A colorized version of Gustave Doré’s illustration for Canto XXXIV.
We’re recapping the Inferno. Read along! This week: the final canto.
My relationship with Dante can be traced back to a Saturday morning in 1994. My dad and I were standing in the rain on Sixty-Sixth and Broadway, and I suspected he was taking me to Lincoln Center for a concert. Instead, we stopped at a small park where a large, bronze statue was shrouded by nearby trees, hidden away from the city. That, he told me, is Dante.
The night before, my dad had told me the story of Count Ugolino, the sinner of canto 33 who may or may not have eaten his children during his imprisonment in Pisa; and later that day, he’d take me to the courtyard at St. John the Divine, where a statue of a crab-like creature pinches off the head of a demon—a scene that bears a striking resemblance to the end of Dante’s Inferno, when the three-headed Lucifer gnashes his teeth around the bodies of the three greatest sinners: Judas, Brutus, and Cassius. Here, in canto 34, the final chapter, Dante and Virgil meet Lucifer and climb up his back in order to slip through a crack in the universe and leave the Inferno.
It wouldn’t occur to me for many more years that these weren’t stories from my dad, but the work of the better craftsman, or il miglior fabbro, as T. S. Eliot writes in the dedication of “The Waste Land,” paraphrasing Dante himself. In fact, if I look hard enough, I find traces of Dante throughout my life—a description of the wolf, lion, and leopard in the elevator of 765 Amsterdam Avenue, the building where my grandparents lived; the story of Paolo and Francesca, which I read in an illustrated, abridged Inferno for children; the fiberglass tyrannosaurus in Riverside Park, which I climbed as though I were Virgil scaling Lucifer’s back with Dante in order to reach Purgatory at the end of canto 34; a twig from a tree that I passed on a field trip in a botanical garden, which I tore off à la Dante in canto 13, so that my dad, a reluctant chaperone, would know that I wanted to be there as little as he did. As far as I knew, I wasn’t alluding to Pier delle Vigne but to a character from my father’s bedtime mythology. None of these tales came without embellishments, and so even today, when I reread passages of the Inferno and notice departures from the stories I heard growing up, I cannot help but think that Dante Alighieri’s versions are slightly inaccurate. Even so, by the time I reach someone like Ugolino, I feel as if I’m meeting an old friend. Read More