Stanley Benfell - Prophetic Madness: The Bible in = Inferno XIX

From: Subject: Stanley Benfell - Prophetic Madness: The Bible in Inferno XIX - MLN 110:1 Date: Mon, 3 May 2004 20:26:26 -0700 MIME-Version: 1.0 Content-Type: multipart/related; boundary="----=_NextPart_000_0000_01C4314C.E9068290"; type="text/html" X-MimeOLE: Produced By Microsoft MimeOLE V6.00.2800.1409 This is a multi-part message in MIME format. ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: text/html; charset="Windows-1252" Content-Transfer-Encoding: quoted-printable Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/journals/mln/v110/110.1benfell.html Stanley Benfell - Prophetic Madness: The Bible in = Inferno XIX - MLN 110:1

Copyright =A9 1995 The Johns Hopkins = University Press.=20 All rights reserved.

MLN 110.1 = (1995)=20 145-163=20

Prophetic Madness: The Bible in=20 Inferno XIX

V. Stanley Benfell=20

The Prophets Isaiah and Ezekiel dined = with=20 me, and I asked them how they dared so roundly to assert that = God spoke=20 to them; and whether they did not think at the time that they = would be=20 misunderstood, & so be the cause of imposition.=20
Isaiah answer'd, "I saw no God, nor heard = any, in a=20 finite organical perception; but my senses discover'd the = infinite in=20 every thing, and as I was then perswaded, and remain confirm'd, = that the=20 voice of honest indignation is the voice of God, I cared not for = consequences, but wrote. . . ."=20
--William Blake, The Marriage of Heaven and = Hell=20

In his Ruin the Sacred Truths, an = attempt to view=20 literary history as a succession of "strong" poets, Harold Bloom = aligns=20 Dante with Milton: two poets pursuing a prophetic vision in = despite of=20 orthodoxy and Christian doctrine. "Dante, like Milton," he writes, = "was=20 essentially a sect of one, not as pilgrim, but as prophetic poet. = Milton=20 was Bible-haunted and yet attempted things both in competition = with and=20 even beyond the scope of the Bible. The Comedy, for all its = learning, is not deeply involved with the Bible" ¹ Bloom's argument against a strong = Dantesque=20 biblicism seeks to disjoin Dante's poem from typical theological = discourse=20 so as to redefine the Comedy as prophetic. But Bloom's = disjunction=20 of Dante's identity as prophetic [End Page 145] poet and = his use of=20 the Bible ultimately prove false. The working out of Dante's = conviction=20 that he was called to write to an erring world, "in pro del mondo = che mal=20 vive," is thoroughly intertwined with the biblical text. Dante not = only=20 draws on the book inspired by God, who "deigned to manifest his = will to us=20 through the pens of many," ² he also looks to the Bible as a model of = textual=20 truth. For Dante's conviction that God makes use of his own = pen=20 does not preclude his altering the Bible even as he uses it and = draws on=20 its authority; Dante's textual truth telling depends not on = unerring=20 correspondence to the text of the Bible--a kind of poetic=20 fundamentalism--but rather on a continuance and expansion of the = biblical=20 tradition, an attempt to make the biblical text new. = Inferno XIX,=20 where Dante fears being mad ("folle") not only because of his = boldness in=20 denouncing spiritually deviant popes but also because of his = freedom with=20 the biblical text, presents an exemplary case.=20

The Bible, it is often noted, has little place = in the=20 Inferno, probably, as Peter Hawkins has stated, because of = "Dante's=20 overt dependence on classical sources in the Inferno, as = well as=20 the rejection of God exemplified in those who have lost the 'good = of the=20 intellect.'" ³ This observation accords well with current = critical=20 norms concerning the Comedy's first canticle, which, as = Teodolinda=20 Barolini has observed, tend to emphasize the Inferno as the = realm=20 of the problematic. ⁴ As the pilgrim and his guide journey "tra = la perduta=20 gente," the Christian truths that will be expounded so fully in = the later=20 canticles, the commonplace goes, are glimpsed only intermittently = and in a=20 distorted manner--through a glass darkly. The subtexts invoked in = this=20 lower world share the same fate; they are likewise [End Page = 146]=20 seen incompletely, as if the damned also remembered texts by the = same=20 "mala luce" by which they are constrained to glimpse earthly = history (see=20 Inf. X, 100-02). The quintessential example of Infernal=20 intertextuality from this standpoint is the first line of the=20 Inferno's final canto: "Vexilla regis prodeunt inferni," in = which=20 Venanzio Fortunato's hymn, the only Latin citation of the = Inferno,=20 is transformed from a celebration of the true cross to an = announcement of=20 the appearance of hell's own king, who, as John Freccero has = argued,=20 constitutes a perversion of the true cross. ⁵ Dante fills the Inferno with = inversions and=20 parodies of Christian sacraments, truths, and texts. ⁶ Recently, for example, scholars have shown = how Dante=20 has his characters (Farinata, Ugolino, and Vergil are three = examples)=20 unknowingly cite scriptural passages, which, when viewed in their=20 scriptural context, serve to condemn the characters that utter = them.=20 ⁷ Thus, the Bible seems to exist in the = Inferno=20 through mistaken allusions and misunderstood echoes. It is later, = in the=20 Purgatorio and the Paradiso, that the Bible becomes = a=20 significant presence in the text of the poem.=20

This commonplace, though in many ways = substantially=20 correct, is also overly simplistic. While it is true that the = Bible=20 becomes an increasingly important presence in the = Purgatorio and=20 the Paradiso, that presence often remains problematic. = Furthermore,=20 although the Bible's presence in the Inferno is largely=20 characterized by its allusive misprision, there is at least one = key moment=20 where the Bible plays an overtly central role: canto XIX, a canto = which is=20 central to the canticle for several reasons.=20

The canto is, first of all, distinguished by = the density=20 of its biblical references and translations, a density that makes = XIX the=20 most biblical [End Page 147] canto in the Inferno. = Second,=20 the tone of the canto, marked by passages of elevated style, sets = itself=20 off from all other cantos of the eighth circle, except for the = canto of=20 Ulysses. ⁸ From the solemn opening apostrophe to = Simon Magus to=20 the pilgrim's lament over the Donation of Constantine, the canto = is=20 characterized by a style that has been termed "hieratic" and = "prophetic,"=20 though liberally interspersed with "comic" language. Third, the = canto is=20 central thematically; Dante's invective against the simoniacal = popes and=20 his lamentation over the Donation of Constantine and its = disastrous=20 effects on the temporal order of the world reveal his underlying=20 preoccupation with the corruption of the church and the resulting=20 confusion between the "two suns" of earthly life. ⁹=20

The canto's intertextual, stylistic, and = thematic=20 preoccupations are all revealed in the well known opening of the = canto:=20

O Simon mago, o miseri seguaci=20
   che le cose di Dio, che di bontate=20
   deon essere spose, e voi rapaci
per = oro e per=20 argento avolterate,
   or convien che per voi = suoni=20 la tromba,
   per=F2 che ne la terza bolgia = state.

(Inf. XIX, 1-6)=20

The poet's apostrophe to the original, biblical = Simon and=20 his followers, who inhabit the third bolgia of the eighth = circle,=20 breaks the narrative thread of XVIII, thus marking the = introduction of a=20 new theme and tone. We are immediately carried from the = "shit-filled"=20 linguistic environment of the pouch of the flatterers to the = solemnity of=20 the next bolgia. The elevated tone of the apostrophe is = [End=20 Page 148] boosted by the fact that Dante expresses it in = biblical=20 terms--the inhabitants of the pouch are Simon Magus and his = followers.=20

The inhabitants of the third bolgia thus = have a=20 typological relationship to the biblical type of the simonist. = Simon's=20 attempt to purchase the gifts of the Holy Spirit (see Acts 8: = 14-24)=20 anticipates the buying and selling of church offices in which the=20 simonists engage. But the biblical example here becomes inverted; = as=20 Alberto Chiari has observed, in the episode recounted in Acts, the = first=20 pope, Peter the apostle, rebukes Simon for his attempt to purchase = the=20 things of God, whereas in canto XIX the popes undergo examination = by a=20 layman. ¹⁰ This inversion of the roles in Acts = replicates the=20 popes' own inverted and perverted use of "le cose di Dio," which = have=20 become whores in their hands rather than lawful spouses of Christ, = an=20 inversion which is mirrored, of course, in the canto's = contrapasso=20 and in Dante's simile that describes the pilgrim's spatial = relationship to=20 the damned pope as that of "'l frate che confessa / lo = perfido=20 assessin" (Inf. XX, 49-50). This perversion of church from = spouse=20 to prostitute is one of the principal images of the canto, as are = the=20 "oro" and "argento" (repeated at 95 and 112) sought by the = simoniacal=20 popes, two substances which Peter claimed not to possess: "Silver = and gold=20 have I none" (Acts 3:6), a scripture to which Dante later refers = in the=20 Paradiso: "Pier cominci=F2 sanz' oro e sanz' argento" = (XXII, 88).=20 Thus, as the first six lines anticipate, XIX will be a canto of=20 inversions, in which the appropriate and divinely ordained = relationship=20 between the church, her Lord, and the goods of this world is, = quite=20 literally, turned on its head. ¹¹=20

