The pouch begins with Dante and Virgil climbing where “without the
hand the foot could not go on”(XXVI: 18). They get to the top of
the mountain and Dante sorrows. He sees numerous flames where “every
flame contrives to steal away a sinner”(43-44). Dante goes “to balance
where the bridge’ high point gives a better view”(45). Virgil explains
the pouch saying, “each one here/ Enfolds himself in what burns him”(50-
51) Looking out they see two sinners who are “Enduring vengeance
together, as they did wrath”(59). In these flames are the famous
or infamous “Ulysses and Diomedes”(vs.58). The people of the time
considered these men heros while Dante is making the suggestion that
God considers them prideful brutes. Dante asks “If they can speak
with those sparks of flame”(67). These sinners are so much in fire
that they have become their own fire.
Ulysses and Diomedes are eternally
burning together and when they speak it is a “murmur like fire the
wind beats”(85). Odysseus uses the serpentine tongue of the fire
to hiss out his tale of woe. Odysseus explains his sin crackling
“Not fondness for my son, nor any claim/ of reverence for my father,
nor love I owed / Penelope, to please her, could overcome / my longing
for experience of the world”(91-94). His abandonment of his family
is a grave error for any man to make. This betrayal is not his only
sin for...
...he is also chastised for sailing beyond “Hercules markers”(103-
104). His folly is “the pursuit of knowledge and the good”(115) without
the guidance of God. All Odysseus would be able to find is the wisdom
of this world. The temptation for the knowledge of good and evil
resounds through out all of human history. Ulysses made the choice
to become like God and not to surrender to God. Scholars bring much
more insight to Canto XXVI.
Lawerence V. Ryan, a literary critic, gives an analysis of Canto
XXVI. He explains how all people have “the restlessly searching human
mind [that longs] for philosophical knowledge”(227). He is saying
that all people, at least initially, disobey God by choosing the
fruit the devil desired for man to have. Only once man knows that
sins is evil does he decide to reject the rebellion and thus submit
and trust God. He relates this human trait to the incident with Ulysses.
“Presumptuously taking his [Ulysses’] metaphysical “folle volo”
without having had his mind and heart converted to God” (227) is
foolishness. The only true wisdom a person can find is in God. Ryan
says that the highest calling of man is contemplation, but not at
the cost of family and country. These responsibilities are the duty
of man to others, to himself, and to God.
Furthermore, Canto XXVII tells of, Guido da Montefeltro, another
false counselor. He says, “I was expert / in all the stratagems and
covert ways”(XXVII: 74-75). He hoped to rid himself of sin and “do
penance by wearing the rope [of the friar]” (65-66). Not understanding
that one is saved through faith by grace and not by works, Guido
falls back into sin when Boniface VIII ask him counsel about political
issues. Vengeful politics is not an area the Pope should ever have
his hand on. The Pope told Guido that he absolves him of any sin
that he will commit and thus that it is alright for him to help the
devil do his work. This is not acceptable to God because sin can
not be planned, absolved by a pope, and then acted upon with immediate
forgiveness available. The irrationality of the incident, along with
its spiteful twist, caused trouble for Guido and Boniface VIII. When
Guido dies Saint Francis comes for him but a black cherubim of hell
appears to steal away the unrepentant sinner. The demon growls that
“He must be carried down / among my servants”(116-117). The fallen
angel reason that “no one has absolution without repenting; nor can
one will a sin / and repent at once”(119-121).
Ryan contends that “The episodes [of Ulysses and Guido] are meant
to be read together not only as a single poetic unit but, even more
importantly, as part of the total fabric of the Commedia”(Ryan 228).
Ryan says “doing so, moreover, can help to solve the apparent discrepancy
within the character of Ulysses, who is presented as both trickster
at Troy and captain of the aging crew who sail boldly into the uncharted
waters of the western ocean”(227). Ryan offers the interpretation
that the two facets of Ulysses character must be linked and that
by understanding the story of Guido, one can gain insight into the
initial story.
Ryan gives a few reasons why the two Cantos are meant to be connected.
He says one is that, “the manner in which his [Dante’s] attention
is drawn from the receding two-pronged [flame] to another approaching
flame”(229) shows a “smooth transition”(229). Examining Canto XXVII,
one sees the visual progression. Dante records that “The flame already
was quiet and erect again, done speaking” (XXVII:1-2). This means
that the first flame was already done speaking by the end of Canto
XXVI. Dante then writes that, “behind it [the first flame] another
one [ the second flame] was drawing near”(vs. 3-4) This diverging
and emerging contains more than the obvious connection of Cantos.
The two sins are themselves being linked.
