“Temprando col dolce l’acerbo”: Instrumental and Vocal Polyphony in the “Commedia”

This essay tracks the historical-musicological context of the lemma “organi” / “organo” as it appears in Purgatorio 9.144 and Paradiso 17.44. Drawing from medieval treatises and monks’ descriptions such as Raban Maur, Notkerus Balbulus, Baldric of Dol, Aelred of Rievaulx, and Wulstan, the author uses intertextual evidence to show that Purgatorio 9.144 (“quando a cantar con organi si stea”) evokes a great pipe organ as was found in some medieval churches. The essay also argues that Paradiso 17.43–44 (“come viene ad orecchia / dolce armonia da organo”) should be understood as a polyphonic organum that serves the twofold purpose of lending authority to the Commedia’s longest prophecy and of musically representing the harmonious reconciliation of the highs and lows in human life.