasso.
.d not have understood the implications of
lUt having seen first-hand the other sinners
ishments; for instance, the slothful ofthe
.a pit of heavy slime, the suicides who lose the
dies in hell and become trees, and the flatterers
who are up to their faces in feces. All of the
~ran explains, fit the sins committed on earth.
~.
Manning '99: From Literal Path to Transcendent Journey: The Pilgrim's Movemen
Manning
Thus, after passing via Geryon into the eighth circle ofhell, the Pilgrim
gains even more knowledge about the nature of sin and punishment.
In canto 3 I, Virgil warns the Pilgrim about being deceived. In
canto 32, however, the Pilgrim illustrates his newfound lack of pity for
these sinners. Where the ~ins of betrayal are punished, the Pilgrim walks
across the frozen river ofCaina. In tlUs river, the traitors reside frozen up
to their necks. The Pilgrim ignores one sinner's warning not to step on
any of their heads: "[B]y fate or chance or willfully perhaps, I I do not
know - but stepping among the heads, I my foot kicked hard against one
of those faces" (Inf 32.76-78). This intuitive, but learned, action
illustrates the Pilgrim's lack ofpity. As the Pilgrim describes in canto 33
after refusing to help yet another sinner: "To be mean to him was a
generous reward" (33.150). By the end of Inferno, the Pilgrim is no
longer moved to swoon over these poor sinners; instead, he treats them
with contempt and proves that he is ready to endure the process of
purgation.
Conclusion
We climbed, he first and I behind, until,
through a small round opening ahead ofus
I saw the lovely things the heavens hold,
and we came out to see once more the stars.
(Inf34.136-139)
This project uses Inferno as a test case for the multi-layered
construction of the world and its interpretations within Dante's Divine
Comedy; additionally, this schema applies to Purgatorio and Paradiso.
In Purgatorio, the Pilgrim continues to learn about the nature of sin
through the process of its purgation. He moves up the mountain of
Purgatory and cleanses his soul in the process. Angels stand as guards to
the different borders throughout this portion of the poem. These angels
remove the Ps from the Pilgrim's forehead, and their removal marks his
purgation. In Paradiso, the Pilgrim reaches heaven where Beatrice
becomes his guide. In the empyrean, the Pilgrim understands that God's
love moves the sun and other stars. Aristotle's concentric spheres mark
the borders the Pilgrim must cross in this section. Continuing the study of
gatekeepers, borders, and guides throughout the other two canticles
would illustrate the model this project posits.
Dante's "Four Levels of Interpretation" establishes the
polysemous nature of interpretation, where everything from the poem's
literal space to its final anagogical moment can be interpreted in different
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Published by Digital Commons @ IWU, 1998
The Undergraduate
ReviewReview, Vol. 11, Iss. 1 [1998], Art. 8
Undergraduate
ways. For Dante, the most important aspect of interpretation is moving
from literal understanding to spiritual uplifting. He wrote the poem not
only as an explanation ofthe Pilgrim's progression toward salvation but
also as a guide for the reader's purification. Like reason, however, the
poem can only uplift the reader so far; after that, the reader must
individually advance to the anagogicallevel in order to reach the ultimate
moment ofdivine wisdom.
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