The canto's next apostrophe, to divine wisdom = ("O somma=20 sap=EFenza," Inf. XIX, 10), also most likely derives from = the Bible=20 (Proverbs 3:19-20). This particular instance, however, does not = interest=20 us except as evidence of the fact that Dante has saturated this = canto with=20 biblical citations and reminiscences. Far more interesting, for = our=20 present purposes, is the famous autobiographical episode of = Dante's=20 breaking of the baptismal structure in the Florence baptistry. I = do not=20 wish to enter the debate on this particular crux; I wish only to = argue=20 that regardless of whether one views the "battezzatori" as the = priests who=20 perform the baptisms or the holes in [End Page 149] which = the=20 priests placed and baptised the infants, ¹² the importance of the episode lies in = its=20 "typological" quality: just as Dante had to attack and break part = of the=20 physical church in Florence in order to save a life, so in this = canto the=20 pilgrim will attack the institutional church precisely because he = wishes=20 to save it. He undertakes both actions for the greater good. = ¹³ Rachel Jacoff has seen a similarity = between this=20 episode and the general tenor of the book of Jeremiah, reminding = us that=20 in this prophetic book Jeremiah himself becomes a symbol of his = message,=20 virtually incarnating it. So here an incident of Dante's life = serves as a=20 sign of the pilgrim's role in this canto. ¹⁴=20

The contrapasso of the inverted sinners, = whose=20 feet are scorched, recalls a biblical episode, the descent of = tongues of=20 flame on the apostles on the day of Pentecost (see Acts 2), but = once again=20 the biblical image is inverted. For the Apostles, the tongues of = fire were=20 the Holy Ghost, which descended on them to help in their divinely = ordained=20 mission of guiding the church of Christ; for the simonists, the = flames are=20 a punishment for having failed to guide the church and for, = metaphorically=20 at least, having bought and sold the Holy Ghost as Simon wished to = do.=20 ¹⁵ Thus, Nicholas III, having mistaken = [End Page=20 150] Dante for Boniface VIII, can mock him with the image of = the=20 spouse of Christ, since Boniface has sold her as a whore:

Se' tu s=EC tosto di quell' aver sazio=20
per lo qual non temesti t=F2rre a 'nganno=20
la bella donna, e poi di farne strazio? =

(Inf. XIX, 55-57)=20

The "comic" tone of the encounter seems = consonant with=20 the rest of the Malebolge. In addition, the use of the = Bible up to=20 this point in the canto, though more extensive than is generally = found in=20 the Inferno, also matches the typical misprision of the = Bible I=20 previously delineated--inverted allusions, perversion of biblical=20 examples, and so on. Once Dante has corrected Nicholas' mistaken=20 identification, however, and Nicholas begins to recount his = history to the=20 pilgrim, both the tone and the use of the Bible change = dramatically,=20

Thus, if Nicholas begins his discourse sounding = like one=20 type of sinner common in the Inferno--upset at being = recognized,=20 seemingly reluctant to confess his deeds--he quickly sets himself = off from=20 other sinners in his willingness to blame himself for his sins and = recognize his own responsibility for being in hell: "fui [ . . . ] = /=20 cupido s=EC per avanzar li orsatti, / che s=F9 l'avere e qui me = misi in borsa"=20 (69; 71-72). And if he, like other sinners, eagerly casts blame on = his=20 fellow sinners as he details the anticipated arrivals of Boniface = VIII and=20 Clement V, Dante elevates the tone of his discourse so that it = finishes on=20 a note of biblical denunciation: ¹⁶

ch=E9 dopo lui verr=E0 di pi=F9 laida = opra,=20
   di ver' ponente, un pastor sanza legge,=20
   tal che convien che lui e me ricuopra. =
Nuovo=20 Ias=F2n sar=E0, di cui si legge [End Page 151]=20
   ne' Maccabei; e come a quel fu molle=20
   suo re, cos=EC fia lui chi Francia regge. =

(Inf. XIX, 82-87)=20

Nicholas delivers a discourse that would sit = equally well=20 in the mouth of St. Peter in Paradiso XXVII, where the = first pope=20 denounces the contemporary state of the papacy. As Dante had = opened canto=20 XIX with a typological use of the Bible, here he places another = such=20 reference to the Bible in the mouth of Nicholas. Jason, the = brother of the=20 high priest who buys the priesthood from the king Antiochus IV = (see 2=20 Maccabees 4), anticipates the actions of Bertran de Got, who = succeeds in=20 "buying" the papacy from Philip the Fair. The sinners of this = canto=20 continue to recapitulate biblical types. As Alberto Chiari has = observed,=20 ¹⁷ this unusual, prophetic tone in the = mouth of a=20 sinner sets the stage for the pilgrim, who begins where Nicholas = ends,=20 denouncing the simonists with a flurry of biblical examples. = Before the=20 poet presents the pilgrim's discourse, however, he articulates an = aside=20 that retrospectively doubts the appropriateness of his remarks: = "Io non so=20 s'i' mi fui qui troppo folle, / ch'i' pur rispuosi lui a questo = metro"=20 (88-89). As Umberto Bosco has shown, Dante's folly or madness here = and=20 throughout the poem does not refer to a condition of mental = instability,=20 but to "un certo atteggiamento spirituale" that is characterized = by a=20 desire to exceed lawful limits, a meaning which is reinforced here = by the=20 qualifier "troppo." ¹⁸ Critics usually link Dante's fear of = having been=20 "troppo folle" to his later words that state his reluctance to = criticize=20 one who was "vestito del gran manto":

E se non fosse ch'ancor lo mi vieta=20
la reverenza de le somme chiavi=20
che tu tenesti ne la vita lieta,
io = userei=20 parole ancor pi=F9 gravi.

(Inf. XIX, 100-03)=20

His "madness" refers to his attack on = established=20 ecclesiastical authority, as if he were trying to defuse the = attack in=20 advance. But, as the pilgrim's negative self-characterization, "Io = non=20 En=EBa, io non Paulo sono," serves to draw attention to the ways = in which=20 the pilgrim [End Page 152] must be positively = identified=20 with the two earlier voyagers to the afterlife, the poet's = expressed=20 reservations here serve to focus our attention on how audacious = the words=20 that follow actually are. ¹⁹ Dante's boldness in criticizing = simoniacal popes=20 is matched by a free use of the biblical text, as Dante fills the=20 pilgrim's speech not only with biblical episodes, echoes, and=20 translations, but also with a rewriting of a biblical text. We = will now=20 turn to a detailed examination of the scriptural presence in the = pilgrim's=20 discourse in order to determine how Dante's use of the Bible = qualifies as=20 "folle."=20

The rhetorical strategy of the pilgrim's speech = does not=20 depend on Dante's authority; rather, Dante appropriates the = biblical text=20 in order to demonstrate how the popes fail to measure up to the = founding=20 pope, St. Peter. Thus, Dante adduces positive examples of = leadership from=20 the life of Peter, a biblical model that the simonists fail to = follow:=20

   Deh, or mi d=EC: = quanto=20 tesoro volle
Nostro Segnore in prima da san Pietro=20
   ch'ei ponesse le chiavi in sua bal=ECa?=20
   Certo non chiese se non "Viemmi retro." =
N=E9=20 Pier n=E9 li altri tolsero a Matia
   oro od = argento=20 quando fu sortito
   al loco che perd=E9 = l'anima ria.=20
Per=F2 ti sta, ch=E9 tu se' ben punito; =
   e guarda=20 ben la mal tolta moneta
   ch'esser ti fece = contra=20 Carlo ardito.

(Inf. XIX, 90-99)=20

The first tercet refers to two separate = passages in the=20 gospels: (1) Jesus' consigning of the keys of the kingdom to Peter = (Matthew 16:13-20), and (2) his earlier invitation to Peter and = Andrew to=20 become his disciples. In the first instance, Jesus has asked his=20 disciples, "Whom do men say that I the son of man am?" Peter's = response,=20 "Thou art the Christ, the Son of the Living God," leads Jesus to = make his=20 pronouncement, on which the Popes based their authority as = successors of=20 Peter: "And I say also unto thee, That thou art Peter, and upon = this rock=20 I will build my church; and the gates of [End Page 153] = hell shall=20 not prevail against it. And I will give unto thee the keys of the = kingdom=20 of heaven." Dante's example is extremely pointed: the Lord, in = appointing=20 the first Pope, asked nothing but discipleship--Peter's worthiness = is=20 founded on how well he follows Christ.=20

The second example, like the first, recounts an = instance=20 where priestly office was conferred, this time by Peter--the = selection of=20 Matthias to replace Judas Iscariot as a member of the twelve = apostles,=20 related in Acts 1. Again, the contrast between biblical worthiness = and=20 present-day wickedness is obvious: Peter was only concerned that = the new=20 twelfth apostle be an appropriate witness of the Lord's life, = "Beginning=20 from the baptism of John, unto that same day that he was taken up = from us,=20 must one be ordained to be a witness with us of his resurrection." = "Oro"=20 and "argento" only become conspicuous in Acts by the fact that = Peter=20 insists that he has none. Dante's rhetorical strategy in this = discourse=20 anticipates Reformation polemic by insisting that the Bible, = rather than=20 the contemporary church and its traditions, be accepted as = normative.=20 Dante's mention of Nicholas' ill-gotten money for political ends, = even if=20 modern history casts doubt on the legitimacy of the accusation and = judges=20 Dante's enemies less harshly than he does, is effective when = placed=20 against this biblical context. Dante's own sarcastic "guarda ben" = does not=20 seem out of place but rather reinforces the biblical tone, = reminiscent of=20 Jesus' verdict on those who perform good works for worldly gain, = "Verily I=20 say unto you, They have their reward," as well as recalling = Peter's=20 response to "Simon mago": "Thy money perish with thee," which is = even more=20 emphatic in the Vulgate: "pecunia tua tecum sit in perditionem."=20

Dante's biblically based rhetoric, however, = masks the=20 increasing boldness of the denunciation; beginning with two more = or less=20 straightforward biblical examples, Dante proceeds to accuse = Nicholas of a=20 specific act of simony. ²⁰ Dante then uses his own plea that he is = tempering=20 his denunciation out of reverence for the "great mantle" Nicholas = wore in=20 life to carry the accusation farther: papal simony is responsible = for the=20 deteriorating condition of the world: "ch=E9 la vostra avarizia il = mondo=20 attrista, / calcando i buoni e sollevando i pravi" (104-05). As = the=20 pilgrim's switch to the plural pronoun immediately broadens his = invective,=20 the denunciatory crescendo [End Page 154] reaches its = climax with a=20 return to the Bible, but Dante's use of it here becomes at once = bolder and=20 freer. The popes of canto XIX are no longer the anti-types of = biblical=20 simonists or the failed, deviant, would-be followers of Christ and = his=20 apostles; they have become the very subject of biblical prophecy. =

Di voi pastor s'accorse il Vangelista,=20
   quando colei che siede sopra l'acque=20
   puttaneggiar coi regi a lui fu vista; =
quella=20 che con le sette teste nacque,
   e da le = diece corna=20 ebbe argomento,
   fin che virtute al suo = marito=20 piacque.

