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overthinking entertainment
Book: Inferno: Canto 33
Ugolino eats his children.
In canto 32 of the Inferno by Dante Alighieri, the poets came to Ptolomea, the third region of the ninth circle, and found two spirits embedded in the ice, one gnawing the head of the other. Canto 33 begins:La bocca sollevò dal fiero pasto
quel peccator, forbendola a' capelli
del capo ch'elli avea di retro guasto.
He lifted his mouth from that cruel meal,
that sinner, wiping it on the hair
of the head which he had ravaged at the back.
The spirit names himself as Count Ugolino, and his victim Archbishop Ruggieri, and he tells how Ruggieri imprisoned him with his sons, until they all died of hunger, but not before he had eaten their corpses. Another spirit asks Dante to clear the ice from his eyes, which Dante promises to do, but the spirit reveals himself to be Friar Alberigo, a man so evil that his spirit has already been sent to Hell while his body yet lives on Earth. Dante breaks his promise: "I didn't open them for him; and it was courtesy to be rude to him."
You can read the poem in Italian; in the public-domain English translations by Cary (1805), Longfellow (1867), Sibbald (1884), Norton (1891), or Musgrave (1893); or from the Internet Archive you can borrow the English translations by Sayers (1949), Ciardi (1954), Mandelbaum (1980), Pinsky (1996), or Kirkpatrick (2006); or you can use the Columbia Digital Dante; or you can find one of the many other translations.
posted by cyanistes on Nov 23, 2025 at 12:52 AM
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If there's one character from the Inferno who is widely known beyond the readers of the poem, it's Francesca of Rimini from canto 5, but if there are two, Ugolino della Gherardesca is the other. Chaucer retold the story of "Earl Hugulin of Pise" as one of the episodes in the Monk's tale:His children ween'd that it for hunger was
That he his armes gnaw'd, and not for woe,
And saide, "Father, do not so, alas!
But rather eat the flesh upon us two.
Our flesh thou gave us, our flesh take us fro',
And eat enough;" right thus they to him said.
And after that, within a day or two,
They laid them in his lap adown, and died.
Byron joked about the story in canto 2 of Don Juan:And if Pedrillo's fate should shocking be,
Remember Ugolino condescends
To eat the head of his arch-enemy
The moment after he politely ends
His tale: if foes be food in hell, at sea
'Tis surely fair to dine upon our friends,
When shipwreck's short allowance grows too scanty,
Without being much more horrible than Dante.
Robert Browning combined Bocca, Ugolino and Alberigo into one composite figure in a section of his poem "One Word More" (a rare example of trochaic pentameter):Dante once prepared to paint an angel:
Whom to please? You whisper "Beatrice."
While he mused and traced it and retraced it,
(Peradventure with a pen corroded
Still by drops of that hot ink he dipped for,
When, his left-hand i' the hair o' the wicked,
Back he held the brow and pricked its stigma,
Bit into the live man's flesh for parchment,
Loosed him, laughed to see the writing rankle,
Let the wretch go festering through Florence)—
Dante, who loved well because he hated,
Hated wickedness that hinders loving,
Dante standing, studying his angel,—
In there broke the folk of his Inferno.
Says he—"Certain people of importance"
(Such he gave his daily dreadful line to)
"Entered and would seize, forsooth, the poet."
Says the poet—"Then I stopped my painting."
[Robert Browning (1855), "One Word More", in Men and Women, volume 2, page 231]
The conceit in "One Word More" is that a great artist in one medium might, "once, and only once", take up another medium "for one only". Raphael, the painter, also "made a century of sonnets" for his lady, claims Browning in the poem, and Dante, the poet, once began to paint an angel for Beatrice. The reference is to an episode from the Vita Nuova:On that day, which marked a year since this lady [Beatrice] had become a citizen of the eternal life, I sat apart, in some remembrances of her, drawing an angel upon some tablets: and while I was drawing, I turned my eyes and saw standing by me some men, who were worthy of honour. And they were looking at what I was doing, and I discovered later that they had been standing there for some time before I noticed them. When I saw them, I got up and greeted them, and said, "Someone else was with me, and so I was thinking." [Dante, Vita Nuova, translated by Dante Gabriel Rossetti (1899), page 135.]
A comparison of the passage from "One Word More" with its source in the Vita Nuova shows just how much poetic license Browning was happy to employ, for considered as history rather than poetry, the poem is a disgrace! The men who disturbed Dante at his drawing did not mean to "seize" the poet, nor did Dante say that he did not finish his drawing. His pen cannot have been "corroded" by the "hot ink" he used to write the Inferno, since Beatrice died in 1290 and so the episode from the Vita Nuova took place some years before he started work on that poem. Browning's description of the figure from the Inferno combines elements of three characters: Dante has his hand in the hair of Bocca in canto 31; it is Ugolino who bit into Ruggieri's flesh, and Alberigo is the "live man" who can still go "festering through Florence".
