Kaitlyn Kiely

ROIT 40116
January 28, 2014

Divining Dream Article Summary

Leonard Barkan, the Class of 1943 University Professor and Chair
of the Department of Comparative Literature at Princeton University,
uses his article Divining Dream to discuss Dantes use of Ganymede
in Purgatorio IX. He provides an analysis of Dantes use of pagan
material in this canto and suggests that Dantes use of such
concentrated appropriations of pagan material is his way of
problematizing cultural translation. Barkan concludes with the idea
that, while Dante does rely heavily on cultural translation, he stops
short of linking the humanism of heuristic pederasty with the
humanism of cultural filiation.
Barkan first describes how Purgatorio IX differs from Dantes
usual journey. Barkan then states that Dante is traveling with a larger
group than he does typically. He notes how Sordello, someone from
Dantes own time, is present in addition to Virgil. He also mentions that
Purgatorio IX has major advancements in both time and space because
this is the canto where both night moves into day and Dante reaches
Purgatory proper. Barkan then presents the idea that Dantes usage of

such a large amount of pagan material is the cultural equivalent of

the changing that occurs in both time and space in this canto.
Barkan continues by describing how Dante highlights the issues
of cultural translation by creating multiple links between the Christian
events and characters in his poem and traditional pagan characters.
He mentions both connections between Dante and Ganymede and the
narrative structure that is linked to the structure of mythography both
before Dantes time and after his death.
Barkan then describes how Dante breaks from tradition when he
uses theological thresholds in his translation of cultures in the canto.
As an example, Barkan reminds the reader how Dante writes in a pun
on Tithonus antiquity in order to connect it the idea of old age with the
idea that ancient mythology is also remote. Barkan also states that
Dantes use of Philomela is also an example because her tristi lai
would not be audible since her tongue had been cut out. He claims that
Dante uses Philomela to suggest the alternative of Christian culture.
Barkan claims that the allegory of cultures is fully expressed on
lines 17-18 of Purgatorio IX, la mente quasi divina. He suggests
that divina refers to both divine and divination. Divine because
antiquity did foretell the future (both because it believed in augury and
because some of its myths were prefigurations of the Christian story).
Barkan also suggests that the almost refers to how antiquity proved

its exclusion from the divine, and was, as a result, sentenced to speak
in dreams.
Barkan then describes how Dantes dream of himself as
Ganymede fits the idea of the pagan being almost divine because it
parallels his actual experience, but is not completely accurate. Barkan
then describes how Dantes slumber has caused both the pilgrim and
his readers to miss the act of grace that allows the pilgrim access to
Purgatory proper. He suggests that this is, if nothing else, an exchange
of cultures because Virgil sees the Saint (Christianity) and Dante sees
the eagle (Pagan).
Barkan concludes by stating that the pilgrims experience is both
the Ganymedes story and its translation into sacred terms. It still
leaves the dream of pagan culture, but the erotic dimension of the
myth is suppressed with Dantes comparison of himself to Achilles
hidden on Skyros. He states that this end to the dream allows Dante to
avoid fusing the humanism of heuristic pederasty with the humanism
of cultural filiation.