(106-11)=20

The passage presents two immediate problems: = first,=20 Dante's association of the prostitute of Apocalypse 17 with the = church=20 contradicts the accepted interpretation of the figure. Second, and = more=20 important, Dante has miscited the Bible. We will examine the first = problem=20 briefly.=20

Traditionally, exegetes interpreted the "great = whore that=20 sitteth upon many waters" as referring to the Roman Empire and its = efforts=20 of persecution against the early Christians, an interpretation = supported=20 by the text of Apocalypse 17. (See, for instance, verse 9, where = the=20 beast's seven heads "are seven mountains on which the woman = sitteth," thus=20 suggesting Rome.) Dante, together with the Franciscan = spiritualists,=20 ²¹ interprets the whore as the = church of Rome,=20 whose exploits in the late thirteenth century were for many aptly=20 described by verse two of Apocalypse 17: "With whom the kings of = the earth=20 have committed fornication, and the inhabitants of the earth have = been=20 made drunk with the wine of her fornication." Pietro di Giovanni = Olivi, a=20 Franciscan spiritualist with whom Dante may have studied at Santa = Croce,=20 in his study of the Apocalypse notes that the Catholic fathers = viewed the=20 "meretrix magna" as pagan Rome, an interpretation that he = considered valid=20 as long as Rome remained a persecutor of the church. Now, however, = he says=20 that we must understand the meretrix as Christian Rome, = "quia a=20 fedeli cultu et a sincero amore et deliciis dei christi sponsi sui = recedens [End Page 155] adheret huic seculo et deliciis et = divitiis=20 eius" ("because withdrawing from the faithful worship and genuine = love and=20 delights of the God Christ her bridegroom, she clings to this age = and its=20 delights and riches"). ²²=20

While the question of Dante's knowledge of and = sympathy=20 with the Franciscan spirtualist movement is a vexed one, in this = passage=20 it must be admitted, as Raoul Manselli asserts, that Dante follows = at=20 least the spirit of the spiritualist interpretation, ²³ although it may be that Manselli pushes = his claims=20 of direct spiritualist influence on Dante too far. Thus, while the = Glossa Ordinaria sees the whore as some as yet undetermined = Antichrist ("Meretrix ista magna est Antichristus"), ²⁴ Dante's "colei che siede sopra l'acque" = clearly=20 refers to the church of his own day.=20

Thus, although Dante's reference to the = seventeenth=20 chapter of the Apocalypse does not follow orthodox = interpretations, it is=20 nevertheless in accordance with one major strand of contemporary = exegesis.=20 However, Dante's reference to the Bible departs even from this=20 spiritualist radicalism, since, as virtually every commentator = since=20 Castelvetro has noted, ²⁵ he miscites the Bible by conflating two = separate=20 biblical images and ignoring the Bible's own self-exegesis. In = order to=20 understand the extent of Dante's distortion of the biblical text, = we must=20 take a closer look at the passage. Ostensibly, lines 106-11 refer = to the=20 first three verses of Apocalypse 17:

And there came one of the seven angels = which=20 had the seven vials, and talked with me, saying unto me, Come = hither; I=20 will shew unto thee the judgment of the great whore that sitteth = upon=20 many waters: With whom the kings of the earth have committed=20 fornication. . . . So he carried me [End Page 156] away = in the=20 spirit of the wilderness: and I saw a woman sit upon a scarlet = colored=20 beast, full of names of blasphemy, having seven heads and ten = horns.=20

Dante's "colei che siede sopra l'acque / = puttanegiar coi=20 reggi" is a virtually literal translation of the Vulgate's verse = 1,=20 "meretricis magnae quae sedet super aquas multas cum qua fornicati = sunt=20 reges terrae," but the next tercet is at best an extremely free = paraphrase=20 of verse three. For the pilgrim refers to the whore as having been = born=20 with seven heads and ten horns, whereas in the Bible they belong = to the=20 beast on which the whore sits. Dante makes no mention of the beast = but=20 replaces it with a husband for the whore, whom most commentators = identify=20 as the pope. Furthermore, Dante assigns a positive value to the = seven=20 heads and ten horns, which, later in the same chapter, the = biblical text=20 identifies as "seven mountains, on which the woman sitteth," and = "ten=20 kings, which have received no kingdom as yet; but receive power as = kings=20 after one hour [with] the beast" respectively. The general = consensus among=20 the commentators is that Dante's "diece corna" refer to the ten=20 commandments and the "sette teste" to the seven gifts of the Holy = Spirit=20 or the seven sacraments.=20

Several critics have argued that the merging of = the beast=20 and the whore does not significantly alter the general meaning of = the=20 biblical image, as both figures in the Apocalypse are associated = together=20 as images of Antichrist. Indeed, one study of the Apocalypse in = the=20 Commedia suggests that Dante found the idea to merge the = images in=20 contemporary commentaries on the Bible. ²⁶ Olivi, for instance, wrote, "mulier ista = in=20 quantum est carnalis et bestialis dicitur bestia, in quantum vero = condam=20 prefuit et regnavit super bestiales gentes mundi et adhuc super = plures=20 bestiales sibi subditas dominatur, dicitur sedere super bestiam" = ("this=20 woman, inasmuch as she is carnal and bestial is called a beast; = truly,=20 inasmuch as she was set above and ruled over the bestial peoples = of the=20 world and, furthermore, as she is lord over more bestial peoples = which are=20 placed under her, she is said to sit on the beast"). ²⁷ There are, however, problems with this=20 explanation.=20

First of all, Olivi's equivalence of the woman = and the=20 beast is a figurative identification of the images; in addition, = he=20 proceeds to [End Page 157] argue that the beast does have = its own=20 signification, that of the "bestiales gentes mundi," over which = the woman=20 reigns. The passage in the Inferno is both clearer and = bolder than=20 Olivi's interpretation. For the pilgrim's assertion is that his=20 interpretation of the biblical passage was foreseen and intended = by St.=20 John himself: "Di voi pastor s'accorse il Vangelista." ²⁸ Second, in Dante's version, the whore = originally=20 possessed a positive value; she is--by implication--a married = woman whom=20 her husband has corrupted. To reinforce this identification, Dante = has=20 also replaced the Bible's own interpretation of the significance = of the=20 seven heads and the ten horns, as already noted above. Dante's = alteration=20 of the biblical image and its traditional interpretation is a = significant=20 one: from an image of the Antichrist to that of the pristine = church=20 corrupted.=20

In Purgatorio XXXII, 142-53, Dante again = refers to=20 the images of Apocalypse 17, this time more or less correctly, = with the=20 harlot seated on the cart that has become the beast, though here = too Dante=20 has altered the details. At least one critic has seen this later=20 "correction" as a fortunate improvement on Dante's ignorance of or = freedom=20 with the biblical text. ²⁹ Nevertheless, although Dante's later use = of this=20 image is ostensibly closer to that of Apocalypse 17, the = meaning of=20 the image has not altered--it too symbolizes the original church=20 corrupted. In short, there is an underlying consistency to the two = references to Apocalypse 17; Dante has replaced the Bible's harlot = with a=20 corrupted wife who is now forced to play the whore.=20

As I have already noted, sexual faithfulness = and=20 promiscuity are key images in the canto--the popes "adulterate" = the things=20 of God, Boniface has become the church's pimp. The sexual metaphor = of the=20 church of God being unfaithful to God is also a biblical one, = though one=20 found in the Old Testament, and it appears that Dante has here = adapted an=20 Old Testament image to fit into an apocalyptic context based on = the John's=20 New Testament Apocalypse. Several Old Testament prophets compared = Israel=20 or Judah to a woman whom God had married but who then became = unfaithful to=20 her divine husband. A typical example of this image is found in = Ezekiel=20 16:8-15. [End Page 158]

Now when I passed by thee, and looked = upon=20 thee, behold thy time was the time of love; and I spread my = skirt over=20 thee, and covered thy nakedness: yea, I sware unto thee, and = entered=20 into a covenant with thee, saith the Lord God, and thou becamest = mine. .=20 . . And thy renown went forth among the heathen for thy beauty: = for it=20 was perfect through thy comeliness, which I had put upon thee, = saith the=20 Lord God. But thou didst trust in thine own beauty, and playedst = the=20 harlot because of thy renown, and pouredst out thy fornication = on every=20 one that passed by.

