the changeover in perspective: downward --> upward; toward evil --> toward salvation; darkness --> light; static, sterile world --> dynamic, fertile world; art as parody, irony --> art as celebration, exaltation; observation --> participation
 

time of arrival: just before dawn on Easter Sunday
 

division of Purgatory: Antepurgatory (four classes), Purgatory proper (seven terraces), Earthly Paradise
 

theme of Purgatory: resurrection, rebirth, renewal
 

the four stars: the cardinal virtues
 

Cato
 

the ritual act: Virgil girds Dante with the smooth reed (of humility)
 

the ship of souls: "In exitu Israel de Aegypto"

the angelic helmsman: cf. Ulysses
 

Casella and the singing of "Amor che ne la mente mi ragione" ("Love that discourses to me in my mind") (Convivio)
 

the pathos of Virgil: the theme of burial
 

the class of the excommunicate: Manfred (cf. Frederick II)
 

the class of the indolent: Belacqua
 

the class of those who died a violent death: Jacopo del Cassero, Buonconte (cf. Guido da Montefeltro), Pia de' Tolomei
 

the game of dice: la "zara": winners and losers
 

Sordello and the embrace of Virgil: their common city: Mantua
 

invective against Italy (the second canto 6)
 

Sordello and Virgil: the second embrace
 

Virgil as a negative exemplum
 

the Valley of the Princes
 

Salve Regina
 

Salve, Regina, mater misericordiae: vita, dulcedo, et spes nostra, salve. Ad te clamamus exsules filii Hevae. Ad te suspiramus, gementes et flentes in hac lacrimarum valle. Eja, ergo, advocata nostra, illos tuos misericordes oculos ad nos converte. Et Jesum, benedictum fructum ventris tui, nobis post hoc exsilium ostende. O clemens, o pia, o dulcis Virgo Maria.
 

Ora pro nobis, sancta Dei Genetrix, ut digni efficiamur promissionibus Christi.
 

Oremus: Omnipotens, sempiterne Deus, qui gloriosae Virginis Matris Mariae corpus et animam, ut dignum Filii tui habitaculum effici mereretur, Spiritu Sancto cooperante, praeparasti: da, ut cujus commemoratione laetamur: ejus pia intercessione, ab instantibus malis, et a morte perpetua liberemur. Per eundem Christum Dominum nostrum. Amen.
 

Hail, Queen, Mother of mercy, our life, sweetness and hope, hail! Exiled children of Eve, we clamor to you. To you we sigh, groaning and weeping in this valley of tears. Of then, our advocate, turn your merciful eyes to us, and after this exile, show us the blessed fruit of your womb, Jesus. O kind, O loving, O sweet Virgin Mary.
 

Pray for us, holy Mother of God, that we may be made worthy of the promises of Christ.
 

Let us pray: Almight, eternal God, Who, the Holy Spirit cooperating, prepared the body and soul of the glorious Virgen Mary so that she merited to be made a worthy home for your Son, grant that whose commemoration we rejoice in, by her kind intercession we may be freed from surrounding evils and perpetual death. Through the same Christ our Lord. Amen.
 

the Princes and Sordello's planh on the death of Blacatz
 

human worth (l'umana probitate): lineage, heredity, nobility
 

Te lucis ante terminum
 

Te lucis ante terminum, We ask You, Creator of things,

Rerum Creator, poscimus before the end of the light,

Ut pro tua clementia that for Your kindness, You

Sis praesul et custodia. may be a Protector and Guard.
 

Procul recedant somnia May bad dreams and the phantasms

Et noctium phantasmata; of the night go far away:

Hostemque nostrum comprime, restrain our enemy lest our

Ne polluantur corpora. bodies should be polluted.
 

