Joanna of Gallura

[4] Though Pisa had taken most of her inheritance, Joanna remained in possession of great political power because of her title as Judge of Gallura and her parents' noble lineages.

Joanna's first suitor was the son of the Genoese noble Bernabò Doria; a marriage with him would have promoted the union of Genoa and Pisa against the Crown of Aragon.

Then, a second option became the nephew of the Count of Donaratico, Tedice della Gherardesca; the possibility of his marriage to Joanna polarized the Pisans, causing civil conflict.

Finally, the Tuscan Guelphs recommended that Joanna marry Corradino Malaspina, whose family already owned many valuable assets in Sardinia.

[5] James II of Aragon also had a stake in Joanna's hand for marriage, as he wanted her to marry an Aragonese nobleman because it would aid his plan of conquering Sardinia while minimizing military costs.

In the beginning of the canto, two angels with flaming swords stand on opposite sides of the valley, setting up the ritual that will take place after Dante's conversations with Nino, Joanna's father, and Conrad Malaspina.

Nino then scorns his wife Beatrice for not mourning his death long enough, accusing her of being a fickle woman because of her remarriage to Galeazzo.

There is an easy lesson in her conduct: how short a time the fire of love endures in woman if frequent sight and touch do not rekindle it.

[8] Quinones argues that this canto, through the analogy of Beatrice as Eve and Joanna as Mary, exemplifies the dichotomies of sadness and hope that define the mood of Purgatorio, such as death and revival, and the fall and salvation of humankind.

[9] As Mary brings Jesus into the world to repent for Eve's sin of transgression, Joanna will faithfully pray for Nino to compensate for his unfaithful wife.

[9] Diaz writes on Dante's portrayal of Beatrice: he has Nino identify her only by the men she has been with, thus emphasizing the perceived immorality of a woman marrying again.