The Old Testament prophets turn often to this = image. The=20 first three chapters of Hosea most clearly exploit it, as God = commands the=20 prophet to marry a prostitute so that his marriage and offspring = will be=20 signs of Israel's unfaithfulness. I am not suggesting one source = for=20 Dante's rewriting of Apocalypse 17; only that Dante most likely = associated=20 John the Revelator's whore with that of the Old Testament prophets = when he=20 sought to rework the apocalyptic image into a sign of the corrupt = church.=20 Dante's image, however, remains unique; in virtually all the Old = Testament=20 uses of the image, the husband of the wayward Israel is God. Dante = creates=20 a papal husband who is not loath to become a pimp and force his = wife to=20 play the whore for his own gain, as in Nicholas' reproach intended = for=20 Boniface: "per lo qual non temesti t=F2rre a 'nganno / la bella = donna, e poi=20 di farne strazio." Thus, in the Old Testament, Israel is = responsible for=20 her own unfaithfulness, whereas for Dante, the New Testament = Israel's own=20 husband has led her to prostitution.=20

In one other way, however, Dante's whore = sitting on the=20 waters resembles the Old Testament image of an unfaithful Israel: = both=20 images are related to idolatry. Israel's prostitution refers to = her=20 forsaking her God for those of other nations, as manifested either = in=20 syncretic cultic practices or political alliances. ³⁰ Likewise, Dante links papal avarice to = idolatry:=20

Fatto v'avete dio d'oro e d'argento;=20
e che altro =E8 da voi a l'idolatre,=20
se non ch'elli uno, e voi ne orate cento? =

(112-14)=20

Not surprisingly, Dante bases this = terzina as well=20 on a biblical text, Hosea 8:4: "argentum suum et aurum suum = fecerunt sibi=20 idola, ut interirent" ("of their silver and gold they have made = them=20 idols, that they may be cut off"). This constitutes the final = biblical=20 allusion or [End Page 159] translation of the canto, and = after the=20 pilgrim's brief lament over the Donation of Constantine as the = source of=20 church's troubles, Nicholas's kicking reaction, and Vergil's = silent=20 approval of the pilgrim's words, the canto ends with Vergil = carrying the=20 pilgrim to the next bolgia. ³¹=20

What, then, are we to make of the pilgrim's = "folle"=20 speech, with its extensive use of biblical subtexts? I have tried = to show=20 that Dante's use of the Bible in the speech, and in particular his = use of=20 Apocalypse 17, constitutes a highly creative rewriting of the = biblical=20 text, in which a number of biblical images are imaginatively = recombined to=20 form a new, different Apocalypse 17, Dante's Apocalypse, = but one=20 which he claims John the Evangelist foresaw and intended: "Di voi = pastor=20 s'accorse il Vangelista." Dante sought an authoritative text that = would=20 unequivocally condemn papal simony; lacking such a text, and = evidently=20 considering his straightforward demonstrations of how the popes = fail to=20 follow biblical examples insufficient, he created one. And = although=20 creative, even parodistic reworkings of the Bible were fairly = common in=20 medieval literature, Dante's practice differs from that of the = vast=20 majority of his contemporaries. Joan Ferrante has shown how such = rewriting=20 was quite common, ³² but the examples she cites belong to = works that=20 differ significantly from the Commedia. The parody and=20 appropriation of biblical and religious texts that we find in the = courtly=20 love tradition, for example, form part of a recreational = literature that,=20 though at times anti-Christian, certainly do not make the same = truth=20 claims that Dante affirms in his poem. Since Dante insists that = his poem=20 must not be read as a fiction, we must take his reworking of the = biblical=20 text more seriously. In other words, while parodistic reworkings = of the=20 Bible sought to undercut the sacred status of the text by = perverting it=20 and associating it with the profane, Dante's reworking strives to = preserve=20 the Bible's authority and indeed to extend that authority to his = own poem=20 even while he alters the original text. [End Page 160]=20

He accomplishes this remarkable task, as I have = argued=20 earlier, by saturating the pilgrim's speech with biblical examples = that=20 form "straightforward" allusions to the Bible. The general tone of = biblical denunciation and Dante's insistence that John perceived = "you=20 pastors" carries the reader past his image of the whore, = which the=20 reader mistakes for St. John's, to the charge of idolatry, which = is a=20 fairly literal translation of a biblical text. Dante surrounds his = new=20 Apocalypse with clear biblical echoes. Thus, Dante desires not to = parody=20 but to appropriate the Bible and thus to make it new by making it = his own.=20 The fact that virtually none of Dante's near contemporaries even = noted the=20 transformation ³³ --and that it has evoked little critical = response=20 since ³⁴ --marks Dante's success, since the = purpose of his=20 alteration is not to call attention to but to conceal the fact of = fact of=20 transformation and thus to preserve its biblical authority. = ³⁵=20

Dante's intertextual practice with respect to = the Bible,=20 therefore, must be characterized as one of authoritative = freedom--he=20 claims both poetic license to alter and the originary = authority=20 that belongs to the word of God. It is intriguing to note that = Dante's=20 intertextual practice has strong affinities with the intertextual=20 practices of many biblical authors, most notably the biblical = prophets,=20 who, as Gerhard von Rad describes them, transform and extend their = authoritative tradition so as to make room for a new message: "the = comfortable words of the tradition . . . are both called into = question by=20 the prophet's message of judgment and reconverted by him into an=20 anti-typical new form of prediction." ³⁶ The intertextual practice of = authoritative=20 transformation can be further illuminated--both in Dante's case = and with=20 respect to the Bible--by reference to Michael [End Page = 161]=20 Fishbane's analysis of the "inner-biblical exegesis" of the Hebrew = prophet=20 Jeremiah.=20

Fishbane's examination centers on Jeremiah = 17:21-22,=20 where he observes that Jeremiah adds rules to the original = Mosaic=20 law. The biblical passage is as follows: "Thus saith the Lord; = Take heed=20 to yourselves, and bear no burden on the sabbath day, nor bring it = in by=20 the gates of Jerusalem; Neither carry forth a burden out of your = houses on=20 the sabbath day, neither do ye any work, but hallow ye the sabbath = day, as=20 I commanded your fathers." Jeremiah seems to refer to Deuteronomy = 5:12-14,=20 as much of his language derives directly from the Deuteronomy = version of=20 the Decalogue. The commandments highlighted by Jeremiah, however, = are not=20 found in the Deuteronomy version of the Ten Commandments; nowhere, = for=20 instance, do we read in Deuteronomy that burdens should not be = borne (with=20 the implication that they should not be sold). Fishbane's remarks=20 concerning Jeremiah's alteration of the Deuteronomy text while = proclaiming=20 the equal authority of his own pronouncement merit citation in = full:

The more remarkable fact is that the = divine=20 voice adverts to the deuteronomic text ("as I commanded your=20 forefathers") as if to emphasize the antiquity of the = prohibition. For,=20 by this means, the divine voice speaking through Jeremiah does = not just=20 reinforce the prohibition or merely cite Deut. 5:12 ("as YHWH . = . .=20 commanded you") but uses this quotation-tag to authorize = the=20 legal innovation and imply that the Sabbath rule now = articulated--with=20 its additions--is the very same that was taught at Sinai! The = new=20 teachings are authorized by a pseudo-citation from the = Pentateuch,=20 spoken with divine authority. ³⁷

Jeremiah's practice of authoritative = revisioning of a=20 sacred text has strong affinities to Dante's appropriation of the = biblical=20 text as I have described it. Like Jeremiah, Dante uses a = "quotation-tag"=20 ("Di voi pastor s'accorse il Vangelista") to authorize his = prophetic=20 revision and to imply that his innovation was actually = intended and=20 foreseen by the author of the sacred text. Indeed, in this canto = Dante=20 seems intent on delivering a new message, one that moves beyond = and=20 extends the Bible, just as Jeremiah felt it necessary to deliver a = message=20 that went beyond his sacred text but which nevertheless claimed = its=20 authority.=20

Clearly, this programmatic reworking of the = Apocalypse=20 passage [End Page 162] differs strongly from the biblical=20 inversions and perversions characteristic of the first part of the = canto.=20 Thus, in the Commedia we can distinguish between two kinds = of=20 biblical misquotation. The first type, which I described briefly = at the=20 beginning of this essay, is placed by the poet in the mouths of = sinners so=20 as to illuminate the characters that utter them. As this type of=20 mis-citation occurs primarily in the Inferno, we could term = it=20 "infernal misquotation." The second kind is well illustrated by = Dante's=20 (mis)use of the Apocalypse in Inferno XIX, where the poet = himself=20 deliberately alters the biblical source. In this "prophetic = misquotation,"=20 the primary poetic interest is not in illuminating characters, but = one=20 more broadly in keeping with Dante's poetic mission; he seeks, by = altering=20 the text and preserving its authority, to extend the = biblical=20 message, to make it new for his contemporaries.=20

Dante by no means limits the "prophetic" = transformation=20 and conversion of the Bible to Inferno XIX. One need only = think of=20 the earthly paradise cantos where Dante once again reworks the=20 Apocalypse--this time broadly and extensively--in order to make = sense of=20 contemporary history, to transmit St. John's message of judgment = to his=20 own day. Indeed, Dante's use of the Apocalypse, both at the end of = the=20 Purgatorio and in Inferno XIX, is more authoritative = in its=20 scope and method than anything we can call exegesis; for whereas = exegesis=20 seeks to elucidate, prophetic speech seeks to assert, to declare, = to=20 effect action. Frank Kermode has observed that the "great majority = of=20 interpretations of Apocalypse assume that the End is pretty near.=20 Consequently the historical allegory is always having to be = revised; time=20 discredits it." ³⁸ Clearly, Dante's revisioning of the = Apocalypse in=20 Inferno XIX exceeds this continual interpretive project, as = he=20 attempts not to illuminate the ancient text, but to bring about = change in=20 the present through a new message that nevertheless retains the = "old"=20 authority. The pilgrim's speech is "folle"--mad--because it moves = beyond=20 the Apocalypse and yet claims to speak for St. John. The = Apocalypse no=20 longer concerns the early Christians; it is, Dante affirms, = speaking here,=20 presently, to you.=20

Brigham Young University=20

Notes

1. Harold Bloom, Ruin the Sacred Truths: = Poetry and=20 Belief from the Bible to the Present (Cambridge and London: = Harvard=20 UP, 1989) 47.=20

