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Significance of Dante s divine comedy
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Outline the historical significance of Dante's `Divine Comedy'
Dante's `Divine Comedy', the account of his journey through hell, purgatory and heaven is one of the worlds great poems, and a prime example of a most splendidly realized integration of life with art. More than being merely great poetry, or a chronicle of contemporary events, which it also is, the `Comedy' is a study of human nature by a man quite experienced with it. The main argument I will make in this essay is that Dante's `Comedy' is chiefly a work of historical significance because in it lies the essence of human life across all boundaries of time and place. I feel that such a reading is justified, nay invited, by Dante himself when he says;
"Oh you who have sane intellects
Take note of the teaching which is hidden
Under the veil of these strange verses"
Indeed so many are the concepts, moral issues and people "hidden under the veil of these strange verses", and due to word count restraints, I must limit myself to just one of its three chapters. The sinners of literature being far more memorable than the saints I will choose `Inferno'.
On first entering the folds of Dante's poetic fiction, `Inferno', one finds oneself, like the pilgrim therein, quite lost. To get beyond the enjoyment of it as sheer poetry, to understand its meaning and its historical significance, it presents a multitude of problems. Not least of these is the uncertainty we face when trying to interpret Dante's use of allegory, a practice common to medieval poets but somewhat alien seven centuries on, and beneath which the meaning of the `Comedy' lies. This uncertainty does not go away if we seek guidance from some modern approaches to Dante's use of allegory such as tho...
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...e world in which he lived the `Comedy' is also a profound exploration of questions that transcend his time and place such as morality, in general as well as in politics and religion, concerns as apparent today as they were seven centuries ago.
Bibliography:
Dante, The Inferno, Oxford University Press, 2005
Grayson, Cecil, The World of Dante; Essays on Dante and his Times, Clarendon Press, Oxford 1980
Hamilton Green, Richard, `Dante's Allegory of Poets and the Mediaeval Theory of Poetic Fiction', in Comparative Literature, Vol.9, No.2 (1957), pp. 118-128
Holmes, George, Dante, Oxford University Press, 2006
Kleinhenz, Christopher, `Dante and the bible: Intertextual Approaches to the Divine Comedy', in Italica, Vol.63, No.3 (1986), pp.225-236
Singleton, Charles S., Dante's commedia; Elements of Structure, John Hopkins University Pres, London, 1977.
Jacoff, Rachel and Jeffrey T. Schnapp. The Poetry of Allusion: Virgil and Ovid in Dante’s Commedia. Stanford: Stanford UP, 1991.
In circle three of Inferno, Dante conjures a despairing tone by use of vivid imagery and extensive detail to display the harrowing effects of gluttony. This is best exemplified through the weather patterns and general landscape of this circle, the Poets’ encounter with Cerberus, and Dante’s conversation with Ciacco, the Hog. These devices also allow for the conveying of ideas embedded within the text.
Alghieri, Dante. "The Divine Comedy: Inferno." The Norton Anthology of World Masterpieces: Expanded Edition In One Volume. Gen. Ed. Maynard Mack. New York, NY: W.W. Norton & Company, 1997. 1032-1036.
In analyzing this gradient of morality, it is useful first to examine a work from early literature whose strong purity of morality is unwavering; for the purposes of this discussion, Dante’s Inferno provides this model. It is fairly straightforward to discover Dante’s dualistic construction of morality in his winding caverns of Hell; each stern, finite circle of Hell is associated with a clear sin that is both definable and directly punishable. As Dante moves downwards in this moral machination, he notes that
Moreover, Dante, the narrator of the Inferno, has succeeded in not only telling the frightening story of the Inferno, but also pointing out the importance of the relationship between human’s sins and God’s retribution, using the monsters as the symbols for each kind of sin and its punishment throughout the progress of the story, which teaches his readers to be well aware of their sins through the literature – a part of humanities; the disciplines that teach a man to be a human.
