Lextura Dantis :: The Divine Comedy

Dante shifts his introduction extraordinarily all through Malebolge. Each bolgia has its own specific air, and the sudden tonal and auxiliary moves between them make the move from bolgia to bolgia a variety of styles and strategies. Be that as it may, no move is so striking as that between the eighth and ninth, in which the peruser leaves a bolgia set apart by two persuasive, looking sensational monologs for one portrayed by terse, epigrammatic remarks. The gallant appeal of Ulysses and the crooked self-disclosure of Guido da Montefeltro offer path to the shortened, packed talk of Mohammed, Pier da Medicina, Mosca, and Bertran de Born. The prior bolgia asks for mental readings; the last disappoints them. The structures of these cantos present a comparative disjointedness. Ulysses and Guido are given abundant open door for relaxed extension, and their accounts have a smooth turn of events and conclusion. Each is the supreme star of his canto, and Dante records both their going back and forth with respectful consideration. Inferno XXVIII, in any case, presents a quick progression of scenes, and the cuts between them are as savage and relentless as those conveyed by the fallen angel to the accursed. The canto appears to be bound together just by Dante's craving to introduce the contrapasso from numerous points of view as he can. The individuals who planted strife in life are slashed in inventive ways __ Mohammed split from jaw to rear-end, Ali cut from jawline to hairline, Pier da Medicina cut and scratched in better places, Curio's tongue hacked out, Mosca's arms cut off, and Bertran de Born perfectly beheaded __ a close to Baroque minor departure from a solitary topic. One loathsomene ss follows closely following another, and every stage replaces the memory of the previous one. In spite of this bounty in the points of interest of the disciplines, the structure of the twenty-eighth canto is persistently schematic. The canto can be effortlessly partitioned into six smaller scenes, four of which are on a very basic level indistinguishable __ even to some degree dreary. The canto starts with a natural epic motion: the inexpressibility topos. Dante gives up all hope of regularly doing equity to what he should depict (vv. 1-6): Chi poria mai pur con parole sciolte dicer del sangue e de le piaghe a pieno ch'i' ora vidi, per narrar piã ¹ volte? Ogne lingua per certo verria meno per lo nostro sermone e per la mente