{"id":71787,"date":"2014-05-26T12:22:48","date_gmt":"2014-05-26T16:22:48","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=71787"},"modified":"2014-05-26T14:59:05","modified_gmt":"2014-05-26T18:59:05","slug":"recapping-dante-canto-30-or-triple-x","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2014\/05\/26\/recapping-dante-canto-30-or-triple-x\/","title":{"rendered":"Recapping Dante: Canto 30, or Triple X"},"content":{"rendered":"
\"Canto-30\"<\/a>

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

We\u2019re recapping<\/a> the <\/em>Inferno. Read along<\/a>! This week: flesh-eating, incest, the lute-man, and more!<\/em><\/p>\n

Dante has shown that almost every canto in the Inferno<\/em> obeys a certain logic. First, Dante and Virgil enter a new circle or ditch; Dante notices a small cluster of sinners being subjected to a gruesome, albeit clever punishment (shit-eating for the flatterers, amputation and disembowelment for the schism-makers); then Virgil will encourage him to approach a sinner, who inevitably ends up being an Italian eager to tell the story of his life in a way that downplays the gravity of his sin. Virgil and Dante move on afterward. Salt, pepper, and serve. This formula is so apparent that had Dante been less skilled, his stories less heartrending, the Inferno<\/em> would\u2019ve been a heavy-handed entertainment instead of a lyrical masterpiece.<\/p>\n

The opening of canto 30 abandons this formula. We pick up where canto 29 left off, as Dante meets the alchemists and the Falsifiers of Others\u2019 Persons. In order to convey exactly how psychotic these sinners are, Dante compares their violence to two famously macabre stories from the ancients. First he tells the story of the goddess Juno, who arranged the death of Ino by sending Ino\u2019s lover into a fit of madness during which he took Ino\u2019s son and \u201cwhirled him round and dashed him on a rock.\u201d Ino jumped into the ocean after her dead son and drowned. That\u2019s plenty gruesome, but then Dante tells a second story, this one about Hecuba of Troy, who saw her two sons killed and went mad with grief. These mad Thebans and Trojans, Dante writes, are nothing compared to the crazed sinner we encounter here, in the Tenth Pouch of the Eighth Circle of Hell, who bites into the neck of a fellow sinner.<\/p>\n

Capocchio, one of Dante\u2019s former classmates who was introduced in Canto 29, is the guy being bitten; Griffolino, another sinner who was introduced in 29, explains that the aggressor\u2014the biter\u2014is Gianni Schicchi, who, when he was on earth, pretended to be the late Buoso Donati in order to help his own family inherit a sum of money. Griffolino also points out Myrrha, who appears in The Metamorphoses <\/em>as the daughter of the King of Cyprus. She so lusted for her father that she put on a disguise and seduced him. Oops! <\/p>\n

This canto is dedicated to those guilty of falsification. Dante dedicates the canto to Ovid, whose Metamorphoses <\/em>he cites throughout\u2014those opening stories of Thebes and Troy are also from Ovid.<\/p>\n

As Dante moves on, he sees a sinner \u201cfashioned like a lute\u201d:<\/p>\n

\n

He had been sundered at the groin
From the joining where a man goes forked.<\/p>\n<\/blockquote>\n

The man is Master Adam, who counterfeited coins. His physical condition leaves him parched and unable to move, and so he must sit, mutilated, dreaming of his home and the cool green hillsides near the Arno. He hears that some of his countrymen are also in hell, and says that if he could move only one inch in one hundred years, he would already be on his way to find the people he knows.<\/p>\n

Master Adam starts ragging on the other sinners. One of them, in earshot, takes offense and flings an insult back at Adam, thus beginning a stichomythian exchange in which lyrical quips devolve into to Odd Couple<\/em>\u2013style insults. Dante is engrossed\u2014he wants to see how the rest of the argument unfolds. This feels very much like pausing in the street to see just how far a fight between two bickering cab drivers will go.<\/p>\n

Virgil intervenes to tell Dante that his rubbernecking has gone on long enough and that if they don\u2019t move on, he\u2019s going to get very upset. (Virgil\u2019s relative absence in this canto is another reason it\u2019s so unusual\u2014the Hollanders point out that this is Virgil\u2019s longest silence so far.) Dante, whose feelings are hurt by Virgil\u2019s stern language, scurries off and tries to make things right with his guide, who probably wasn\u2019t thrilled about being snubbed for the first 130 lines of the canto.<\/p>\n

The Hollanders cleverly point out that the verbal tiff between the sinners is similar to the sort of petty bickering Dante was known for in his interactions with another poet of the time, Cecco Angiolieri. Cecco\u2019s most famous poem is \u201cS\u2019i Fossi Foco\u201d; its opening line goes, \u201cIf I were fire, the world, I\u2019d set ablaze\u201d\u2014an ode to sinister intentions. But one of Cecco\u2019s less studied poems is the equivalent of a dis-track aimed at Dante:<\/p>\n

\n

Dante, if I\u2019m head fool it\u2019s by a narrow
margin, you are right there at my heels.
I chew the fat and you suck out the marrow:
if I\u2019m the houseguest, you appear for meals.
If I seem virtuous, you’re canonized;
if I hold forth, you\u2019re burning to butt in;
I\u2019m stuck in Rome, and you get Lombardized\u2014
I hang the suit up, you brush off the lint.<\/p>\n

It looks, praise God, like neither one of us
can justly act superior about
the other\u2019s lack of sense or adverse fate,\u00a0
and now if you persist in this debate,
Dante boy, I\u2019ll simply wear you out:
since I\u2019m the cattle-prod that drives your ox.<\/p>\n<\/blockquote>\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","protected":false},"excerpt":{"rendered":"

We\u2019re recapping the Inferno. Read along! This week: flesh-eating, incest, the lute-man, and more! Dante has shown that almost every canto in the Inferno obeys a certain logic. First, Dante and Virgil enter a new circle or ditch; Dante notices a small cluster of sinners being subjected to a gruesome, albeit clever punishment (shit-eating for […]<\/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":[14055,14054,2930,13882,13883,4649,13289,12028,7043],"class_list":["post-71787","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-canto-xxx","tag-cecco-angiolieri","tag-dante","tag-falsifiers","tag-hell","tag-ovid","tag-sinners","tag-the-divine-comedy","tag-the-inferno"],"acf":[],"yoast_head":"\nRecapping Dante: Canto 30, or Triple X<\/title>\n<meta name=\"description\" content=\"In this week\u2019s installment of Dante\u2019s \u201cInferno,\u201d flesh-eating, incest, the lute-man, and more!\" \/>\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\/26\/recapping-dante-canto-30-or-triple-x\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Recapping Dante: Canto 30, or Triple X by Alexander Aciman\" \/>\n<meta property=\"og:description\" content=\"May 26, 2014 \u2013 We\u2019re recapping the Inferno. 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