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Dante #10: Purgatory Cantos 5-14
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Shakespeare's 'Macbeth' uniquely presents a strong unity of action and character, illustrating the aphorism 'Character is fate,' a rarity among his works that often disregarded Aristotelian unities of action, time, and place.
Lady Macbeth's statements, 'what's done is done' and 'what's done cannot be undone,' though logically identical, convey vastly different emotional tenors, highlighting a fatal aspect of deeds that defines an agent's character and fate.
Macbeth's 'tomorrow and tomorrow and tomorrow' speech, often misinterpreted as Shakespeare's universal wisdom, is actually Macbeth's nihilistic reflection on the cost of ambition and the tedium of a life devoid of purpose, rather than a profound philosophical statement by the author.
Dante's cosmology, unlike a static 'game master' God, proposes a co-creation process where individuals, especially poets with vibrant imaginations, actively participate in shaping the universe, including evolving realms like Hell and Purgatory.
In Purgatory, the ability of prayers from loved ones to reduce a soul's time underscores a revolutionary Dantian concept: God is not transactional in terms of salvation but recognizes sincere love and communal connection as powerful intercessions, contrasting with the era's church practices of selling indulgences.
Artwork is presented as the primary catalyst for self-reflection and redemption in Purgatory, with beauty triggering emotions and focusing them through a lens of 'mathematical principles' and 'symmetry,' leading to an understanding of God's mind and fostering love. This directly refutes Plato's view that beauty distracts from mathematical truth.
Macbeth's nihilism reveals the true cost of unchecked ambition
Shakespeare's 'Macbeth' offers a rare instance among his plays where Aristotelian principles of dramatic unity are strongly observed, linking action and character in a seamless narrative. Professor David Bramitch highlights how Macbeth's ambition and subsequent deeds are the definitive illustrations of his character, aligning with the Heraclitean aphorism, 'Character is fate.' Lady Macbeth's evolving perspective on their crime, from a resolute 'what's done is done' to a despairing 'what's done cannot be undone,' reveals the fatal, inescapable nature of their actions. This shift in phrasing, though logically equivalent, marks a psychological descent, showing how a single deed can define a person's entire fate. Macbeth's soliloquy at the end of Act I, where he contemplates the 'be all and the end all' of his assassination, encapsulates his imaginative and ambitious nature, yet acknowledges the 'even-handed justice' that would plague the inventor of 'bloody instructions.' He grapples with the duality of his roles—kinsman, subject, host—all betraying Duncan, and later expresses a profound nihilism in his 'tomorrow and tomorrow and tomorrow' speech. This speech, often misconstrued as Shakespeare's universal wisdom, is, in fact, Macbeth's personal reflection on the emptiness and tedium brought about by his ambition, exposing the psychological devastation inherent in such a path. It underscores that this nihilism is a consequence of his choices, not a universal truth disseminated by the playwright, challenging audiences to differentiate between character's perspective and author's message.
Dante's evolving cosmology and the power of collective imagination
In stark contrast to traditional theological views, Dante's 'Divine Comedy' proposes that the universe, including the realms of Hell, Purgatory, and Heaven, is not a static creation but an evolving, co-creative process. This means that individuals, particularly poets, can exert a significant influence on spiritual realities through their imagination. This perspective is vital when considering figures like Virgil, who initially describes a fixed, pagan underworld, but whose understanding must later adapt. The dialogue challenges the notion of a transactional God, emphasizing that genuine repentance and the sincere prayers of loved ones hold transformative power, rather than deals or offerings. This Dantian cosmology suggests that even the afterlife is subject to continuous change and reinterpretation by humanity's collective consciousness. This dynamic view offers a powerful message of hope and agency, suggesting that eternal damnation is a choice, not an unchangeable fate, and that individuals can always strive for redemption, even from the deepest pits of perceived hopelessness.
