Commentary Par XXVII 79-87

The formally similar beginnings and conclusions of the two passages (this one and [Par XXII 133-153]) devoted to the protagonist's earthward gazing back down through the heavens underline the formulaic aspect of both scenes.  See Moore (Moor.1903.1), pp. 62-71, for a full discussion.

Dante's reference points are noteworthy: He is over the trackless ocean to the west of the two islands referred to as Gades (Insulae Gades [see C.Par.XXVII.82]) where Ulysses began his folle volo ([Inf XXVI 125]) and can almost see the shore of Asia Minor, where Europa was raped by Jupiter. Some suggest that these two myths reflect the two most insistent temptations of man, prideful or transgressive intellectual behavior and lust. It may also be tempting to see them in autobiographical terms for Dante, his besetting sins of wayward philosophizing and sexual misconduct, these two sins finding an echo (and a model?) in St. Augustine's Confessions (see Hollander [Holl.1969.1], p. 165n.).  The importance of the double classical reference is underlined when we consider that we have not read an overt reference to a classical myth since the one to Semele in [Par XXI 6] that none such has been allowed in this heaven of the fixed stars, with its 'characters' all drawn from their ranks in the Church Triumphant, surmounted by the three apostles and Adam.  To round off this moment, the last in the Starry Sphere, Dante picks up two words or phrases from the similar vision in [Par XXII 151] and [Par XXII 129]: aiuola and sotto i [miei] piedi.

As Jacoff points out (Jaco.1991.2), p. 237, Ovid tells the story of Europa in three different places (Metamorphoses II and VI; Fasti II) with quite diverse treatments; she meditates upon the possibility that Dante has at once paired Europa with Ulysses in malo, as transgressive voyager (even if she is a victim of Jove's lustful forcing), and also in bono, as a sort of classical prefiguration of Dante, in that she was conjoined with the divine.  On this passage, see Moevs (Moev.2005.1), pp. 132-33, arguing that Ulysses and Europa have opposed valuations, he being identified with selfish seeking, while she represents 'loving surrender to the divine.'  For expression of the more usual view, see Scott (Scot.1977.1), p. 223, finding in Ulysses a man who fell victim to the temptations of the intellect and the will, while seeing in Europa a victim of her own sensual desires.  However, it might be objected that Europa is not the character who is paired with Ulysses, but that Jove is.  That is, Ulysses and Jupiter are both portrayed as embarking on voyages, spurred by curiosity in the first case and by lust in the second, that are harmful to their 'mates.'