Praesta, Pater piissime, Grant this, most kind Father, and You

Patrique compar Unice, the Only Son, Equal to the Father,

Cum Spiritu Paraclito with the Spirit Paraclete, reigning

Regnans per omne saeculum. Amen through all ages. Amen.
 

the address to the reader (vv. 19-21) and the allegorical "show"
 

Nino Visconti and Corrado Malaspina
 

the three stars
 

the dream of the eagle
 

Lucia and the ascent to the Gate of Purgatory
 

the three steps and the ritual of penance: contritio cordis (contrition of the heart); confessio oris (confession of the lips); satisfactio operis (satisfaction by works) (or) Past, Present, Future (or) Innocence, Sin, Redemption
 

the angel at the gate and the inscribing of the seven P's (peccata)
 

Te Deum laudamus
 

Te Deum laudamus: te dominum confitemur.

Te aeternum patrem omnis terra veneratur.

Tibi omnes angeli, tibi coeli, et universae potestates:

Tibi Cherubim et Seraphim, incessabili voce proclamant:

Sanctus, Sanctus, Sanctus, Dominus Deus Sabaoth.

Pleni sunt coeli et terra majestatis gloriae tuae.

Te gloriosus apostolorum chorus,

Te prophetarum laudabilis numerus,

Te martyrum candidatus laudat exercitus.

Te per orbem terrarum sancta confitetur ecclesia,

Patrem immensae majestatis:
 

Venerandum tuum verum et unicum filium,

Sanctum quoque Paraclitum Spiritum.

Tu Rex gloriae Christe.

Tu Patris sempiternus es filius.

Tu ad liberandum suscepturus hominem, non horruisti virginis uterum.

Tu devicto mortis aculeo: aperuisti credentibus regna coelorum.

Tu ad dexteram Dei sedes, in gloria patris.

Iudex crederis esse venturus.

Te ergo quaesumus, tuis famulis subveni, quos pretioso sanguine redemisti.

Aeterna fac cum sanctis tuis gloria numerari.

Salvum fac populum tuum domine; et benedic haereditati tuae.

Et rege eos, et extolle illos, usque in aeternum.

Per singulos dies, benedicimus te.

Et laudamus nomen tuum in saeculum et in saeculum saeculi.

Dignare, Domine, die isto, sine peccato nos custodire.
 

Miserere nostri domine miserere nostri.

Fiat misericordia tua domine super nos, quemadmodum speravimus in te.

In te domine speravi: non confundar in aeternum.
 

We praise Thee, O God: we acknowledge Thee to be the Lord.

All the earth doth worship Thee, the Father everlasting.

To Thee all the Angels cry aloud, the Heavens and all the Powers therein:

To Thee the Cherubim and Seraphim continually do cry:

Holy, Holy, Holy, Lord God of Hosts.

Heaven and earth are full of the majesty of Thy glory.

The glorious choir of the Apostles praise Thee.

The admirable company of the Prophets praise Thee.

The white-robed army of the Martyrs praise Thee.

The holy Church throughout the world doth acknowledge Thee.

The Father of infinite majesty.

Thy adorable, true, and only Son,

And the Holy Spirit the Comforter.

Thou art the King of glory, O Christ.

Thou art the everlasting Son of the Father.

Thou, when about to take on human nature to redeem man, didst not disdain the Virgin's womb.

When Thou hadst overcome the sting of death, Thou didst open to believers

the kingdom of heaven.

Thou sittest at the right hand of God, in the glory of the Father.

We believe that Thou shalt come to be our Judge.

We beseech Thee, therefore, help Thy servants, whom Thou hast redeemed

with Thy precious Blood.

Make them to be numbered with Thy saints in glory everlasting.

O Lord, save Thy people, and bless Thine inheritance.

Govern them, and lift them up forever.

Day by day we bless Thee;

And we praise Thy name forever, yea, forever and forever.

Vouchsafe, O Lord, this day to keep us without sin.

Have mercy upon us, O Lord, have mercy upon us.

Let Thy mercy be upon us, O Lord, as we have hoped in Thee.

O Lord, in Thee have I hoped, let me not be confounded forever.
 

the first terrace: Pride (a swelling/tumor, love of one's own excellence)
 

the examples of Humility: the three relief sculptures: Annunciation, David dancing before the Ark of the Covenant, and the Justice of the Emperor Trajan --> God's art: visibile parlare ("speech made visible")
 

the manner of purgation
 

the recitation of the Pater Noster with gloss
 

Omberto Aldobrandeschi: pride of birth
 

Oderisi da Gubbio: pride of artistic excellence

Cimabue --> Giotto

Guido Guinizzelli --> Guido Cavalcanti --> Dante (?)
 

