Dante Alighieri’s Divine Comedy is a cornerstone of world literature, and the figure of Virgil, Dante’s guide through the Inferno and much of Purgatorio, is central to understanding the poem’s complex themes. But why was Virgil Dante’s guide? The answer lies in Virgil’s multifaceted representation of reason, empire, and poetic authority, all crucial elements in Dante’s worldview. This exploration delves into the significance of Virgil’s role, examining his relationship with Dante-personaggio and his ambiguous status in Limbo.
Virgil’s selection as a guide might initially seem unconventional. Given the Divine Comedy‘s profound religious themes, one might expect a Christian figure to lead Dante’s journey. Or perhaps Aristotle, “the master of those who know” (Inferno IV, 131), representing philosophical excellence, would be a logical choice. However, Virgil embodies aspects crucial to Dante’s intellectual and artistic project.
Virgil: Reason, Empire, and Poetic Authority
Virgil in the Commedia is intrinsically linked to Dante’s concepts of reason, the ideal of Empire, and the power of poetry. Understanding these connections illuminates why Virgil was Dante’s guide:
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Reason and Philosophical Virtues: Dante believed that “philosophical virtues” guided humans towards earthly happiness, as stated in Monarchia. Virgil embodies these virtues, representing what human reason can achieve independently of faith and divine revelation. In Inferno I, Dante seeks Virgil’s help because of his renowned wisdom.
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The Ideal of Empire: For Dante, the Empire, grounded in philosophical virtues, should govern human political life, fostering conditions conducive to earthly happiness. Virgil embodies this ideal. He lived “under good Augustus” (Inferno I, 71), a reign that Dante saw as a period of universal peace. Moreover, Virgil’s Aeneid, commissioned by Augustus, poetically recounts the founding of Rome by Aeneas, further solidifying his connection to the concept of a divinely ordained Empire. This is highlighted in Inferno II, 13-27.
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Poetic Authority: Classical literature held immense importance in medieval learning. Virgil’s works were not only valued for their literary merit but also for Christian interpretations derived from them. His texts were even considered prophetic; Eclogue IV was believed to foretell Christ’s birth. Legends circulated suggesting Virgil had been miraculously saved by God. While Dante did not subscribe to these legends, he esteemed Virgil above all other poets.
Dante-personaggio acknowledges Virgil as an inspiration to all poets, including himself (Inferno I, 82–87). Dante attributes his poetic skill to Virgil’s influence. Furthermore, Beatrice chooses Virgil to rescue Dante due to the beauty and moral power of his eloquence, as revealed in Inferno II, 67 and 113.
It is precisely this combined intellectual, moral, and poetic authority that explains why Virgil was Dante’s guide. He represents the pinnacle of human achievement attainable without divine grace. As such, he can lead Dante to the Earthly Paradise on Mount Purgatory, the realm where reason gives way to faith.
The Dynamic Between Dante-personaggio and Virgil
The relationship between Dante-personaggio and the character Virgil is a key dynamic throughout the Inferno. The Inferno documents the journey of a student and his master. The relationship is complex. Dante admires Virgil but must also come to terms with Virgil’s limitations as a non-Christian. Analyzing this relationship is crucial to understanding the text’s deeper meanings.
Virgil’s Limbo: A Paradox of Excellence
Virgil, representing human excellence achieved through reason, resides in Limbo (IV, 31–39). Despite his virtues, he remains in Hell, raising the question: What is the “fault” that confines Limbo’s inhabitants?
Virgil explains that the inhabitants of Limbo are not confined to hell for sin, but rather for lacking baptism or, for those who lived before Christ (like Virgil), for not adequately worshipping God. The notion of confinement without sin seems paradoxical. These inhabitants, despite their moral and intellectual achievements, are still separated from divine grace.
In Purgatorio VII, Virgil further clarifies the condition of Limbo:
Non per far, ma per non fare ho perduto
a veder l’alto Sol che tu disiri
e che fu tardi per me conosciuto.
Luogo è la giù non tristo di martiri,
ma di tenebre solo, ove i lamenti
non suonan come guai, ma sono sospiri.
Quivi sto io coi pargoli innocenti
dai denti morsi de la morte avante
che fosser da l’umana colpa essenti;
quivi sto io con quei che le tre sante
virtù non si vestiro, e sanza vizio
conobber l’altre e seguir tutte quante.
(Purgatorio VII, 25–36)
He states that they lost sight of the “high Sun” (God) not through action, but through inaction, and describes Limbo as a place of shadows and melancholy sighs, inhabited by innocents and those lacking the three theological virtues (faith, hope, and charity).
This highlights Dante’s understanding of sin as the misuse of reason and judgment, a deviation from human nature’s essence. While Limbo’s inhabitants did not sin in this way, they failed to connect with God appropriately. This failure, according to Dante, stems from a lack of the theological virtues.
The Purgatorio and Paradiso reveal that some pagans achieved salvation, suggesting that acting according to the theological virtues was not entirely unattainable for those like Virgil. The philosophical and theological complexities surrounding this possibility require further exploration in the later cantiche.
In conclusion, Virgil was Dante’s guide due to his representation of reason, the ideal of Empire, and poetic authority. He embodies the highest human achievements attainable without divine grace. His presence in Limbo underscores the limitations of reason and the necessity of faith in Dante’s spiritual journey.
Further Reading:
- Virgil in the Purgatorio
Further Listening:
- Virgil in the Middle Ages (Lecture by Claire Honess, University of Leeds)