Ryan says another connection is that “the image of the rash sea-
voyage is recollected” (230). Guido says that at the time “when we
should let our sails descend and coil the ropes”(79-80) he felt sorrow
for his sins. The angel of darkness points out that Guido was a late
repentant and thus not worthy of eternal light and life, just as
Ulysses deserved the same diatribe. Ulysses says that, “dim in the
distance we saw a mountaintop: It seemed the highest I had ever seen.
We celebrated– but soon began to weep, for from the newfound land
a storm had grown, rising to strike the forepart of the ship”(230).
Ulysses final comment might mean that they realized they had committed
a severe error by going past the markers of Hercules [God], and were
repenting at the last minute just as Guido tried to do.
Ryan’s third link is that “the terzine in the two cantos revealing
neglect of obligations that lead to the eternally fatal decision
are strikingly similar”(230). The verses themselves contain parallels.
Ryan is referring to the relationship betrayal between Guido and
Boniface, and Ulysses and his family. Ryan says that “Ulysses’s abandonment
of son, father, and wife is an unnatural act, and one especially
reprehensible in a ruler”(232) Ryan continues this connection of
relationship neglect. “Guido did make the effort to drop anchor securely
in the haven of a Franciscan convent, but he was tempted out onto
perilous seas again by the false promise of Boniface, the reckless
pilot of the ark of the church” (234). Both ‘fathers’ neglecting
to care for their ‘children’ is pronouncedly tantamount.
Ryan summarizes his point well saying, “the two sinners represent,
in turn, the fraud that undermines res publica, ordained by Providence,
to help human beings fulfill the potential of their nature within
time, and ecclesia, the divinely instituted means for attainment
of the supernatural end of the species”(228). This shows God two
supreme purposes for mankind: earthly paradise and heavenly bliss.
(See footnote 6 of Ryan essay for more info on last sentence)
From the earthly garden of Eden to the New Heavens and the New Earth,
people can know that God has intimate plans for the places where
they will spend time with him. Eden did not work out, but mankind
has hopefully learned their lessons so as to be ready for the New
Creation. Dante and Ryan are telling everyone that they must choose
to live in the city of God or the City of man. Dante’s written pictures
of the cities provides ample insight into their essence and environs.
Assuming that all humans are pilgrims on a journey with a final
destination, would hell or heaven feel more like home?
hand the foot could not go on”(XXVI: 18). They get to the top of
the mountain and Dante sorrows. He sees numerous flames where “every
flame contrives to steal away a sinner”(43-44). Dante goes “to balance
where the bridge’ high point gives a better view”(45). Virgil explains
the pouch saying, “each one here/ Enfolds himself in what burns him”(50-
51) Looking out they see two sinners who are “Enduring vengeance
together, as they did wrath”(59). In these flames are the famous
or infamous “Ulysses and Diomedes”(vs.58). The people of the time
considered these men heros while Dante is making the suggestion that
God considers them prideful brutes. Dante asks “If they can speak
with those sparks of flame”(67). These sinners are so much in fire
that they have become their own fire.
Ulysses and Diomedes are eternally
burning together and when they speak it is a “murmur like fire the
wind beats”(85). Odysseus uses the serpentine tongue of the fire
to hiss out his tale of woe. Odysseus explains his sin crackling
“Not fondness for my son, nor any claim/ of reverence for my father,
nor love I owed / Penelope, to please her, could overcome / my longing
for experience of the world”(91-94). His abandonment of his family
is a grave error for any man to make. This betrayal is not his only
sin for...
...he is also chastised for sailing beyond “Hercules markers”(103-
104). His folly is “the pursuit of knowledge and the good”(115) without
the guidance of God. All Odysseus would be able to find is the wisdom
of this world. The temptation for the knowledge of good and evil
resounds through out all of human history. Ulysses made the choice
to become like God and not to surrender to God. Scholars bring much
more insight to Canto XXVI.
Lawerence V. Ryan, a literary critic, gives an analysis of Canto
XXVI. He explains how all people have “the restlessly searching human
mind [that longs] for philosophical knowledge”(227). He is saying
that all people, at least initially, disobey God by choosing the
fruit the devil desired for man to have. Only once man knows that
sins is evil does he decide to reject the rebellion and thus submit
and trust God. He relates this human trait to the incident with Ulysses.
“Presumptuously taking his [Ulysses’] metaphysical “folle volo”
without having had his mind and heart converted to God” (227) is
foolishness. The only true wisdom a person can find is in God. Ryan
says that the highest calling of man is contemplation, but not at
the cost of family and country. These responsibilities are the duty
of man to others, to himself, and to God.