Fame, narcissism, and the spiritual cost of shadows
Upon entering Purgatory, Dante's progress is repeatedly stalled by his fascination with the 'shadow' he casts, which the souls in Purgatory gawk at, mistaking it for a sign of celebrity. This literally slows him down on his journey to Beatrice and God, highlighting Dante's own lingering obsession with 'everlasting fame'—a goal Virgil had earlier suggested in Hell as a motivation to move forward. The irony is profound: what confers this 'fame' is a shadow, an illusion, underscoring the hollowness of seeking recognition over spiritual advancement. Dante's repeated delight at casting a shadow, which draws the adulation of the shades, showcases his narcissistic tendencies and the addictive nature of fame, comparing it to a social media influencer driven solely by metrics. This self-absorption becomes a significant obstacle, distracting him from his ultimate divine purpose. Beatrice, observing this from Heaven, is portrayed as justifiably 'pissed,' leading to a divine intervention where Saint Lucia physically carries Dante to the gates of Purgatory while he is asleep, a 'nudge' meant to force him into self-reflection and recognition of his misplaced priorities. This divine intervention, seemingly an act of grace, is also framed as a fearful wake-up call for Dante, signifying his need to align his contingent will (his actions) with his absolute will (his devotion to God).
The transformational power of art in purgatorial cleansing
The initial experience of Purgatory proper for Dante is seeing intricate artwork carved into the rock, depicting scenes of humility. These carvings act as a 'movie' for his mind, immediately engaging his imagination. This emphasizes Dante's belief that art is the foundational step for self-redemption and cleansing. The process of engaging with art, as explored through examples like Leonardo da Vinci's 'The Last Supper' or 'Mona Lisa,' involves active participation, filling in narratives, doing technical analysis, connecting personal experiences, focusing on details, and building 'worlds' within the artwork. This engagement transcends time and space, fostering a sense of unity and often leading to a meditative, even mystical, experience. The beauty of art, rooted in mathematical principles like symmetry, is portrayed as a direct conduit to 'the mind of God.' Unlike Plato, who viewed physical beauty as a distraction from pure mathematical truth, Dante argues that beauty shocks emotions, focuses them, and eventually orders them into virtuous states, ultimately leading to love and activating one's 'individuality.' Thus, art is not merely an aesthetic experience but a profound spiritual exercise that expands consciousness and facilitates moral and emotional redemption, preparing the soul for ascent.
Purgatory's strict rules enforce self-reflection through rest and dreaming
A unique rule in Purgatory, absent in Hell or Heaven, dictates that no soul can progress or cross certain boundaries during the night. This seemingly counterintuitive restriction—given Purgatory's purpose of expedited cleansing—serves a profound function: enforced self-reflection through rest and dreaming. When souls cannot move, they are compelled to engage in conversations, introspection, or, most importantly, sleep and dream. Dreams in Dante's cosmology are divinely inspired messages, revealing hidden truths and challenging unconscious biases, thereby provoking the self-reflection crucial for purging sins. This deliberate pause in physical ascent creates a space for internal growth, differentiating Purgatory from the perpetual torment of Hell or the effortless bliss of Heaven. The spiritual journey thus becomes as much about internal processing as external progression, underscoring the idea that genuine redemption requires confronting oneself in moments of stillness.
Virgil's cognitive dissonance highlights human attachment to worldview
Sordello's humble questioning about Virgil's identity, and Virgil's subsequent claim of being deprived of heaven solely due to 'lack of faith,' unveils a potent instance of cognitive dissonance. This statement is factually incorrect within Dante's constructed purgatorial reality, as evidenced by the presence of Cato (a pagan) in Purgatory. Virgil, unknowingly, maintains a fixed mindset: his pagan worldview, shaped before Christ, could theoretically not allow for salvation outside of Limbo. This self-deception, or active repression of disconfirming evidence (like his traumatic, awkward encounter with Cato), allows him to cling to his established beliefs. This psychological nuance, written in the 14th century, foreshadows later understandings of cognitive biases, demonstrating how even a wise guide like Virgil may unconsciously cling to a comforting worldview rather than confronting contradictory truths. His 'ecstatic' response to Sordello's adulation further highlights this, as he boasts about his past achievements, momentarily forgetting his current 'damned' status and redirecting attention from his student, Dante.