Provenzano Salvani: pride of power
 

the examples of pride laid low
 

the acrostic: Vedea O Mostrava = VOM = Uom = "man", "human kind"
 

the singing of the beatitude "Blessed are the poor in spirit"
 

the erasure of the "P"
 

the terrace of envy (invidia < invideo: non video)
 

tristitia de alienis bonis (sadness over another's good)
 

examples of the opposing virtue: charity
 

Sapia (from Siena; the rivalry between Florence and Siena)
 

Guido del Duca and Rinieri da Calboli
 

the descent of the Arno from the Casentino to the sea: the personification of the inhabitants along the course of the river: foul hogs, curs, wolves, foxes
 

the decline of virtue: horticultural imagery; Ubi sunt?
 

the beatitude: "Blessed are the merciful" (Charity)
 

explanation of vv. 86-87 of canto 14
 

examples of gentleness: ecstatic visions
 

the cloud of black smoke that envelopes the third terrace: anger
 

Marco Lombardo
 

the discussion of the creation of the human soul, free will, and the cause of evil in the world: the lack of leadership
 

the two suns of Rome

the center of the Divine Comedy
 

examples of anger
 

Virgil's discourse on love and the organization of the Purgatory

Virgil's continuing discourse on love and the operation of love
 

the terrace of sloth: examples of zeal / sloth
 

the second dream in Purgatory: the stammering woman, her transformation and expulsion
 

the image of the falcon and the lure of the heavens
 

the passage to the terrace of avarice and prodigality
 

Pope Adrian V: his late "conversion" (cf. Inferno 19)
 

the prophecy and the she-wolf (lupa)
 

the examples of generosity
 

Hugh Capet and his denunciation of the French dynasty
 

the humiliation of Boniface VIII at Anagni
 

the examples of avarice
 

the singing of the Gloria in excelsis Deo and the earthquake
 
 
 
 
 
 

the beginning of the "cantos of the poets"
 

Christological imagery and allusions to herald the appearance of Statius
 

the explanation of the earthquake
 

Statius' homage to Virgil and the gentle humor of the Purgatory
 

the attempted embrace (cf. Casella and Sordello)
 

the last vestiges of the terrace of avarice and prodigality
 

Statius and prodigality: the moral reading of Virgil's Aeneid
 

the conversion of Statius to Christianity: the spiritual reading of Virgil's Fourth Eclogue
 

Poetry -- Prophecy -- Politics
 

the Thebaid and its allegorical interpretations
 

the conversation concerning the location of Statius' "friends and associates and characters in his works": the problem of Manto
 

the arrival on the terrace of gluttony: examples of temperance and the unusually shaped tree
 
 

the singing of the Labia mea Domine
 

the emaciated state of the souls of the gluttons
 

Homo Dei (Man of God)
 

the meeting with Forese Donati and the evocation of their times together in Florence: the tenzone (exchange of sonnets)
 

the intercession of Forese's wife Nella and the contrast with the immodest Florentine women
 

women (and the Muses) as the proper (and sometimes improper) inspiration for poetry
 

the meeting with Bonagiunta da Lucca
 

the history of poetry in the thirteenth century, from the Notary, Guittone d'Arezzo and Bonagiunta, to the Dolce stil novo (the "Sweet New Manner/Style")
 

the moment of transformation in the lyric tradition is marked by Dante's poem, "Ladies who have intelligence of love" (Donne ch'avete intelletto d'amore) (in the Vita Nuova) and the episode is crowned by Dante's definition of his poetic inspiration
 

Forese's prophecy of his brother Corso's death
 

the examples of gluttony
 

Dante's question concerning how incorporeal forms can grow thinner
 

Statius discourses on the human embryology, generation, and the formation of the aerial body of the souls
 

the terrace of lust: the singing of the Summae Deus clementiae and the examples of chastity
 

Summae Parens clementiae, Great God of boundless mercy hear;

Mundi regis qui machinam, Thou Ruler of this early sphere;

Unius et substantiae, In substance one, in Persons three,

Trinusque personis Deus: Dread Trinity in Unity!
 

