There’s the story of the dying god, the story of the suffering of the divinity itself. Though one might say, and I will say here, just to sort of give you a sense of how nuanced the issue maybe, is that within that vision, within that Christian vision, we are always told that the only thing we know of God’s presence in history is the Crucifixion. The other difficulty that - about this mode of the tragic is that the - within the Christian vision that Dante - that sort of shapes Dante’s poem, it’s very difficult to locate the tragic: there is no such a thing as a Christian tragedy. Here is the redemptive, happy, harmonious sense of the whole. Comical, in the sense that it’s really the feast, the feast - in classical times, it would be the feast of the gods. He really has this idea of a comical vision, even of the divinity and certainly of the cosmos. So that difficulty should go away in the sense that the tragic is really part not an end, not a final vision, but part of a larger discourse that Dante will go into, which is a comical idea. And the difficulty of the enterprise has to do, first of all, with the fact that this is a comedy. As soon as I say that, you might wonder, you probably should wonder, about the difficulty of such an enterprise. This is - I hope to argue with you that - I will be arguing exactly, this is a tragic representation. Professor Giuseppe Mazzotta: We are going to try to finish with Inferno today and I would like to look at the last Cantos XXX, XXXI, XXXII maybe a little bit, XXXIII for sure, and there are a couple of details in XXXIV.įrom one point of view, I’ll be talking about Dante’s tragic mode at the bottom of Hell. Dante in Translation ITAL 310 - Lecture 9 - Inferno XXX, XXXI, XXXII, XXXIII, XXXIVĬhapter 1.
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