2. See the Monarchia, III, iv, 11: "Deus, = qui=20 beneplacitum suum nobis per multorum calamos explicare dignatus = est." All=20 translations are my own, except for the English Bible, which is = the King=20 James Version. All citations of the Comedy refer to "La=20 Commedia" secondo l'antica vulgata, ed. Giorgio Petrocchi, 4 = vols.=20 (Milan: Mondadori, 1966-67).=20

3. Peter Hawkins, "Dante and the Bible," The = Cambridge=20 Companion to Dante, ed. Rachel Jacoff (Cambridge: Cambridge = UP, 1993)=20 125.=20

4. See her The Undivine "Comedy": = Detheologizing=20 Dante (Princeton: Princeton UP, 1992), where she notes "the=20 theological grid that we have become so accustomed to imposing on = the=20 Commedia, whereby whatever happens in hell is 'bad,' = problematic,=20 and whatever happens in heaven is 'good,' problem-free" (19). Her = point is=20 that this theological grid is misleading, especially from a = narratological=20 standpoint: "Whereas this formulation may be accurate with respect = to the=20 text's content, its plot, and therefore the pilgrim, it need not = be=20 accurate with respect to its form and therefore the poet. The=20 Paradiso is not more serene, narratologically, than the=20 Inferno, nor do Dante's representational anxieties lessen = as the=20 poem proceeds."=20

5. See John Freccero, "The Sign of Satan," = Dante: The=20 Poetics of Conversion, ed. Rachel Jacoff (Cambridge: Harvard = UP, 1986)=20 167-79.=20

6. For a general treatment of this idea, see John = Freccero,=20 "Infernal Inversion and Christian Conversion," Dante, = 180-85. In=20 terms of intertextuality, cf. Guglielmo Gorni, "Parodia e = scrittura in=20 Dante," Dante e la Bibbia, ed. Giovanni Barblan (Florence: = Olschki,=20 1988) 323-40.=20

7. On Farinata, see Christopher Kleinhenz, "The = Poetics of=20 Citation: Dante's Divina Commedia and the Bible," = Italiana=20 1988, ed. Albert N. Mancini et al. (Monterey: Rosary College = Italian=20 Studies 4, 1989) 1-21. On Ugolino, see Robert Hollander, = "Inferno=20 XXXIII, 37-74: Ugolino's Importunity," Speculum 59 (1984): = 549-55;=20 and John Freccero, "Bestial Sign and the Bread of Angels: = Inferno=20 XXXII and XXXIII," Dante, 152-66. On Vergil and = Inferno=20 VIII, see Christopher Kleinhenz, "Inferno 8: The Passage = across the=20 Styx," Lectura Dantis 3 (1988): 23-40; and "Dante and the = Bible:=20 Intertextual Approaches to the Divine Comedy," = Italica 63=20 (1986): 225-36; for an alternate but related view of Vergil in=20 Inferno VIII, see Peter S. Hawkins, "Virgilio cita le = Scritture,"=20 Barblan 351-59.=20

8. Anna Maria Chiavacci Leonardi makes the point = most=20 clearly in her recent commentary on the Inferno (Milan: = Mondadori,=20 1991): "Questo canto si distanzia, con forte distacco di tono, da = tutti=20 gli altri dedicati alle bolge, con l'eccezione del XXVI, dove = troveremo=20 Ulisse" (561). Paolo Brezzi observes that in XIX, "le citazioni = del=20 Vecchio e Nuovo Testamento sono prevalenti di gran lunga su ogni = altro."=20 See his "Il canto XIX dell'Inferno," in Nuove Letture = Dantesche,=20 II, Casa di Dante in Roma (Florence: Le Monnier, 1968) 175. = Naturally,=20 these two aspects must be considered together; the presence of the = biblical text helps to elevate the tone, as Giorgio Varanini has = observed=20 in "Canto XIX dell'Inferno," in Lectura Dantis = Neopolitana=20 (Naples: Loffredo, 1982) 16. See also Barolini's incisive = discussion of=20 the canto's tone in Undivine "Comedy," 77-79.=20

9. Giorgio Petrocchi, in "La prosapia del Mago = Simone di=20 Samaria," Studi danteschi 51 (1978): 266, notes "la = centralit=E0 di=20 questo canto =E8 . . . sia storico-politico che = allegorico-morale."=20 Gianluigi Berardi also notes the centrality of the canto in = "Dante,=20 Inferno XIX," Letteratura e Critica: Studi in onore di = Natalino=20 Sapegno, II (Rome: Bulzoni, 1975) 105-06.=20

10. "Il canto dei Simoniaci," Nove canti = danteschi=20 (Varese: Magenta, 1966) 34.=20

11. For an extensive treatment of this idea, see = Ronald B.=20 Herzman and William A. Stephany, "'O miseri seguaci': Sacramental=20 Inversion in Inferno XIX," Dante Studies 96 (1978): = 39-65.=20

12. The debate is well summarized by Berardi in = a long=20 note in "Dante, Inferno XIX," 95-97. The most plausible = explanation=20 remains that of Vandelli, who, based on the authority of the = Ottimo=20 commentator, who provided a drawing of the object in question in = his=20 commentary, argues that the "battezzatori" refer to the holes in = which the=20 baptisms took place. See G. Vandelli, "I 'for' del 'bel San = Giovanni,'"=20 Studi danteschi 15 (1931): 55-66, who also reproduces the = drawing.=20 The drawing is likewise duplicated by Bosco and Reggio in their = commentary=20 on the Inferno (Florence: Le Monnier, 1988) 282.=20

13. I do not disagree with the traditional view = of Dante's=20 purpose in recounting the episode as stated by Pagliaro: "Qui il = richiamo=20 personale =E8 certo dovuto al desiderio di smentire insinuazioni = altrui, che=20 volevano far apparire il danneggiamento dei 'battezzatori' della = chiesa di=20 San Giovanni come un atto di empiet=E0, anzich=E8 come un gesto, = al quale=20 Dante era costretto per salvare la vita altrui." See Antonino = Pagliaro,=20 "Canto XIX," in Lectura Dantis Scaligera, 3 vols. = (Florence: Le=20 Monnier, 1967) 1: 634. I would simply argue, as others have, that = it also=20 anticipates the pilgrim's action in the canto. See, for example, = Giuseppe=20 Mazzotta, Dante, Poet of the Desert: History and Allegory in = the=20 "Divine Comedy" (Princeton: Princeton UP, 1979) 317-18. For = the=20 view that lines 16-21 must be understood solely metaphorically, = see Susan=20 Noakes, "Dino Compagni and the Vow in San Giovanni: Inferno = XIX,=20 16-21" Dante Studies 87 (1969): 41-63.=20

14. In particular Jacoff adduces Jeremiah 19:10 = as an=20 instance of the prophet literally "acting out" his message. = Similarly,=20 Dante's life is adduced in XIX as a "sign" for his message in the = text.=20 See "Dante, Geremia e la problematica profetica," Barblan 119-20.=20

15. For other views of the contrapasso = see:=20 Francesco D'Ovidio, "Dante e Gregorio VII," Studi sulla "Divina = Commedia", II (Caserta: Moderna, 1931) 87-106, who argues that = Dante=20 was inspired by a vision of a German monk, later recounted by = Gregory VII.=20 Charles Singleton, "Inferno XIX: 'O Simon mago!'" = MLN 80=20 (1965): 92-99, argues that the contrapasso derives from = medieval=20 representations of the Peter-Simon Magus legend as recounted in = the=20 apocryphal Acts of Peter. John A. Scott, "The Rock of Peter and=20 Inferno XIX," Romance Philology 23 (1969-70): = 462-79, argues=20 that the "pietra livida" stands "in absolute contrast to the true = rock on=20 which the Church must rest." Giovanni Fallani, "Il canto dei = simoniaci,"=20 Poesia e teologia nella "Divina Commedia," I (Milan: = Marzorati,=20 1959) 77-93, argues that a different biblical subtext is inverted, = Romans=20 10:15: "How beautiful are the feet of them that preach the gospel = of peace=20 and bring glad tidings of good things." For biblical antecedents = to the=20 contrapasso as a principle, see Menachem Emanuel Artom, = "Precedenti=20 biblici e talmudici del contrapasso," Barblan 55-62.=20

16. Mark Musa describes the change in tone from = the first=20 half of the canto to the second half in "Aesthetic Structure in = the=20 Inferno: Canto XIX," Essays in Dante, ed. Mark Musa=20 (Bloomington: Indiana UP, 1964) 145-71.=20

17. "Il canto dei Simoniaci," 57-58. See also = Kenelm=20 Foster, "The Canto of the Damned Popes: Inferno XIX," = Dante=20 Studies 87 (1969): 54, and Dante Della Terza, "XIX," = Lectura=20 Dantis 6, supplement (1990): 256.=20

18. Umberto Bosco, "La 'follia' di Dante," = Dante=20 Vicino (Rome: Salvatore Sciascia, 1966) 55; 59-60.=20

19. Berardi marks a similar point in "Dante,=20 Inferno XIX," observing that the poet's reservation "=E8 = solo un modo=20 per accrescerne il peso, la violenza." See also Paul Renucci, "Le = chant=20 XIX de l'Enfer," Letture dell'Inferno, ed. Vittorio = Vettori=20 (Milan: Marzorati, 1963) 170: "Dante fait mine de convertir sa = t=E9m=E9rit=E9 en=20 doute, mais la 'folie' de langage qu'il laisse entrevoir comme une = excuse=20 constitue surtout le premier terme d'une pr=E9t=E9rition."=20

20. Thus, I tend to favor a more specific = reading of the=20 terzina (97-99), i.e. that it refers to Nicholas' receipt of = Byzantine=20 money in order to aid the rebellion that led to the Sicilian = vespers.=20 Though now considered a legend, it was believed in Dante's day and = was=20 narrated by Villani (Cronica VII, 57).=20