Nostros pius cum canticis Do Thou in love accept our lays

Fletus benigne suscipe: Of mingled penitence and praise;

Ut corde puro sordium And set our hearts frome error free,

Te perfruamur largius. More fully to rejoice in Thee.
 

Lumbos, jecurque morbidum Our reins and hearts in pity heal,

Flammis adure congruis, And with Thy chastening fires anneal;

Accincti ut artus excubent, Gird Thou our loins, each passion quell,

Luxu remoto pessimo. And every harmful lust expel.
 

Quicumque ut horas noctium Now as our anthems, upward borne,

Nunc concinendo rumpimus, Awake the silence of the morn,

Ditemur omnes affatim Enrich us with Thy gifts of grace,

Donis beatae patriae. From heaven, Thy blissful dwelling place!
 

Praesta, Pater piissime, Hear Thou our prayer, Almighty King;

Patrique compar Unice, Hear Thou our praises, while we sing,

Cum Spiritu Paraclito Adoring with the heavenly host

Regnans per omne saeculum. The Father, Son, and Holy Ghost.

the purgation of lust and the examples of lust
 

the meeting with Guido Guinizzelli, Dante's acknowledged poetic "father"
 

the celebration of the Provençal troubadour Arnaut Daniel and the criticism of Giraut de Bornelh and Guittone d'Arezzo
 

the meeting with Arnaut Daniel, who speaks in Provençal: the inventor of the sestina form and a major influence on Dante's "rime petrose", the poetry for the "Donna Petra" (the Stony Lady)
 

the necessity of passing through the fire, and Virgil's encouragement of the Pilgrim
 

the singing of Venite, benedicti Patris mei ("Come, ye blessed of my Father")
 

the third dream in Purgatory: Leah and Rachel
 

Virgil's last words and his crowning of the Pilgrim

the arrival in the Earthly Paradise, in Eden, in the state of original innocence and justice: the "divine forest" (cf. the word of Inferno 1 and the wood of the suicides in Inferno 13)
 

Dante moves on his own and discovers a small stream and a woman (Matelda) who sings and gathers flowers: the setting is that of the pastourelle, of love poetry
 

the exegesis provided by the psalm Delectasti ("you have made [me] glad")
 

the two rivers: Lethe and Eunoe
 

the corollary: Eden the Golden Age
 

the preparation for the procession: suspense, invocation to the Muses
 

7 candelabra -- 24 elders -- 4 animals -- chariot -- 7 women -- 7 elders: the culmination of artistic imagery in the Purgatory
 

o

o

o o o o

o o o o o o o o o o o o o o o

o o o o o o o o o o o o o o o o

o o o o

o
 
 

the preparation for the advent of Beatrice: Veni, sponsa, de Libano ("Come with me from Lebanon, my spouse"); Benedictus qui venis ("Blessed are you who come"); Manibus...date lilia plenis ("Give lilies with full hands")
 

Beatrice appears on the chariot crowned with olive boughs and dressed in white, green and red
 

Dante's reaction to the presence of Beatrice: "I recognize the signs of the old flame" (Adgnosco veteris vestigia flammae)
 

the departure of Virgil, and Dante's triple naming of Virgil (cf. Orpheus's cry to Eurydice)
 

Beatrice's attitude toward and reproof of Dante and the recapitulation of the Vita Nuova
 

the ritual of confession (confessio oris)
 

the recapitulation of Dante's failings and the resulting satisfactio operis
 

the immersion of Dante in the river Lethe
 

the identity of the nymphs
 

Beatrice and the Griffin
 
 

the rejoining of the chariot with the tree of justice/law
 

Dante's mission defined by Beatrice (vv. 100-106)
 

the allegorical representation of the history of the Church in the form of the chariot and its vicissitudes
 

the prophecy of the "Five Hundred and Ten and Five" (cinquecento diece e cinque): DXV --> DVX; or DXV --> Deus -- Christus -- Vomo
 

the immersion in Eunoe
 

the conclusion of Purgatory with Dante poised to ascend through the heavenly spheres