{"id":61010,"date":"2013-10-07T12:05:18","date_gmt":"2013-10-07T16:05:18","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=61010"},"modified":"2014-03-08T15:03:34","modified_gmt":"2014-03-08T20:03:34","slug":"recapping-dante-pilot-episode-or-canto-i","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2013\/10\/07\/recapping-dante-pilot-episode-or-canto-i\/","title":{"rendered":"Recapping Dante: Pilot Episode, or Canto 1"},"content":{"rendered":"

\"Canto1Large\"<\/a><\/p>\n

This fall, we\u2019re recapping<\/a> the <\/em>Inferno. Read along<\/a>!<\/em><\/p>\n

Really, this is how you want to begin? With a trope? And do you really think that we\u2019ll let you get away with it because you decided to double down, fold it over on itself, and begin not only in medias res but in the middle of your life, too? We see what you\u2019ve done there. Very fancy; but couldn\u2019t you have at least started at the end, like Sunset Boulevard<\/i>?<\/p>\n

“Midway in the journey of our life”\u2014the cascade of allusions, and all in a single line, creating some sort of referential trifecta, or fourfecta, or whatever the highest number of fectas is. Is it meant to alert a reader that this probably isn\u2019t an airport book\u2014to chase away the ill-suited, like the opening sequence of 8\u00bd<\/i>?<\/p>\n

So far this character has no name, but for the sake of it, let\u2019s call him Dante I. He finds himself in a dark wood, and that he isn\u2019t quite able to remember how he got there feels a bit like an easy, preemptive fix to a plothole. Nevertheless, he goes on his \u201cfirm foot always lower than the other\u201d (watch out for phrases like these; it\u2019s safe to assume that whenever any piece of satellite or even self-explanatory information is given, it is probably a giant X telling the savvy reader to dig in that spot).<\/p>\n

Suddenly our character is accosted by a leopard, or lonza (a lion-leopard superbeast), and obviously he\u2019s a bit disoriented and doesn\u2019t want to deal with it, so he walks away.\u00a0But then, a lion appears, and then a she-wolf, and it\u2019s by now such a strange mix of creatures (do they even have leopards in Italy?) that we are left to assume either Dante blacked out and came to in a zoo, is witnessing an ecological disaster miracle, or that these three beasts have some sort of metaphorical significance as well. There\u2019s a chance the beasts each represent a sin, but that feels like a bit of a stretch, so let\u2019s just say that the leopard is Florence; the lion, France; and the she-wolf, the papacy. (Dante, though a Florentine, was in the middle of a battle between two warring houses, and so even at home there were enemy forces out to get him.)<\/p>\n

Dante takes off. As he flees, he comes across a figure, and Dante speaks to it. Have mercy<\/i>, he says, but the English subtitles obscure the fact that Dante is in fact saying this as Miserere<\/i>, in Latin, and this is when things start to get out of hand. <\/p>\n

First, why is he asking for mercy from a figure in a wood while on the run from three far more menacing assailants? Second, Miserere<\/i> is also the first line of Psalm 51, so now we know Dante loves Jesus. Third, we now have a narratological complication for which a solution was offered earlier.\u00a0Dante I is telling the story, but as these are the first words his character speaks in the actual story, it\u2019s important to point out that the man saying Miserere<\/i> is Dante II.\u00a0Already it\u2019s starting to feel like Big Bird\u2019s Dante Counting Game.<\/p>\n

The figure claims he is not a man, but once was, which means he is dead (trivia: Shakespeare also toys around with this breed of semi-loophole in Macbeth<\/em>, where a man is technically not of woman born because he was cut from her stomach early. It seems great poets enjoy making great distinctions in things we are prone to overlook.)<\/p>\n

The figure name-drops some of his accomplishments, and a starstruck Dante realizes that it is Virgil, his literary and historical mentor, his teacher and his author, as Dante says. Virgil hints that the safest passage may be through Hell, and as it turns out Virgil, not only as a matter of personal significance, is just the person to come across at a moment like this because he\u2019s actually sent a great hero through Hell before. Well, actually, Virgil wrote about the pagan underworld, which in theory is different from Christian Hell but Dante seems set on fudging that minor detail.<\/p>\n

Virgil suggests that later, Dante will come across someone more fit to lead him (remember this).<\/p>\n

So let\u2019s review the facts: Dante mysteriously appears in a wood, he\u2019s attacked by three metaphors, is presented an opportunity to go on an adventure with his hero and at the same time mirror one of the most significant passages in literary history, also written by said hero, as though to at once pay tribute to it, and outdo it. It all feels very \u2026 convenient.<\/p>\n

I\u2019m getting the feeling that Dante is just a very well-read person who wants to write an ultimate poem with all of his influences present, but still somehow woven into an original work.\u00a0Yeesh. Talk about grand ambitions; it\u2019s like this guy thinks he\u2019ll actually<\/i> be able to change the world of art as we know it.<\/p>\n

To catch up on our Dante series, click here<\/a>.<\/em><\/p>\n

Alexander Aciman is the author of <\/em>Twitterature<\/a>. He has written for the <\/em>New York Times, <\/em>Tablet, the <\/em>Wall Street Journal, and <\/em>TIME. Follow him on Twitter at @acimania<\/a>.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

This fall, we\u2019re recapping the Inferno. Read along! Really, this is how you want to begin? With a trope? And do you really think that we\u2019ll let you get away with it because you decided to double down, fold it over on itself, and begin not only in medias res but in the middle of […]<\/p>\n","protected":false},"author":419,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[11951,2930,11950,11988,54,7592],"class_list":["post-61010","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-alexander-aciman","tag-dante","tag-divine-comedy","tag-inferno","tag-television","tag-tv"],"acf":[],"yoast_head":"\nRecapping Dante: Pilot Episode, or Canto 1 by Alexander Aciman<\/title>\n<meta name=\"description\" content=\"October 7, 2013 \u2013 This fall, we\u2019re recapping the Inferno. Read along! 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