21. Natalino Sapegno notes in his commentary on = the=20 Inferno, 3rd ed. (Florence: La Nuova Italia, 1985), that = "esisteva=20 tutta una letteratura, nel medioevo, di eretici o di semieretici o = anche=20 di cattolici desiderosi di una profonda riforma ecclesiastica = (gioachimiti=20 e francescani spirituali), che identificava la magna = meretrix con=20 la Chiesa corrotta" (221-22).=20

22. The portion of the Olivi commentary that = concerns=20 chapter 17 of the Apocalypse is found in the appendix to Felice = Tocco,=20 Il canto XXXII del Purgatorio (Florence: Sansoni, 1903) = 39-53. The=20 cited passage is found on page 40.=20

23. Raoul Manselli, "Apocalisse," = Enciclopedia=20 Dantesca, 6 vols. (Rome: Istituto dell'Enciclopedia Italiana, = 1970-78)=20 1: 315-17.=20

24. Patrologiae Cursus Completus: Series = Latina,=20 ed. J. P. Migne (Paris: 1844-64) vol. 114, col. 739.=20

25. For earlier references to these lines, see = Biagi, ed.,=20 La Divina Commedia nella figurazione artistica e nel secolare=20 commento, 3 vols. (Turin: Unione Tipografico-Editrice = Torinese,=20 1924-29) 1: 486-89. Some commentators, convinced of Dante's = orthodoxy,=20 have tried to minimize his departure from the biblical text. A = more honest=20 accounting of the text is Pompeo Venturi's angry remarks written = in the=20 eighteenth century: "Qui Dante imbroglia il sacro testo [ . . . ] = questa=20 pare essere stata la mente di Dante, il quale non pu=F2 scusarsi = dalla=20 taccia di temerario, di scandoloso e di peggio, mentre a bella = posta vari=F2=20 il sacro testo, affinch=E8 s'intendesse pi=FA facilmente di Roma = cattolica,=20 conforme l'intendono gli eretici che stoltamente si abusano di tal = testo=20 contro di lei" (cited in Biagi, 488).=20

26. Enrico Proto, L'Apocalisse nella = "Divina=20 Commedia" (Naples: Luigi Piero, 1905) 9, writes that "tutti i=20 commentatori finivano per confondere la donna con la bestia."=20

27. Cited in Tocco 41.=20

28. I thus find Singleton's translation of the = line=20 misleading: "It was shepherds such as you that the Evangelist had = in=20 mind," a translation which implies a general, spiritual = understanding of=20 the biblical passage. Mandelbaum's translation that insists on a = more=20 specific reading seems more exact: "You, shepherds, the Evangelist = had=20 noticed."=20

29. Proto 8.=20

30. For a brief overview of prostitution in the = Old=20 Testament, see Elain Adler Goodfriend, "Prostitution: Old = Testament,"=20 The Anchor Bible Dictionary, gen. ed. David Noel Freedman, = 6 vols.=20 (New York: Macmillan, 1992) 5: 505-10.=20

31. Barolini makes an interesting point, when = she observes=20 that the only words in the poem labeled "true" are those of = Beatrice in=20 Inferno II (135) and those of the pilgrim here (123). She = writes:=20 "Thus, two sets are constituted: in one (parola ornata) we = find=20 Vergil and Jason; in the other (parole vere) we find = Beatrice and=20 Dante." See Dante's Poets: Textuality and Truth in the=20 "Comedy" (Princeton: Princeton UP, 1984) 280. I would only = add that=20 the pilgrim's parole are made vere to a large extent = by his=20 use of the Bible.=20

32. Joan Ferrante, "Usi e abusi della = Bibbia nella=20 letteratura medievale," in Barblan 213-25; see also her more = extensive=20 treatment of the subject, "The Bible as Thesaurus for Secular = Literature,"=20 The Bible in the Middle Ages: Its Influence on Literature and = Art,=20 ed. Bernard S. Levy (Binghamton: Medieval and Renaissance Texts = and=20 Studies, 1992) 23-49.=20

33. The one exception is Francesco da Buti, who = makes the=20 intriguing assertion that Dante "aggiugne una autorit=E0 di San = Giovanni=20 evangelista, la quale =E8 nell'Apocalisse, alla quale l'Alighieri = fa alcuna=20 addizione per arrecarla a suo proposito, e questo si puo fare, = per=F2 che=20 l'=E8 profezia, molto oscura." Cited in Biagi 487.=20

34. Ronald Herzman, for example, in his recent = study on=20 the Apocalypse in Dante, while making some valuable comments = concerning=20 the function of the Apocalypse in Inferno XIX, glances over = Dante's=20 alteration of the text. See "Dante and the Apocalypse," The = Apocalypse=20 in the Middle Ages, ed. Richard K. Emmerson and Bernard McGinn = (Ithaca=20 and London: Cornell UP, 1992) 409-10.=20

35. I thus disagree with Robin Kirkpatrick who, = in=20 Dante's "Inferno": Difficulty and Dead Poetry (Cambridge: = Cambridge=20 UP, 1987), writes that in "this canto Dante's text proves inferior = to the=20 absolute force of the Scriptures" (255). I would argue that = Dante's=20 appropriation and reworking of the scriptures seek to equate the = two=20 texts, rather than to assert the preeminence of one.=20

36. Gerhard von Rad, The Message of the = Prophets=20 (San Francisco: HarperCollins, 1967) 101.=20

37. Michael Fishbane, "Inner-Biblical Exegesis," = The=20 Garments of Torah: Essays in Biblical Hermeneutics = (Bloomington and=20 Indianapolis: Indiana UP, 1989) 11.=20

38. Frank Kermode, The Sense of an Ending: = Studies in=20 the Theory of Fiction (Oxford: Oxford UP, 1967) 8.=20

http://0-muse.jhu.edu.opac.sfsu.edu:80/journals/mln/v110/110.1b= enfell.html.