Furthermore, Canto XXVII tells of, Guido da Montefeltro, another
false counselor. He says, “I was expert / in all the stratagems and
covert ways”(XXVII: 74-75). He hoped to rid himself of sin and “do
penance by wearing the rope [of the friar]” (65-66). Not understanding
that one is saved through faith by grace and not by works, Guido
falls back into sin when Boniface VIII ask him counsel about political
issues. Vengeful politics is not an area the Pope should ever have
his hand on. The Pope told Guido that he absolves him of any sin
that he will commit and thus that it is alright for him to help the
devil do his work. This is not acceptable to God because sin can
not be planned, absolved by a pope, and then acted upon with immediate
forgiveness available. The irrationality of the incident, along with
its spiteful twist, caused trouble for Guido and Boniface VIII. When
Guido dies Saint Francis comes for him but a black cherubim of hell
appears to steal away the unrepentant sinner. The demon growls that
“He must be carried down / among my servants”(116-117). The fallen
angel reason that “no one has absolution without repenting; nor can
one will a sin / and repent at once”(119-121).
Ryan contends that “The episodes [of Ulysses and Guido] are meant
to be read together not only as a single poetic unit but, even more
importantly, as part of the total fabric of the Commedia”(Ryan 228).
Ryan says “doing so, moreover, can help to solve the apparent discrepancy
within the character of Ulysses, who is presented as both trickster
at Troy and captain of the aging crew who sail boldly into the uncharted
waters of the western ocean”(227). Ryan offers the interpretation
that the two facets of Ulysses character must be linked and that
by understanding the story of Guido, one can gain insight into the
initial story.
Ryan gives a few reasons why the two Cantos are meant to be connected.
He says one is that, “the manner in which his [Dante’s] attention
is drawn from the receding two-pronged [flame] to another approaching
flame”(229) shows a “smooth transition”(229). Examining Canto XXVII,
one sees the visual progression. Dante records that “The flame already
was quiet and erect again, done speaking” (XXVII:1-2). This means
that the first flame was already done speaking by the end of Canto
XXVI. Dante then writes that, “behind it [the first flame] another
one [ the second flame] was drawing near”(vs. 3-4) This diverging
and emerging contains more than the obvious connection of Cantos.
The two sins are themselves being linked.
Ryan says another connection is that “the image of the rash sea-
voyage is recollected” (230). Guido says that at the time “when we
should let our sails descend and coil the ropes”(79-80) he felt sorrow
for his sins. The angel of darkness points out that Guido was a late
repentant and thus not worthy of eternal light and life, just as
Ulysses deserved the same diatribe. Ulysses says that, “dim in the
distance we saw a mountaintop: It seemed the highest I had ever seen.
We celebrated– but soon began to weep, for from the newfound land
a storm had grown, rising to strike the forepart of the ship”(230).
Ulysses final comment might mean that they realized they had committed
a severe error by going past the markers of Hercules [God], and were
repenting at the last minute just as Guido tried to do.
Ryan’s third link is that “the terzine in the two cantos revealing
neglect of obligations that lead to the eternally fatal decision
are strikingly similar”(230). The verses themselves contain parallels.
Ryan is referring to the relationship betrayal between Guido and
Boniface, and Ulysses and his family. Ryan says that “Ulysses’s abandonment
of son, father, and wife is an unnatural act, and one especially
reprehensible in a ruler”(232) Ryan continues this connection of
relationship neglect. “Guido did make the effort to drop anchor securely
in the haven of a Franciscan convent, but he was tempted out onto
perilous seas again by the false promise of Boniface, the reckless
pilot of the ark of the church” (234). Both ‘fathers’ neglecting
to care for their ‘children’ is pronouncedly tantamount.
Ryan summarizes his point well saying, “the two sinners represent,
in turn, the fraud that undermines res publica, ordained by Providence,
to help human beings fulfill the potential of their nature within
time, and ecclesia, the divinely instituted means for attainment
of the supernatural end of the species”(228). This shows God two
supreme purposes for mankind: earthly paradise and heavenly bliss.
(See footnote 6 of Ryan essay for more info on last sentence)
From the earthly garden of Eden to the New Heavens and the New Earth,
people can know that God has intimate plans for the places where
they will spend time with him. Eden did not work out, but mankind
has hopefully learned their lessons so as to be ready for the New
Creation. Dante and Ryan are telling everyone that they must choose
to live in the city of God or the City of man. Dante’s written pictures
of the cities provides ample insight into their essence and environs.
Assuming that all humans are pilgrims on a journey with a final
destination, would hell or heaven feel more like home?
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