![]() ![]() ![]() ![]() metapoetic statements about the insufficiency of the poet to his task.brief moments of “plot,” where the pilgrim does something or something happens to him, distinguished by the past tense.Here is an outline that parses Paradiso 33 as four narrative blocks: the prayer to the Virgin, followed by the three circular movements - three “circulate melodie” - in which Dante tells the story of the pilgrim’s final vision and incorporation into the divine.Įach of these circular movements is made up of three textual building blocks used by the poet to keep the text jumping, to prevent a narrative line from forming. He approaches and backs off, approaches and backs off again, and finally arrives. These can also be considered three circulate melodie, three “jumps” by which the poet zeroes in on his poem’s climax. ![]() This story can, I believe, be viewed as three circular waves of discourse - like the rippling motion of water in a round vase that is compared to waves of spoken speech at the beginning of Paradiso 14. If we analyze Paradiso 33 by dividing it, searching for the narrative line that it resists, we begin by distinguishing the oratorical prelude of the canto’s first third, its first 45 verses, from the ensuing story of the pilgrim’s final ascent. What follows is the “story” of the pilgrim’s gaze, as it finally ascends to the beatific vision. 33.46-48) And I, who now was nearing Him who is ![]()
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