------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/journals/buttons/mln.gif R0lGODdhZAAkAPcAAP////f39+/v7+fn597e3tbW1s7OzsbGxvf//+fv797n59be3s7W1sbOzr3G xu///9bn587e3sbW1r3OzrXGxuf//9bv787n58be3r3W1rXOzq3Gxtb3/973/87n773W3q3Gzsbe 56W9xtbn77XGzuf3/6W1vc7e5629xtbv/7XO3q3G1sbe773W56W9zpy1xt7n773Gzt7v/73O3pyt vZSltc7n/3uMnK3G3nOElFpre1Jjc2uEnDlKWkpjezFCUs7W3q21vaWttc7e78bW5629zqW1xoSU pbXO56W91mt7jJy1zpStxmNzhISctXuUrXOMpUpaa2N7lEJSY1pzjFJrhGuMrUJac9be57W9xtbn /7XG3pSlvcbe/73W97XO763G56W93nOEnJy11pStzoylxoScvXuUtXOMrVJje2uEpWN7nFpzlFJr jEpjhL3O55ytxnuMpVprhDlKY8bW76291qW1zoyctYSUrb3W/7XO963G72t7lGNzjJy13pSt1oyl znuUvUpac3OMtWuErUJSa1pznL3G1pyltXuElKW95zlCUoScxmN7paWtvc7e/73O77XG56293qW1 1pytzpSlxoycvYSUtXuMrXOEpWt7nGNzlISczlprjHuUxlJjhEpae0JSc87W57W9zq21xpScrYyU pVJaazE5SsbW/73O97XG762956W13pyt1pSlzoycxoSUvXuMtXOErWt7pWNznFprlFJjjHuEnFpj ezlCWoyUrYSMpXN7lGtzjGNrhFJac0pSa0JKYzE5UnuEpVpjhIyUtXN7nGtzlGNrjFJae0pSc/f3 /+/v9+fn797e59bW3s7O3sbG1qWltQAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAZAAkAEAI/wBLABhI kGAJGwBKyADArAWAN5GYSZo0CQ6AOrIAJXlgZhAaQmrU0Lq1KYkbNoPMhBrzyRYhULc+ueHUyU2b NYPa6NzZplCbRst+dgJFaI7OZW4KfaJ1BdQnQ2w+SZ36aU6VNmxuCCACCUkSimEw+YhBgwQoJmQa 7JKTwMWZTHzoQJHW6YgFMZrWSNm0iU2aNJniZJpDxU0NYHJi3WpzRdkmH5qEdVLjQ2qaqYWUyZGS phAVOWoKdaIlpxOwTmtQA6PFg6/rPslONaHSRowASWNcWdoNa1OhSxPM+NYkQYkgBk5qUbnCJQAA AQoGNiN2qxMVIAMFNBt4A9SdIAMVyP8pFOyTJlDC5GByNtDRLoKmbNUiNTDBGWA80PDR1IQPmjPH 9HGJE5g8gQkel8RBjBK94CELVmeYIUsmFM6yRhqC3LJGaoKAUgUooFDRSSfLKIFFAM3cEEpNpDAT QDQyFdKEM80IcEMhoSBSY40CJNBjMwo0AcoCzTQjhFOfpKGMIFmg2Aw0fRQjRx99IPNZH/v5sokm YmTSZSbH8KFEH0qA1AgtOiwjCDCCtLlMIVe8KUgwhdRZiDB2zmGnMHjaWecUgE5xp55T8Ckon3gi imihiirK6KKNCvOopJEW8lcaI1zwAQsIFORpQQg88EAHMqTwSB6qfMFKbmSUwUgssqD/gUZIedVS yyaG2MIGG7ZQYcuInbQRbLA6EVvdYp+0EdOyn8SULFXQRlvFpSq8oQIOYIRBCRmvVFLGbmYMeAYa eGAiayazZLKGJc4RFAdfVCQz4i0JFFSKU/QB4MxQn1TmRho+dMIeQfdKJUcV+QqwSSeb9MGXFHzs p4kmPBzzZSZQVBwxH3YsMAApgJRxxhmyXLKJGwWUwscCQXwCjRKfrBBLGUHIAYFzCEiQxSjSLTBQ A5+QsB0ANRRiRhYDDcBXKLJ0BkotaAxMihtVfMIzAAEcUt8ZxfChhiaYaJJJLGLwEUe4cWBy4CWY xNGL2qkh4QQas0ycVxWF1NDHE3ME/wFKDUoUAsImnyyzzBJNLPzJEjVZJlUhoGAiSBXLPPGbIGnM IogPOBISTBvBpHGeDz4o48O/hbjRSRqgKCOFD7RMgdoncgjSiSbArLGDFDwk0zBfyfwSRR9yrGAB M5962mlCAJCaghY2aAEGC6uW8YcrZgTi0axqbEgIX4R0Yktqut7KBlbBVsGrTlXcslj7wrpRHdW2 SFWs/bdUpmy0Mn0iyCx8UAAWkICDJITBD4pAQ+QOQQYzpIENM+CFHGZACUxkQg6zcIQYqiCGUahr E3vpSxqCsQkoSGUKkYsCKNRwmSukjg2CmIIPHgOwJCWpTm2omiCEkYZNTKEYUelEMP920Ik+YMhh wOrDZ9IQBduN4hADaAEScDOGV4wBCoIwwBHU8AYDfAIIiUgGCWgRB1MoQQGloEImuBABTYRwE/EC hRxekIZkJGgOTEiDHDRRGf8F4hOh+AQbRqKDTsjhMp8oRDE0YTs09KETVjgFw3qogz6gIRnJWAOF JMYDTfChD7nYjyS+FYYDVsJblrhEJsTGtkyAkBZ8+RoPOhGHdg0kADcYkYg64bOC7CIUoMgXDOTg BlAIwg1u8IEg5DCwoT1jdVLJ1wCkUEQQenITfKgYD7oUhzigQW3EEEPZcmCIXghgEn9gghnCFQvf BAEXNJgDItTgiF4IAhpO2MS03uD/nAAUAQu35IEbGjCQaNBAAAOhQSjugIKB7KsQglCDIHzzCTRE BwCkAMUm6gWAA7ChoQBIwCWAATZNqEEOPDgDHy7RhEvE4kBPQFDbfHEDMbyCEYyABSzYZq50qWsN mtgEUBm2MGJ9QgxDK5gjCgKET4CiF+0yBYiWypBnYGEBVn3GAow4MCMg6ahDc6gUqPQwTl4MCt1U mzjFeQxQ8MEDlhgEJkLSyfGgIQlqQE8jGuCLKDSAENMSxBoqIYU5SGEFxIRWnWyBBrwJ4xOWiMIn ZOGUQkShE7XwwRxuB4o0/MsHl7GsLTZRjGBMFArB6AMtipiG26khGWmAAhSQkYOJ//EAGaD8hSbO MIAB3CEkQJXCGoRlAEzwgACmaIMoelGFFbxiCQ5oggSOIYhPkEEEnYhWKORgCQ+VQQ7LuMTpNvET TbgBDcpURiNq0bp/sW6EcljDFUbjlEYEjFeaKM1J00AFWAJLfIc8jRIFMYcosKlNbSqELnQxB9PO 4QdzmAOD7fSDCT+4T3YS1BwWMeFCLGIYc+jBIuYgqB5UmMQLJrGhKNWDYejCUIuA8ILvJAxdDKMH KGYwpR6lix8E4xXL+1QJOpCQhTBjCACggxcqkAIONIMSCHjDOhXRBVjEim4iocImXqErTqzhE4DQ SSPYEJJPBKITPmgDSJSlE/e1Af8UbaAFKGyhBjcsJUOGwKxUGqEMmNQiKtEqhC1sYQELjCDIySuI qDrQARt0QRWqAIMiWjGGVsGCZHQDCS3WYCs47mrQwNoJsXiSw1KXullVawNVnCUVVvNvKsrEgRpe wQI6NCMBCbg1DGawhRHAIAEnmAQLWNCKL9ABEmCohCVeoZs4xMIMmIaCSKj5CSrsyqm3+FCystsh +YEI1ameyhWqWzVQBNKY9lNmZT70VaqkARhNZAMvAiABKdZhIpJ4QhpUMIBDSKEYkkjADfjgzzOI ExBbSEIa7mCBVebFNcqsRSU0UYhldAIOtjODMj4RhRUNd7Ms/Eu/bujxRArCFlD/8Ex+OyGIYmyi EXKIgkl/QSWHySHmuehDFsQQgA8gYQsUGcMkMgGKnbtgDQewxSFu8AsC4KEWneBDAhKhiTvcAAZi ACFf2NCHZdYAFKuzRCG4UF1ZLAMUED1DdeXIwn/Z8BNTEOTGq7AJwBSiD5r4RBWGNwvR5YIHmegD xCBGJWBs4hdl6O0bwICDJWyLDBYkQBAI8QxErAELvFCDH8bQCglsgggJcIYCmjECTbBh68mgwidK UQIF0AgPoJgFIgbgDCAEFXZO9QEb1mAAGDzDGRntF2oEQYMEKAAImejhxFy5Bv3g/Ql148E28cIH X3TyC0hAAhhYMQluodISjHAC/8kwcQm6QSETauABLWqxi7ACYAK92qVhPHUvN5ggaVUAbZIu1YkB FKQZYqBH2ZUvzoAMriEFyAAxtnUxgUEMFiROmtALZ+ADsqAIYeAKqFQGEiVYaoAHiRRUV6BJQVUI vbAdLjIQE/AJ1uEGpTAQCNAuNyAMbkBV+3IFwtAhnbEi/gcAMcBRWWApn5AvCaAJuaBbEbMJ/XEM auALgZE2vHAgCtILTdBWtlEHrvAKlrBOllALhQAHE1ADgUQGB6AEwFAA+SQHn2AH2xEADTA0oyAV eHBLjmCCpuAGd0CAnQA5wsIGwtAGFtUeA1Ufx7AGV9MMlyAIPIAJ+9EEOTALT/+QCU1gBsbwTeWS IHGgBDmACaQABQPgAiFzCZcwMn1QCEFABVBACz9ICr6wA16lDKGQBjPQT0VAAgThCMRAEL1QBAgF AEEwB3cYHp0hCGrnFFWABjtoAsX0HgNRClQlUviRX8QjBmbgC3FwDJdgBmqDBwjSTU3QTU5gAAxA CWUgIWqDCbSQCaPwBDxACsewCShATndgBpaACJ1ACu1CCoQgBbY0EEcACsbQLqVwBZvQjHBBBZpA PCPCBjvoNwYDUFiTHZmAGhSzSjwQB3iRCWfQNmkDheJEDFBQBt+yTrEgK+eHfrQyMXrhGlSgRG1Q S8toZ3wQVrsACm7AcwMxkz7/kC+J1gufMDAmgCTF8DcFkQAN4zB8ETG2NX0U0oRs1Qt8sDpOAG2D QCFqEJGWYnpSUCfEMB5xkBqJFDBoJwgXJBM06RSCADlOBQp6kpU+AQouNAeh4AahMAe2AyJXUBlp UAVzUjVusEOgIAXLtAYrmQa5IFx9oANis4Blwwc6oAN8EArI0ALYiAZ2owl5WAOXgAe6wAZnIARK EAwkoAZopgzCcQbCsAmM426AFAyDtAm60C+HmAYKZHLZxQY9YB6k41kiB1FV8GVTUAWTEQy3MyKI sQYgtBqBp3Wf1Ac7MCVZcAkzcAkgsSEbkkgmsJJ4EASFYAJNEF6d9QuCQAJK/xAKmyAGLlA1UxFa O3AHmQEFeDAHZmBaedgmwTAI5hYwa0A6+ulZU5AGXPgJa1A7s/CbMec/VcBCwDkxU1JzNxcFmJQJ xjA3pKEDn5AL++cLAOMLHdIEOyBHN6cD8yUIoWApSXEFodBxHRcKHVInZ6middJEhkMeJ+onNGon VyAoZ2lZdHKWZxkF5LGjwRAMURAFQho6l9I9FyIIO4BgCLYMTdRE5OGjOmondEKjgiIohaBhOyYM JDYHKyYpjDIFXlooYeqlXsonZsqlZMooY3qmX8onbQIKU2BETJpgPvYJdDIMpxkMi8AHOboIlhIM P1AIvoGlgKJgPianc4AKsinzYlXAJyYGUcIwqMrwplPwA4BaJz3GQ4y6DIByY5o6DBW3YoyCqaEQ EAA7 ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_muse.gif R0lGODlhMgATANX/AP////T09Orq6t/f39XV1crKysDAwL+/v7e3t7W1taurq6enp6GhoZaWloyM jIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3Ny8vLyUlJR8fHxYWFg8PDwcHBwAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAMgATAEAG/8BIB0QsFj/GY1Jp RC6XngjogKlaqwAFwFHJAh6RLOaRnQAGikCgUhEIEAHCdY4BeQ4WjX7P7/v/gIEcHlN0hoeIiVcW VURUhlldW2EREmcPA1lkBA8IAA1mA5gCFYiOEqipqqusra6vDxOOVYxXAGdVnl+KvIazkAoIA8Jh YGJkChgGtwAEFVrMu4e/vYq11VcgGoYW3d7f4N0Y3uPh5t0T6RMaBwgH7/Dx8vP09fYLGoVz19j9 ixbU5hAgsKDKg4ES/PWaxQ8LAQClBjyMMEHBAwwVLz4oQMBAQowGCCgoZUpfwywEEDj4AiACMgxh FIQZ0CAWhgZbMHiaUJJKQ0IMWVYOI+NSTEwMqBoUyLIgJ6Jav04my1SBzEVPATwlW5ApQDIMDgQA