Angels, original sin, and Mary's redemptive role
The presence of two angels with flaming swords guarding the valley in Purgatory, reminiscent of the Garden of Eden's guardians, signifies a profound shift in Christian theology within Dante's work. This scene implies that the Garden of Eden is now accessible, located atop Mount Purgatory. For a Christian, this would be surprising because, following Jesus's sacrifice for original sin, the Garden should theoretically be open, and the angels' role should no longer be to bar humanity's entry. Instead, their presence redefines their purpose: they are now guarding the Mountain against the eternal 'snake,' or Satan, whose serpentine form in the valley still seeks to tempt and corrupt souls on their path to redemption. Crucially, Dante attributes this redemption not solely to Jesus but to Mary, from whose 'bosom' the angels emerge, symbolizing her central role in humanity's salvation and the opening of the path back to earthly paradise. This emphasizes Mary's compassionate and protective function in Dante's cosmology, a subtle but significant theological deviation that underscores love and mercy.
The generosity of purgatory's gate and moral certainty
The angel guarding the gate of Purgatory operates under a remarkably generous policy, contrasting sharply with the stern, often silent demons of Hell. The angel emphasizes that the gate is designed to be 'opened' rather than 'kept shut,' indicative of a divine willingness to offer opportunities for redemption to 'anyone' who humbly seeks entry. However, this generosity comes with a strict caveat: once a soul enters, they must not 'look back.' This rule demands total faith and unwavering resolve. Any doubt or wavering from the path of self-improvement will result in expulsion. This dual approach—open entry, but rigorous self-discipline within—challenges the contemporary Church's practices, which often made entry difficult but offered reassurance once inside. Dante's vision instead posits that salvation is an ongoing, arduous process demanding continuous inner work and unwavering commitment, rather than a one-time entry point, emphasizing a growth mindset over a fixed, transactional view of divine justice.
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Common Questions
In Macbeth, Shakespeare illustrates the fatal consequences of actions through Lady Macbeth's changing assertions, "what's done is done" turning into "what's done cannot be undone" as she descends into madness. Macbeth himself initially attempts to compartmentalize his deed but is haunted by it, showing how actions define an agent's character and fate. (Timestamp: 342)
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Mentioned in this video
A soul in Purgatory, praying with outstretched hands.
A soul whose life was taken out of spite and envy.
Sterling professor of English at Yale, well-read literary and cultural critic, and author of several books. He teaches English 125 and a course on Moby Dick at Yale.
Later writer who connected character and incident, asking 'what is character but the determination of incident...and what is incident but the illustration of character'.
The instigator of Duncan's murder, initially seeking to detach herself from nature, but later haunted by her deeds. She is seen as a thoroughgoing female villain who is humanized by the end.
Former US President who knew Shakespeare well, considered Macbeth his favorite play, and found Claudius's prayer his favorite speech, relating it to his own dangerous ambition.
Author of The Picture of Dorian Gray, who converted to Catholicism on his deathbed, raising questions about last-minute redemption.
Author of 'Journeys Through Heaven and Hell', a book that catalogs stories similar to Dante's Inferno, often created to control the populace.
American philosopher interested in psychic phenomena, who after years of study believed in the existence of ghosts but found they had uninteresting things to say.
Author of the Divine Comedy, described as fundamentally optimistic, believing in free will and salvation. His pro-woman stance and hatred for fortune tellers are highlighted.
Author whose years at sea profoundly influenced his writing, particularly Moby Dick.
Figure responsible for the death of an Aretine.
A soul seen in Purgatory.
Neighbor of Rudolph, whose appearance comforts Rudolph. He was more valiant in swaddling bands than his son, Wenceslas.
Son of Ottokar II, described as feeding 'wantonness and ease', contrasting with his more valiant father.
A king in a 'bed' (valley), father-in-law of the 'pest of France'. His life was full of vice.
A noble judge whom Dante delights to see not among the damned. He asks Dante to convey a message to his daughter Giovanna.
Singer mentioned for his song 'Mona Lisa', which captures the elusive nature of her smile.
A man who proudly thought he could master Siena, but humbled himself to free a friend, earning his place in Purgatory despite a life of sin.
A soul in the terrace of envy, whose blood was 'a fire' with envy. He laments the moral decay of his region.
Author whose line 'beauty and truth are one' is quoted.
Pierre de la Broce's accuser, who he hopes will watch her ways or end up in a sadder fog.
A marquess seated lowest on the ground, whose actions led to mourning in Monferrato and Canavese.
Early Christian theologian whose views on slavery as a 'byproduct of the fall' are discussed.
Monarch seen in anti-Purgatory, criticized for not healing Italy's wounds. He has a lax look and does not move much.
