Dante's Divine Comedy

Canto XII – First Cornice (continued)

• 1. What do you make of Dante’s description of himself in lines 7-9?

Dante has been walking in the posture of the proud—hunched over in a humble submission to the burden of pride. In these lines he says that though he stood upright when Virgil urged him to move on, his “thoughts still/remained all hunched and bowed and humbly low.” He seems to recognize pride in himself and thus participates in its purgation alongside the souls in this cornice.

And what do lines 11-12 further suggest about Dante?

His penitent attitude appears to be purging the pride he carries. He feels lighter. Though he himself remains “burdened” with a body, both he and Virgil proceed “lightly.”

• 2. Which epic convention does Dante employ in lines 16-24?

It is an epic simile comparing the carved effigies of the dead buried beneath the floors in medieval churches—especially cathedrals—to the relief images on the path trodden by the penitent proud.

• 3. Which epic convention does Dante employ in lines 25-63?

These lines constitute a catalogue of the proud, drawn from classical mythology, ancient history, and the Old Testament.

How are the bas-relief carvings on the path of the proud different from the sculpture Dante and Virgil encountered upon their entry into this cornice?

The carvings at the entry depict the virtue opposed to pride, while those along the path depict pride punished.

How are the two sets of carvings similar to one another (lines 64-69)?

They both are exquisitely executed and appear almost lifelike.

What do you think of the acrostic Dante works into these lines 25-63?

This is an OPEN QUESTION. Most modern scholars tend to regard it as somewhat distasteful, something beneath Dante’s genius. A few view it more charitably and link it to a similar acrostic in Paradiso.

How would you describe the tone of lines 70-72?

The tone is sarcastic. Given Dante’s sustained criticism of Florence throughout the poem, he clearly means the opposite of what he appears to say.

• 4. How do lines 95-96 connect with lines 121-129 in Canto 10?

The imagery of human beings as grubs that turn into butterflies is echoed by the words of the angel that conducts Dante to the stairway that leads to the second cornice, that of Envy.

How are the words of line 110 appropriate to the proud who will also leave this cornice by this path?

Their humbling makes them “poor in spirit.” The blessing in the Beatitudes: “Blessed are the poor in spirit,/For theirs is the kingdom of heaven.” The penitence of the proud has made them “poor in spirit,” that is, humble before they may leave this cornice.

Though some interpret this verse to refer to those in material poverty, the Roman Catholic Church has long understood it to refer to “the humble.” Humility is the first step in ascending to God. Further, the Catholic tradition has linked this verse to detachment from worldly pride and openness to grace.

Greek Orthodox interpreters regard the phrase “poor in spirit” as spiritual helplessness and the recognition by the believer of that helplessness without Christ. In their tradition humility is the first step in the ascetic life.

Lutheran interpreters have equated “poor in spirit” to a confession of sin and inability to save oneself. Here, too, it represents the movement toward repentance as it does for both Roman and Greek traditions. However, Lutherans also believe that the Kingdom of God is given to those who trust in Christ rather than works.

How is the erasure of the first P from Dante’s forehead initially felt by him even before he knows it has been removed (lines 118-126)?

With the profound weight of pride lifted from his spirit, he feels “almost no strain.” The expunging of pride—the root of all other sins—makes his passage lighter. In other words, the tendency toward those other sins is lessened.

These lines also recall Virgil’s words in 4.88–95, where he predicts that the ascent will grow progressively easier.