EOAgUcBy4biJQ3tukRWoIDY8mUu3rt0iQQAAOw== ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_search.gif R0lGODlhPAATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5aWloyMjIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3Ny8vLyUlJR8f HxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAPAATAEAG/8AQaUgsGo2jIymp ZBKdSqKokuBYr9cMAECAXKwZwUARIHAmgEIBEOEQAtsKAaAYAC5oul2C7ZMYGh6Cg4SFhoeIiYoe ICJVVhp9kpOUlZaSkRwkj5MWAAMSFXYVF58TAwIZaxJrDG4AVwIBEgcAFRUArriulCQKFRbBwsPE xcbHyMkTF5uQkhkBAQoKAAGX11dovJfNlhm0cBEMW+S3dnCuc1baWLtnuZXdlRoTExnYmdj6JBf9 kBoAAwqMNLBgQQ4BERocqLBfPwgJIkqcSLGixYsYM0Z04KEAlkwEEYoMSXKkyZIoT37UQOKAJQt2 0ljQd80CgTbXmuXDgkaBFYgHBGZeOECAwT0OEQgUtRKhKQF7DAgUmMAB17Sl8R7tvBIBzhafEQDw ofbFwoVx6QA44FCqygUvuKq461Vl67qpViTkgiAWS61b8NRx8OTzLR54cz9a6WaXgwNydPIKACCA j4XJdcwIHjwnQBt27Hq5vCLQZJ+tIE2LVIxJoTNNH6LInk27tuwgADs= ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_journals.gif R0lGODlhQwATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5aWloyMjIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3Ny8vLyUlJR8f HxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAQwATAEAG/8AQaUgkjopGZLJ4 VDpJTWd0KKokOFiOJpsFEDiXwIAh5lQADDOaAwgAAOeAYgCQcAgB8kAzQV8AYwIBGVxcJAwaHoqL jI2Oj5CRkpAgIldYW4Wam5ydnp9aWCSXhQdoDgAKHBIACRUDgxaAE3RpXlh9DmoMsgesABx9DGcE EwoAEZwkChUWzs/Q0dLT1NXW0xMXo5ict6DfnMLgHNuetwTAwWhnaexsX+pp4sdtwOIJb16Em+Wb FRPjAnrK5InEhYNcNChcyLChQi0PHUqcSJHhwYMQEmjcyLGjx48gQ4oM6cBDAU0EBapUqZDEgU8E VK0EZ4FAMnDbUhbyZuFATJFCFxgADApQqIICE3j5TAPGZwELu4IVIHAAqrJLOrt8wQcVAjJxudgA gHrmirsMFyoIAHbGwZkBEbJ1ysmNQwR4twoAuGAXAIS28d5hccdO1kl0UZ1F0Ms0S6ZyKcO8GbAv wtoBVo/JWePNXdhjAo5NcOeATp65LxPWhdgQIkqHhTJlDRXbsagPT3Lr3s27N5EgADs= ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_thisjournal.gif R0lGODlhWgATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5aWloyMjIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3NzY2Ni8vLyUl JR8fHxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAWgATAEAG/0BRaUgsGomko3LJ bDqTzuKokuBYr1gA4QoAFA4ABYcA4IAVBQADe52oORKvIsxhACr1ewUQ0NoFDH0ZGQEDc1V2E2xs JQwaHpCRkpOUlZaXmJmaliEjVVYai6KjpKWmp6hsoRwln6NaXFscsGRjABESAgJYAgASCb4ccw4S AVsQAAnFABN7a3mKdhXIDHZb0qUlChUW3d7f4OHi4+Tl5ufiExetoFgRBGTGBBawWAqyp27PqfxX idmuRNWbJYtWGQt9+EQQ5YygFWnYEjXMgyeRhniw/pFi16+jlQwTLIxa5bEkqwsoQWlYyXKlypYw YbZjyWFVqJgtX8bUiRMnSuyUEBIIHUq0qNGjSJMqXco0qQMPBbCQNEm1Kr+VJQ6IegevqwUCYuzh M/V1odVS70RurDI1Cz4tDggcyMAhwpoMDOA5GDVRQgECezlMYHBBMOELDCwUSDBYMQEJVib8nUsR YLtFAwHscliLzDY8DN8ICGAlzQUHzDigruBGAF3UC/+hjHPtjuW2sXJzLpPBQoVAZa4oEKOPQ4DN wCz8kzYx4h3UezPaXrSKI26HVuoZ5HAhjRa1VuJ0caWgT4FQGcgIAMb6TeVE6bUUCIA39UatV3Bf v3zK5s38NUlFyn6oVAdCFAgmqOCCDA4RBAA7 ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_contents.gif R0lGODlhRgATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5aWloyMjIeHh4GBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3NzY2Ni8vLyUl JR8fHxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAARgATAEAG/0BRaUgsGomko3LJ bC5HlQRnSp1eAAdqxjI9AAiBQYYDGAwEAAcDwK5MyoHAhWxGq9mACuEbn1epJQwaHoSFhoeIiYqL jI0hI1JTGn+UlZaXmJl/kxwlkZUKAAUVEX0WohwOABFkBFNfHHsZGQUAFhYEEq2vrrIXAgQZV1mV JQoVt8nKy8zNzs/Q0RMXnpKUFgFfaAOaVWvdVN/gnZ9/FQAMlKoVvK2TsHuvAQR7rl/vvQBdbAEJ nJTVMGmYMOFPhgp+OEzgopChBXZT3FBZOIUih4dTDha8VOKCR0kaQooMCXKkSZPWRHLgNOnkyJIn PXqEkKCmzZs4c+rcybOnz7IEDjwUqPJvnNGjAjWUIGbpggJ6DpBuHDe1W7WiVMAwrMWKgwQGEcYo vDABLIcLAwBMGHOBgQOx08qyQqt2TAS3CQFGwvom3Z83CryiIxNgFjx9HM5ouBIYQOEMh18JuOUg b5WrlcpQiTDAwhpdkO252hWPjhuKsEgj9qogbYGinAJinRKKny4OEfAQSw1rjVoLaABM3rXL9wQI eIYXY7qS0myk0C21nFIChJPr2LNrLxIEADs= ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_end.gif R0lGODlhAQATALP/AP///5+fn4eHh1JSUjc3Ny8vLyUlJR8fHwAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAACwAAAAAAQATAEAEC1AQUoopNJxJZxkRADs= ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: image/gif Content-Transfer-Encoding: base64 Content-Location: http://0-muse.jhu.edu.opac.sfsu.edu/images/b_top.gif R0lGODlhJQATANX/AP////T09Orq6t/f39XV1c/Pz8rKysfHx8DAwL+/v7e3t7W1ta+vr6urq6en p6GhoZ+fn5ubm5aWloyMjIKCgoGBgX9/f3d3d29vb2xsbGJiYllZWVhYWFdXV1JSUjc3NzY2Ni8v LyUlJR8fHxYWFg8PDwcHBwAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAACwAAAAAJQATAEAG+cCRaUgsFkvGpNJE EiU60KgUQIAqAIoDYNIhBAbXanQTNTE2n7R6zWZTIO106BMSmZ5QsnTP7+/1d35QVFADARMOAAxd AAkTAQJ+JgoWF5aXmJmam5kYgR16UBIEBAABpBeCqh2ffoQWilCljFAMABR9rat9s32hJhjBeRvE esXHx6DFwxvBGBcQCdLT1NXW19UHDiQFUqG7q2TEJgd9o6ToqeCgUoHfU2IdDgQFXB0SEhMEBxqS eO+DqmAA0K0DJEYYOiQAkJCPO1dVLjSCIiAAwg5X1ImD8glgB0IdNBQwpUAWFgAC1DksNyaPoFC9 VJUIsaSmzZpBAAA7 ------=_NextPart_000_0000_01C4314C.E9068290 Content-Type: application/octet-stream Content-Transfer-Encoding: quoted-printable Content-Location: http://127.0.0.1:1027/js.cgi?paw&r=9741 var blockedReferrer =3D 'blockedReferrer'; NS_ActualWrite=3Ddocument.write; // Popup Blocker --> RanPostamble=3D0; NS_ActualOpen=3Dwindow.open; orig_setTimeout =3D window.setTimeout; function NS_NullWindow(){this.window;} function nullDoc() { this.open =3D NS_NullWindow; this.write =3D NS_NullWindow; this.close =3D NS_NullWindow; } function NS_NewOpen(url,nam,atr){ if((nam!=3D'' && nam=3D=3Dwindow.name) || nam=3D=3D'_top'){ return(NS_ActualOpen(url,nam,atr));} obj=3Dnew NS_NullWindow(); obj.focus =3D NS_NullWindow; obj.blur =3D NS_NullWindow; obj.opener =3D this.window; obj.document =3D new nullDoc(); return(obj); } function NS_NullWindow2(){this.window;} function NS_NewOpen2(url,nam,atr){ if((nam!=3D'' && nam=3D=3Dwindow.name) || nam=3D=3D'_top'){ return(NS_ActualOpen(url,nam,atr));} return(new NS_NullWindow2()); } function op_stop() { NS_ActualOpen2=3Dwindow.open; = window.open=3DNS_NewOpen2; } function op_start() { window.open=3DNS_ActualOpen2; } function noopen_ST(one,two) { = return(orig_setTimeout("op_stop();"+one+";;op_start();",two)); } function noopen_load() {=20 op_stop(); if(orig_onload) orig_onload(); op_start(); } function noopen_unload() { op_stop(); if(orig_onunload) orig_onunload(); = op_start(); } function postamble() {=0A= =0A= if(!RanPostamble) { RanPostamble=3D1; orig_onload =3D window.onload; orig_onunload =3D window.onunload; window.onunload =3D noopen_unload; window.onload =3D noopen_load; window.open=3DNS_ActualOpen; } } window.setTimeout =3D noopen_ST; window.open=3DNS_NewOpen; ------=_NextPart_000_0000_01C4314C.E9068290--