By Peter Freyd
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3 I . See how he scorns to use man's instruments: The oars and sails, tile human instruments that the angel boatsman has re placed with his wings, recall once again the ill-fated voyage of Ulysses, who says, '"we made our oars our wings in that mad flight"' (in/ X XVI, I 26). Incidentally, the path of Ulysses' '"mad flight,"' which came within sight of the shores of Purga22 / C A N TO II tory, would have been essentially the same as che trajectory taken by the angel. The figure of the angel boatsman here suggests a contrast with Charon, the boatsman who appears at the corresponding stage in In/ III.
Ar the beginning of his poem, when he must hum bly beg the Muses, simply: "Help me now," how could he posit the "ship of his talent"? 7. Here let death's poetry arise to lzfe: The moria poesia, "dead poetry," of the original must refer to the poetry of the Inferno, "dead" in rhar it treated of souls dead to God and to His grace. Bur note also the suggestion of resurrection contained in this line. 9· Calliope: The greatest of the Muses, who, in Greek mythology, presides over heroic or epic poetry.
A whiteness indefinable, and then, another whiteness grew beneath the shape. 24 My guide was silent all the while, but when the first rwo whitenesses turned into wings, and he saw who the steersman was, he cried: 27 "'Fall to your knees, fall to your knees! Behold. the angel of the Lord ! And fold your hands. like him. Jo See how he scorns to use man's instruments; he needs no oars, no sails, only his wings to navigate between such distant shores. " 36 Closer and closer to our shore he came, brighter and brighter shone the bird of God, until I could no longer bear the light, 39 and bowed my head.
Abelian categories. An introduction to the theory of functors by Peter Freyd