Epic Poetry & Myth Codexery

Purgatorio

Second part of Dante's Divine Comedy, allegory of penitent Christian life.

Purgatorio

Wikipedia / Wikimedia Commons

Purgatorio is the second part of Dante's Divine Comedy, written in the early 14th century. It follows the Inferno and precedes the Paradiso, allegorically representing the penitent Christian life as Dante climbs the Mount of Purgatory guided by the Roman poet Virgil, except for the last four cantos where Beatrice takes over. The poem discusses the nature of sin, examples of vice and virtue, and moral issues in politics and the Church, positing that all sins arise from love—perverted, deficient, or disordered.

field
Poetry, Allegorical Literature
known_for
Second part of Dante's Divine Comedy, describing the climb of Mount Purgatory
language
Italian
period
Early 14th century

Lore & Background

Dante portrays Purgatory as an island-mountain in the Southern Hemisphere, divided into three parts: Ante-Purgatory (bottom slopes), seven terraces of suffering and spiritual growth associated with the seven deadly sins, and the Earthly Paradise at the top. The journey begins at 6 am on Easter Sunday, 1300, and ends at noon on Wednesday, 30 March (or 13 April), spanning three-and-one-quarter days. Prayer is a dominant theme; souls request prayers from the living to shorten their wait or accelerate ascent, as seen with Forese Donati, who advanced rapidly due to his wife Nella's prayers, contrasted with Statius, who spent over 500 years on the mountain.

Reader's Guide

Purgatorio holds significance as a medieval allegory of spiritual purification, reflecting the theological concept of purgatory as a place of cleansing. It demonstrates medieval knowledge of a spherical Earth, referencing different stars in the Southern Hemisphere, altered sun position, and time zones. The poem's structure—Ante-Purgatory for delayed penitents, seven terraces for the seven deadly sins, and the Earthly Paradise—provides a systematic exploration of sin and redemption. The role of prayer, both from souls and the living, underscores the communal nature of salvation. Dante's use of historical and contemporary figures, such as Manfred of Sicily and Pia de' Tolomei, grounds the allegory in real human experiences. The work's influence extends beyond literature, shaping Western conceptions of purgatory and the afterlife.

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