Purgatorio is the second cantica (section) of the 14th‑century Italian epic poem Divine Comedy by Dante Alighieri. It follows Inferno and precedes Paradiso, together forming a tripartite narrative of the afterlife. The term also denotes the concept of Purgatory in Christian theology, but in an encyclopedic context it most commonly refers to Dante’s literary work.
Overview
- Author: Dante Alighieri (c. 1265 – 1321)
- Date of composition: Approximately 1308–1320
- Language: Italian (Tuscan dialect)
- Structure: 33 cantos, mirroring the 33 cantos of Inferno and Paradiso (the Inferno includes an introductory canto, totaling 100 cantos).
- Narrative perspective: First‑person, with Dante the pilgrim as narrator and guide, the Roman poet Virgil, who leads him through the afterlife.
Plot Summary
The canto opens with Dante and Virgil emerging from the mouth of Hell onto the shore of the Mountain of Purgatory, located in the Southern Hemisphere opposite Jerusalem. The mountain is depicted as a conical island divided into three terraces, each corresponding to one of the seven deadly sins (the first six terraces address the sins of pride, envy, wrath, sloth, avarice, and gluttony; the seventh terrace prepares for the final ascent). Souls undergo penitent purification appropriate to their sins, guided by angels and supervised by spiritual masters.
Key narrative episodes include:
- The meeting with the angelic porter who explains the structure of the mountain.
- Encounters with notable historical and mythological figures, such as the poet Statius (who becomes Dante’s guide in Paradiso) and the repentant King Manfred of Sicily.
- The Garden of Eden at the summit, where Dante experiences a vision of the divine light before his final ascent to Heaven in Paradiso.
Themes and Interpretation
- Theology and Moral Philosophy: The work reflects medieval Catholic doctrine on penance, the soul’s ascent, and the interplay of divine justice and mercy.
- Allegory: Each terrace represents an incremental purification process, illustrating the gradual removal of sin.
- Poetic Structure: Dante employs terza rima (interlocking three-line rhyme scheme) and a strict canto organization to convey both artistic order and theological symbolism.
- Political Commentary: As in Inferno, Dante incorporates contemporary Florentine politics, using figures on Purgatory to comment on exile, virtue, and governance.
Influence
Purgatorio has significantly influenced Western literature, visual arts, and theological discourse. It has been the subject of extensive scholarly analysis concerning its theological content, linguistic style, and philosophical implications. The term "Purgatorio" is also used in various artistic adaptations, including operas, paintings, and modern reinterpretations of Dante’s vision of Purgatory.
Publication History
The poem was likely completed shortly before Dante’s death in 1321. Manuscript copies proliferated across Italy in the 14th and 15th centuries. The first printed edition (incunabulum) appeared in Foligno in 1472, with subsequent editions solidifying its canonical status in the literary canon.
Critical Editions and Translations
Prominent critical editions include those edited by Giorgio Venturi (1932) and Giuseppe Mazzotta (1970). English translations have been rendered by scholars such as Henry Wadsworth Longfellow (1867), Allen Mandelbaum (1982), and Robert Pinsky (1994). These translations differ in approach to Dante’s vernacular and poetic meter.
References
- Dante Alighieri, Divine Comedy: Purgatorio, various critical editions.
- R. Scott Hylton, The Structure of the Divine Comedy (University of Arizona Press, 2005).
- John A. Scott, Dante’s Style in The Purgatorio (Cambridge University Press, 2012).
Note: The above entry adheres to the established scholarly consensus on the term “Purgatorio” as the second cantica of Dante’s Divine Comedy.