Su l’ avere, e qui me misi in borsa—
“I pursed wealth above, and here—myself.”[125]
Bearing in mind the Poet’s solemn and deliberate purpose, as we conceive it, to pour scathing ridicule upon that which qualifies man for a place in Hell, we may fairly aver that even in the most critical scenes and episodes he does not transgress the canons of the Master whom he revered. If there is βωμολοχία—unseemly and unrestrained jesting—in his Inferno, it is not Dante’s, but the Demons’. Dante, as we have seen, deliberately dissociates himself from it; and the absence of all such extravagance from his description of Paradise and even of Purgatory confirms our inference that the humorous element, even at its grimmest and coarsest, is carefully proportioned to the environment with which he is dealing.
The Purgatorio and Paradiso are marked (like the scene with Nicholas III) by occasional outbursts of political or quasi-political invective, seasoned with stinging satire. In these tirades against Florence or the Papacy Dante is sometimes his own spokesman; sometimes they are put into another mouth.
The concluding verses of Purg. vi. will at once come to mind: the famous invective in which he ironically congratulates his native city on her “feverish” energy,[126] shown in the disinterested eagerness of her citizens to take up the lucrative burdens of public office, and in the amazing agility of her legislative activity, beside which the democratic traditions of Ancient Athens—
Fecero al viver ben un picciol cenno—[127]
the laws passed in October being superseded by the middle of November—
... Che fai tanto sotili
Provedimenti, che a mezzo novembre
Non giugne quel che tu d’ ottobre fili.