Philosopher who conceptualized the 'aura' of artwork, suggesting paintings can absorb and reflect energy from audience participation.
Nino Visconti's daughter, to whom Dante is asked to convey a message to pray for her father.
A soul in Purgatory from Siena, who was killed by her husband.
Roman leader, whose absence from Rome is lamented.
A shade in Purgatory, from a noble family, whom Dante praises for their honorable reputation.
King who led a simple life and had 'better fortune with his progeny'.
Father of an Italian soul Dante encounters.
King whose prison held the friend Provenzan Salvani freed.
A course David Bromwich teaches at Yale.
Religious belief system that introduced new elements to the concept of hell (now an 'underworld'). Its rise transformed the nature of hell's evolution.
A course David Bromwich teaches at Yale.
Characters in Macbeth who plant the idea of kingship in Macbeth's mind. Discussed as Shakespeare's naturalistic portrayal of societal beliefs in their existence.
A stream in Casentino, mentioned as the place where Bante's body was found.
A fractal, discussed for its infinite complexity and mathematical beauty, prompting a comparison with human art and its emotional impact.
Herman Melville's novel, cited as an example of an author's life experiences shaping a work.
Essay by Henry James that discusses the unity of character and events.
Shakespeare's play mentioned in comparison to Macbeth's famous speeches and for Claudius's prayer.
Dante's epic poem, contrasted with Shakespeare's plays for its optimism, belief in free will, pro-woman stance, and detailed structure of the afterlife. Its cosmological co-creation process is a major theme.
Greek tragedy mentioned as an example of fate bounding human action regardless of character.
Novel by Oscar Wilde, referenced in a discussion about last-minute repentance.
One of David Bromwich's books.
One of David Bromwich's books, focusing on Wordsworth's poetry.
One of David Bromwich's books, exploring the intellectual life of Edmund Burke.
David Bromwich's most recent book, about the Trump presidency.
A play by Shakespeare, chosen for its strong unity of action and character. The discussion focuses on Macbeth and Lady Macbeth's ambition and the nature of their deeds.
Shakespeare's play from which Desdemona is cited.
A book mentioned as cataloging stories of trips to the afterlife, which were often used by elites to control the population.
A committee David Bromwich was a member of, which recently published a report.
An institution David Bromwich joined for Shakespeare and poetry workshops during COVID, thanks to Jang's introduction.
A noble family from Italy, set already with fear.
A family or faction associated with Manaldi.
One of the places where the Last Supper is located.
University where a computer programmer major, later an Olympian for programming, saw the Mandelbrot set and moved from atheism to religion.
A new movie mentioned in the context of Shakespeare's life and his wife's pregnancy.
Famous painting by Leonardo da Vinci, used as an example of art that changes a person for the better through imagination and participation.
Famous painting by Leonardo da Vinci, discussed for its unique ability to engage viewers wherever they stand in the room, creating an 'aura'.
Region in Italy mentioned in connection with a shade's plea for prayers from home.
The city La Pia is from. Also mentioned later in relation to Provenzan Salvani and the vain ones who trust in Talamone.
Dante's home city, satirically praised for its constant change and responsiveness to public service, compared negatively to Athens and Sparta.
Ancient Greek city, contrasted with Florence as having merely 'sketched the life of righteousness'.
Region mourning for William I's actions.
Region in Italy, home to a 'great Tuscan' whose father was Wigel Mo Elundesco.
City associated with Oderisi.
City where the art of illumination flourished, associated with Oderisi.
Location through which the stream Archiano runs, site of Bante's death.
Mountain range where the Archiano river originates, above a hermitage.
Virgil's and Sordello's native city.
Personified as a widowed city weeping for its Caesar.
Island where Achilles was hidden by his mother.
Ancient Greek city, contrasted with Florence as having merely 'sketched the life of righteousness'.
Region in Italy mentioned in connection with a local Italian soul.
River into which Bante's body was swept after his violent death.
Region mourning for William I's actions.
More from Predictive History
View all 174 summaries
248 minDante Livestream #11 (Friday, June 26 10AM)
247 minDante #11: Purgatory Cantos 15-25
305 minDante Livestream #10 (Thursday, June 25 9AM)
240 minDante #8 Hell Cantos 20-32
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