Dante the pilgrim and Virgil walk on from the pressing crowd of those who died violent deaths. And now it’s the pilgrim’s turn to press Virgil. He quizzes the old poet on the theology of a passage in THE AENEID. And the answer Virgil gives is one for the ages: utter gibberish.

Six souls who’ve died violent deaths accost Dante the pilgrim on the lower slopes of Mount Purgatory. They all want him to take back news of them, so the living will pray for their ascent. It’s a complicated game of cat and mouse when it comes to their identities. But there’s another game being played, one much closer to Dante’s heart. And it has a real loser: Virgil!

The third speech in PURGATORIO, Canto V, has given rise to more criticism per line that almost any other moment in COMEDY. Pia comes forward to give her short, enigmatic, elliptical tale, her violent death which must be inferred from her speech. What can we make of its poetics? What is Dante the poet trying to do with this tragic woman who speaks just a few lines after the first moment of the true veneration of Mary in COMEDY?

The second soul who died violently steps forward to speak in PURGATORIO, Canto V. This time, it’s Buonconte da Montefeltro, one of Dante’s enemies from the battle of Campeldino. He tells a tale that reverses his father’s tale from INFERNO. And Dante the poet is perhaps correcting “errors” from INFERNO throughout the early cantos of PURGATORIO.

The rush of unison souls on the first minor ledge of PURGATORIO becomes quiet as one soul steps forward to tell the tale of his death to Dante the poet and Virgil, his guide. This soul’s story begins with a small reprimand and continue through the facts of his death to a beautiful, poetic line. Along the way, we may have a glimpse of what Dante the poet is up to in Ante-Purgatory and the changing poetics of PURGATORIO.

Dante the pilgrim seems flattered when some of the negligent souls notice that he’s still in his own body. Virgil offers a stern reprimand, one of the most strident in COMEDY. But Virgil may be onto something greater: how to write PURGATORIO. It can’t just be idiosyncratic to the pilgrim’s reactions. Otherwise, the poem won’t accomplish what Dante the poet wants.

We’ve come to the end of the first narrative arc of Dante’s PURGATORIO: Canto V. The narrative seems to get more and more frenetic until suddenly it does this amazing decrescendo to a very quiet voice, a woman’s voice, seemingly stripped bare of almost all of its details. It’s a haunting conclusion to the first major section of the second canticle of Dante’s COMEDY.

Certainly since Samuel Beckett, indeed even before him, Belacqua has been interpreted as a parodic, comedic, or ironic figure, sprawled out on the first minor ledge of Mount Purgatory. But what if Dante the poet intends him otherwise? What if his speeches are indeed a warning about negligence? Must we interpret Belacqua through the lens of “Waiting For Godot”?

Belacqua has invoked perhaps more interpretive issues for readers of PURGATORIO than any other character in the second canticle of Dante’s COMEDY. Let’s talk about the various ways he can be interpreted and see how both Beatrice and Ulysses sit uneasily behind his words as he confronts the pilgrim Dante and his guide, Virgil, on their climb up the mountain.

After much high-level scholastic reasoning on the soul’s unity and much discussion of medieval astronomy and geography, Dante the pilgrim and Virgil encounter a soul who simply doesn’t want to move out of the shade in the noontime heat. He’s a warning, perhaps. To Dante? To us readers? What’s ahead is hard! Be ready.

Stopped on the first ledge of Mount Purgatory because the pilgrim Dante is so out of breath, he and Virgil, his guide, discuss the astronomical position of the sun, then the geography of the mountain, and finally the morality of the climb. How does astronomy get to morality? By Dante’s poetics, the grand art of misdirection as the ultimate directionality.

Dante the pilgrim and Virgil come to a breather on the first ledge around Mount Purgatory. But it’s hardly a rest. Dante, in shock, notices the sun’s rays on his “wrong” side. Virgil then explains the workings of this geocentric system, an explanation guaranteed to leave a modern reader baffled.

Dante and Virgil begin their climb up Mount Purgatory. It proves exhausting! The pilgrim Dante has to climb on his hands and knees. He’s gasping for breath. Why then do we always assume that the good is hard and the bad is easy? And if this climb is so rough, what’s in it for Virgil?

Manfred has finished his grand monologue and reached a series of conclusions, including those about the ultimate fate of even the excommunicated and the ways the living can aid the souls of the dead in the “good” part of the afterlife. These are shocking bits in a shocking passage—except Dante’s not done. The poet is about to show us that the ultimate conclusions from the passage aren’t those we suspected.

Manfred continues his tale—this time, about what happened to his body after his death at the hands of the French forces at Benevento in 1266. He also asks Dante the pilgrim to go back to his daughter, Constance, to pray to elevate his lowly position in Purgatory. Why does Dante the poet make up the story of Manfred’s lost body? Why do the prayers of the living aid the dead? And why is PURGATORIO, Canto III, so tightly structured?