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Robert Hollander (English, 2000-2007) 1 - 3. Dante has gone white with cowardice. Seeing this, Virgil tries to compose his own features. In canto VIII.121 ( Inf. VIII.121) Virgil was angry, and this fact leads many commentators to believe that the color in his face now is still the red flush of anger. On the other hand, others believe (and over ...
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XXV.79-108). This 'lecture' is put to the task of justifying Dante's presentation of spiritual beings as still possessing, for the purposes of purgation, their bodily senses even though they have no bodies. Souls in Heaven, we will discover, have no such 'aerial bodies,' but are present as pure spirit.
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12 - 13. 'The infamy of Crete' is the Minotaur (only identified by name at Inf. XII.25), half man and half bull, conceived by the sexually venturesome Pasiphaë [wife of Minos, king of Crete] with a bull, when she placed herself in a wooden replica of a cow in order to enjoy a bovine embrace.
Dante's nest-seeking doves seem to reflect both Aeneid V.213-217 and Georgics I.414. A student at Princeton, Daniel Cheely '03, has recently suggested that another Virgilian passage is echoed here: Aeneid II.516, the description of Hecuba and her daughters, huddled together like doves driven before a black stormcloud.
The following simile will give Dante's new determination expression. 127 - 132. This second simile of the canto (the first occurred at vv. 37-40) reveals how carefully Dante has been using classical similes to structure his two proemial cantos, both in themselves, and as a unit. See the note to Inf. II.1-6.