In Dante’s Inferno, the relationship between Dante the Pilgrim and Virgil the Guide is an ever-evolving one. By analyzing the transformation of this relationship as the two sojourn through the circles of hell, one is able to learn more about the mindset of Dante the Poet. At the outset, Dante is clearly subservient to Virgil, whom he holds in high esteem for his literary genius. However, as the work progresses, Virgil facilitates Dante’s spiritual enlightenment, so that by the end, Dante has ascended to Virgil’s spiritual level and has in many respects surpassed him. In Dante’s journey with respect to Virgil, one can see man’s spiritual journey towards understanding God. While God loves man regardless of his faults, His greatest desire is to see man attain greater spirituality, in that man, already created in God’s image, may truly become divine, and in doing so, attain eternality.
“If you would not be forgotten as soon as you are dead and rotten, either write things worth reading or do things worth writing.” This maxim applies to the poet Dante Alighieri, writer of The Inferno in the 1300s, because it asserts the need to establish oneself as a contributor to society. Indeed, Dante’s work contributes much to Renaissance Italy as his work is the first of its scope and size to be written in the vernacular. Due to its readability and availability, The Inferno is a nationalistic symbol. With this widespread availability also comes a certain social responsibility; even though Dante’s audience would have been familiar with the religious dogma, he assumes the didactic role of illustrating his own version of Christian justice and emphasizes the need for a personal understanding of divine wisdom and contrapasso, the idea of the perfect punishment for the crime. Dante acts as both author and narrator, completing a physical and spiritual journey into the underworld with Virgil as his guide and mentor. The journey from darkness into light is an allegory full of symbolism, much like that of Plato’s Allegory of the Cave, which shows a philosopher’s journey towards truth. Therefore, Dante would also agree with the maxim, “Wise men learn by others’ harms; fools scarcely by their own,” because on the road to gaining knowledge and spiritual enlightenment, characters who learn valuable lessons from the misfortunes of others strengthen their own paradigms. Nonetheless, the only true way to gain knowledge is to experience it first hand. Dante’s character finds truth by way of his own personal quest.
Alighieri, Dante. The Divine Comedy of Dante Alighieri: Inferno. Trans. Allen Mandelbaum. Notes Allen Mandelbaum and Gabriel Marruzzo. New York: Bantam Books, 1980
Dante’s Inferno, Indiana Critical Edition. Bloomington, Indiana: Indiana University Press, 1995. Williams, Charles. A. A. The Figure of Beatrice: A Study in Dante.
...taneously praises Virgil (Dante, 1.2.82-87) and then provides evidence that he himself is a type of Virgil. He refers to “Dante” as a type of Aeneas in the scene with Cacciaguida; therefore, by extension, Dante too would be a type of Virgil. Dante shows himself to be a new (and better) Virgil at the allegorical level upon which the Divine Comedy can be seen as guiding every Christian to salvation. Dante uses typology in order to make this point– for him, Virgil is not only a great poet, but a figure in literature that prefigures or foreshadows another, greater figure. So Dante is, in this way, a fulfillment of Virgil, both as a character and a poet.
Dante’s Inferno presents the reader with many questions and thought provoking dialogue to interpret. These crossroads provide points of contemplation and thought. Dante’s graphic depiction of hell and its eternal punishment is filled with imagery and allegorical meanings. Examining one of these cruxes of why there is a rift in the pits of hell, can lead the reader to interpret why Dante used the language he did to relate the Idea of a Just and perfect punishment by God.
Alighieri, Dante. "The Inferno." The Divine Comedy. Trans. John Ciardi. New York: First New American Library Printing, 2003.
The Divine Comedy, written in the 14th century by Dante Alighieri, is a heroic epic. Throughout Dante’s literary work, he outlines his scientific understandings of the world, his political views and provides the reader with a moral compass and spiritual map of which to follow. This poem is written in three parts, Inferno, Purgatorio, and Paradisio, each of which is broken down into individual cantos. Inferno includes 34 cantos, whereas Purgatrio and Paradiso each contain 33 cantos, however, the first canto of Inferno is really an introduction to the poem.
Dante’s The Divine Comedy illustrates one man’s quest for the knowledge of how to avoid the repercussions of his actions in life so that he may seek salvation in the afterlife. The Divine Comedy establishes a set of moral principles that one must live by in order to reach paradise. Dante presents these principles in Inferno, where each level of Hell has people suffering for the sins they committed during their life. As Dante gets deeper into Hell, the degrees of sin get progressively worse, as do the severity of punishment.
...ert P. "Dante: The Most Vivid Version." The New York Review of Books. 24 Oct.