{"id":70753,"date":"2014-05-05T12:36:31","date_gmt":"2014-05-05T16:36:31","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=70753"},"modified":"2014-05-05T13:29:45","modified_gmt":"2014-05-05T17:29:45","slug":"recapping-dante-canto-28-or-unseamly-punishments","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/05\/05\/recapping-dante-canto-28-or-unseamly-punishments\/","title":{"rendered":"Recapping Dante: Canto 28, or Unseamly<\/i> Punishments"},"content":{"rendered":"
\"canto<\/a>

Gustave Dor\u00e9, Canto XXVIII<\/i><\/p><\/div>\n

We\u2019re recapping<\/a> the <\/em>Inferno. Read along<\/a>! This week: Mohammed torn asunder. <\/em><\/p>\n

Canto 28 opens with a very self-conscious address by Dante. He tells the reader that even if his writing weren\u2019t constrained by the dictates of meter and form, he still would\u2019ve had trouble describing the following scene. But he had no idea what he was talking about: canto 28 is marvelous and harrowing. Canto 28 is perfect.<\/p>\n

He begins by listing famous battlefields\u2014if all the mangled bodies and limbs and guts from all these vicious wars were combined, he says, they would pale in comparison to the ninth pit of hell. The first thing he sees here is a man \u201ccleft from the chin right down to where men fart.\u201d What\u2019s remarkable about this line is not that a poet as great as Dante would use the word fart<\/em>\u2014although, let\u2019s face it, that is<\/em> sort of funny\u2014but that it\u2019s almost identical to a line that Shakespeare would write many centuries later, in Macbeth<\/em>: \u201cunseamed \u2026 from the nave to th\u2019 chops.\u201d<\/p>\n

Our unseamed sinner\u2014with his entrails and \u201cloathsome\u201d \u201cshit\u201d sack torn asunder\u2014is Mohammed, who tells Dante that this pit is reserved for those who \u201csowed scandal and schism.\u201d The Hollanders<\/a> point out that Dante must therefore have seen the prophet not as the founder of a new religion, but as the catalyst for the schism that would branch off from Christianity and become Islam.<\/p>\n

Mohammed explains how punishment works around here. He and his fellow mangled sinners eventually find that their injuries have healed\u2014but once they\u2019re all closed up, they\u2019re mangled yet again by a demon. The punishment is not simply about pain and suffering, to say nothing of the inconvenience of having to carry your colon in your hands; the indignity of being mangled is equally important. Mohammed believes, for some reason, that Dante and Virgil are dead and simply taking a tour of hell before being punished. Clearly, Mohammed hasn\u2019t quite grasped the way hell works. <\/p>\n

As Dante and Virgil continue walking, they come across another gruesome scene. A sinner named Pier da Medicina, who recognizes Dante, has been wounded so badly that sound can no longer leave his mouth, and he must hold open his windpipe to speak. This Pier, like the famous bleeding tree in canto 13, is singularly pathetic and pitiable: \u201cShould you ever see that gentle plain again that slopes from Verceli down to Marcab\u00f2,\u201d he says, \u201cfor Pier da Medicina spare a thought.\u201d It is a melancholy phrase from a sinner we don\u2019t get to know well, and whom all of history, except for Dante, has forgotten. The simplicity and intimacy of his request makes us pity him\u2014he wants to be remembered in the most obscure manner. And now, thanks to Dante, this Pier lives forever in that little realm on earth, and any time we see the slopes from Verceli down to Marcab\u00f2, we who have read Dante will also have to spare a thought for a man we never knew.<\/p>\n

The poet and pilgrim go on to speak with another sinner whose severed hands are spurting steady streams of blood. This man is a Ghibelline whose actions played a great part in starting the feud between the two parties that divided Florence. After a crime like that, it sort of seems like his punishment leaves him off easy.<\/p>\n

But before Virgil and Dante leave, the two see something that still manages to overshadow the unseamed Mohammad, the unfolded talking windpipe, and the blood hoses coming from a man\u2019s wrists: they see a headless figure approaching them, holding his own head by the hair like a lantern. It\u2019s a scene that can be met in darkness only by Caravaggio\u2019s painting<\/a> of David holding the head of Goliath. The sinner is Bertran de Born, a poet who wrote in Proven\u00e7ale and who, according to the Hollanders, took a great deal of pleasure in seeing towns leveled. (Dante will meet another Proven\u00e7ale poet in Purgatorio\u2014Arnaut Daniel, who will actually speak in Proven\u00e7ale.) Bertran de Born\u2019s sin was turning Prince Henry against his father, Henry II.<\/p>\n

The last line in canto 28 mentions contrapasso, which is, simply put, the idea that the punishment should fit the crime. Dante is devoted to the concept. Think about it: Bertran de Born\u2019s head was separated from his body as he \u201csevered persons thus conjoined.\u201d Fire falls down on sodomites as it did on Sodom; suicides lose their bodies in the afterlife; the lustful in hell are tormented with weird forms of sex deprivation. It starts to make a lot of sense, doesn\u2019t 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":"

We\u2019re recapping the Inferno. Read along! This week: Mohammed torn asunder. Canto 28 opens with a very self-conscious address by Dante. He tells the reader that even if his writing weren\u2019t constrained by the dictates of meter and form, he still would\u2019ve had trouble describing the following scene. But he had no idea what he […]<\/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":[13787,8128,2930,4425,13788,12028,7043,1153],"class_list":["post-70753","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-canto-xxviii","tag-caravaggio","tag-dante","tag-islam","tag-mohammed","tag-the-divine-comedy","tag-the-inferno","tag-torture"],"acf":[],"yoast_head":"\nRecap of Canto 28 of Dante\u2019s \u201cInferno\u201d<\/title>\n<meta name=\"description\" content=\"In this week\u2019s recap of Dante\u2019s \u201cInferno,\u201d Mohammed torn asunder.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2014\/05\/05\/recapping-dante-canto-28-or-unseamly-punishments\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Recapping Dante: Canto 28, or Unseamly Punishments by Alexander Aciman\" \/>\n<meta property=\"og:description\" content=\"May 5, 2014 \u2013 We\u2019re recapping the Inferno. 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