The extent of Browning's fictionalization here has surprised some readers. Having asked "Where can I find an account of Dante's 'preparing to paint an angel,' alluded to in Robert Browning's One Word More?", a correspondent to Notes and Queries [25 November 1876, page 429] was referred to the passage from the Vita Nuova that I quoted above [30 December 1876, page 546], but was reluctant to admit that Browning had heavily fictionalized the episode:I think if Mr. Norgate will read the lines from One Word More (to which I referred in my query), he will see that the passage he quotes from the Vita Nuova does not explain them. Those of whom Dante speaks in the Vita Nuova as interrupting him were evidently friends, and, as Beatrice had been dead a year, the painting could not have been undertaken to please her. [10 February 1877, pages 115–116.]
posted by cyanistes at 12:59 AM
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the spirit reveals himself to be Friar Alberigo, a man so evil that his spirit has already been sent to Hell while his body yet lives on Earth
lol the sheer viciousness of the shade (ha) Dante is capable of throwing is one of the purest joys of reading The Inferno for terrible people like me. Yes please, inject this kind of classic lit directly into my veins. Too bad for folks like Friar Alberigo (check the "Betrayal and Infamy" section of his Wikipedia page), but maybe that his name has lived on for centuries as an exemplar of Red-Wedding-level treachery is some small consolation.
Thanks again for this excellent FanFare project, cyanistes.
posted by mediareport at 5:15 AM
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At the Metropolitan Museum of Art, in the Petrie European Sculpture Court, you can see a version of Carpeaux's Ugolino and His Sons, in marble. It's situated near Rodin's Burghers, and Perseus brandishing Medusa's severed head (snakes still writhing). His toes are curled in on each other and his back is knotted from worry, fear, and hunger.
At the end of the gallery, just around the corner, there's a little cafe. It's not separated from the rest of the gallery by any kind of screen or partition, just a velvet rope, and if you sit in just the right place, you can watch Ugolino's back while you have a nice sandwich or pastry. You can see his starving children clutching as him as you finish your croissant. You can wash it down with a Coke.
NY Common Pantry, Food Bank NYC, City Harvest, Astoria Food Pantry, CHiPS. You can find something near you if you have something to share or are in need.
posted by phooky at 7:09 AM
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Ugolino overshadows Alberigo in my memory, but the idea of the soul descending to hell immediately while the body remains alive-- essentially, that they are spiritually already dead-- is powerful. (There's a bit in Radio Inferno that I just realized calls back to this; the narrator states that "[Marcel Duchamp] gave up art long before life gave up him.")
How many commentators actually believe that Dante was implying Ugolino ate his children? I haven't yet seen a translation that makes a convincing case for me. (Although perhaps I just don't want to be convinced; the potential cannibalism seemed more titillating and less horrifying to me before I had my own children.)
We're almost climbing down the shaggy flanks here; will we get a wrap-up post after the next canto? Cyanistes, do you think you're going to give us an excuse to finally read Purgatorio?
also: I have for years been spelling/pronouncing the name "Ugliono" and somehow mentally commingling it with "Udolpho". It feels good to get that off my chest.
posted by phooky at 4:54 PM
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All that Ugolino says is that after his children died, "più che 'l dolor, poté 'l digiuno", that is, "the fasting was more powerful than the sorrow". In the light of the hints in the surrounding text, I don't think we need (or want) anything more explicit than this.
Note that Dante places Ugolino in the ninth circle, not for his behaviour in the Tower of Hunger, but for his betrayal of the Pisan Guelfs. An anonymous Florentine commentator (c. 1400) says:In the year of Christ 1247, in the month of July, a great division was created over the government of Pisa; for one party was the judge Nino di Gallura de' Visconti with certain Guelfs; and the second was the count Ugolino della Gherardesca with another part of the Guelfs; and the third was the archbishop Ruggieri degli Ubaldini with the Lanfranchi, Gualandi, Sismondi and other Ghibelline houses. Count Ugolino, because he was lord, approached the archbishop and his party, and betrayed judge Nino, ignoring the fact that he was the son of his daughter, and ordered him and his followers to be expelled from Pisa or imprisoned. [Note on Inferno 33.4–6.]
Some early commentators were puzzled by the co-location of Ugolino and Ruggieri, since the former was a traitor to his party, and the latter a traitor to his guest, but perhaps we are to understand that their mutual hole in the ice is on the border of the two regions.
Will we get a wrap-up post after the next canto?
Not a separate post. I have some general notes on the cantica but I will include them in my comment on canto 34, and of course everyone is welcome to add their thoughts there.
do you think you're going to give us an excuse to finally read Purgatorio?
I like Purgatorio even more than Inferno, but it is a more difficult poem for me to write about as there is less classical reference and more medieval history and scholastic theology. So if I do go ahead (and I am not promising!), I will need a break and to take it more slowly.
posted by cyanistes at 12:59 AM
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