{"id":67132,"date":"2014-02-24T13:13:00","date_gmt":"2014-02-24T18:13:00","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=67132"},"modified":"2014-03-08T15:01:43","modified_gmt":"2014-03-08T20:01:43","slug":"recapping-dante-canto-18-or-beware-the-bolognese","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/02\/24\/recapping-dante-canto-18-or-beware-the-bolognese\/","title":{"rendered":"Recapping Dante: Canto 18, or Beware the Bolognese"},"content":{"rendered":"
\"Sandro_Botticelli_-_Inferno,_Canto_XVIII_-_WGA02854\"<\/a>

Sandro Botticelli, Canto XVIII<\/i>, colored drawing on parchment, c. 1480<\/p><\/div>\n

Canto 18 is perhaps the unsung workhorse of the Inferno<\/i>\u2014at only 136 lines, it is filled to the brim with political commentary, mythology, personal attacks, and feces. There\u2019s a distinct energy in the way this canto is written; even the obligatory geographical descriptions feel alive, and Dante, when he sets the scene, uses the word new<\/i>: new suffering, \u201cnew torments,\u201d \u201cnew scourgers.\u201d In short, this is a sort of broad-spectrum dis track that deals with two different kinds of sinners: the panderers\/seducers and the flatterers.<\/p>\n

After Dante and Virgil get off Geryon<\/a>\u2019s back, they end up in the eighth circle of hell. (The seventh really dragged on, didn\u2019t it?) This is Malebolge<\/a>, where sinners are made to run through a series of ditches; if they slow down, demons descend to flog them. As grim as this might sound\u2014running naked through a ditch in hell, being whipped by demons\u2014Dante uses the occasion to showcase his wit. \u201cHow they made them pick their heels up \/ at the first stroke! You may be certain no one waited for a second or a third.\u201d<\/p>\n

Dante meets Venedico of Bologna\u2014a sinner, and as such, not exactly a model human being. (He sold off his sister.) Venedico identifies himself and his fellow Bolognese as those who use the word sipa<\/i> to mean yes<\/i> in their dialect. (Dante frequently uses this sort of indirect revelation, especially when it comes to hometowns. Francesca, for example, doesn\u2019t say she is from Rimini, but she says she is from where the river Po slows down. Using a linguistic idiosyncrasy as a form of ID is classic Dante.) Venedico\u2019s words suggest this is precisely the sort of thing one can expect from a Bolognese: \u201cI\u2019m not the only Bolognese here \u2026 this place is so crammed with them,\u201d he says. <\/p>\n

Dante scurries over to Jason, a sinner marching nobly through the pain. Jason traveled to Lemnos, home to a bunch of unattached women\u2014unattached because they\u2019d murdered their husbands\u2014and then he seduced one of them and left her when she was pregnant. Dante judges Jason, but I\u2019d like to see him<\/i> stick around after accidentally impregnating a murderer.<\/p>\n

Finally, Dante shifts his focus to the other ditch: this one\u2019s for the flatterers, who are smeared in shit and busy devouring it. I\u2019m sure scholars have debated, and may be presently debating, whether Dante means to suggest that flatterers are full of shit or that they are shit-eaters. My personal verdict? Both. \u00a0<\/p>\n

Dante recognizes one of the sinners through the veil of crap\u2014in case there was any ambiguity regarding Dante\u2019s feelings about the church, he even notes that the sinner is so ridiculously lathered in feces that it\u2019s hard to tell if he\u2019s a priest or a layperson. As it turns out, the sinner is Alessio Interminei of Lucca, a noble member of the White Guelph party, whom Dante apparently found worthy of direct attack.<\/p>\n

Writing canto 18, one can only imagine, must have offered some form catharsis. Dante is unabashed and unreserved. And indeed, the poetry here is remarkable, and the story full of lessons: namely, never trust anyone from Bologna.<\/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":"

Canto 18 is perhaps the unsung workhorse of the Inferno\u2014at only 136 lines, it is filled to the brim with political commentary, mythology, personal attacks, and feces. There\u2019s a distinct energy in the way this canto is written; even the obligatory geographical descriptions feel alive, and Dante, when he sets the scene, uses the word […]<\/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":[5059,12960,12961,2930,12028,7043,11680],"class_list":["post-67132","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-botticelli","tag-canto-18","tag-canto-xviii","tag-dante","tag-the-divine-comedy","tag-the-inferno","tag-virgil"],"acf":[],"yoast_head":"\nRecapping Dante: Canto 18, or Beware the Bolognese by Alexander Aciman<\/title>\n<meta name=\"description\" content=\"February 24, 2014 \u2013 Canto 18 is perhaps the unsung workhorse of the Inferno\u2014at only 136 lines, it is filled to the brim with political commentary, mythology, personal\" 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