La Divina Commedia (The Divine Comedy) is a Christian, epic poem written by Dante Alighieri. A central theme of the Commedia is the theme of politics which is used by Dante in order to explore and comment on unity and division. The political theme is used to comment on unity and division by examining the characteristics that were present in Florence at the time of Dante, for example factionalism and division, and then going on to consider political ideals, for example, unity. In all three cantiche the political theme is explored and as the reader progresses through the Commedia, starting in Inferno, travelling through Purgatorio, and ending in Paradiso, the political theme also/too? progresses. In Inferno the political theme is used to discuss and condemn the divisions that existed within Florentine society because of factionalism. In Purgatorio the political theme begins to evolve and becomes slightly more positive, with the suggestion of a shift away from division and towards unity. It is then in Paradiso that the importance of unity can be more clearly seen and the political ideals that Paradiso suggests and projects can be more thoroughly explored. It is therefore necessary to examine this progression of the political theme, not only considering key passages in which this can be seen, but also considering the possible role? of the geographical structure of Inferno, Purgatorio and Paradiso.
Florence during the time of Dante was very divided and the political theme in Inferno is used to show the extent of the extreme divisions that were present in Florentine society. These divisions existed not only between the the two political factions, Guelphs and the Ghibellines, but even within the Guelphs themselves, as can be seen by the split of the Guelphs into the White Guelphs and the Black Guelphs. From an early point in Inferno, Dante highlights the divided nature of his city by referring to Florence as ‘la città partita’ (Inferno VI:61). The divided city that the reader is made aware of/alerted to, is exemplified and further built upon, in Dante’s encounter with Farinata degli Uberti, the leader of the Ghibellines. Farinata is located in the City of Dis, a gated enclosure within Inferno. The City of Dis, among/along with? the many divisions that can be seen in the structure of Inferno, such as the different levels and the malebloges within the levels of Inferno, may already suggest Dante’s condemnation and denunciation of division even before spoken encounters? occur which demonstrate division?
The factionalism and the extent of the divisions within Florence is evident in Dante’s encounter with Farinata. For example, Farinata’s first words to Dante are ‘Chi fuor li maggior tui?’ (Inferno, X: 42). The fact that Farinata is establishing Dante the pilgrim’s identity through his political faction and ancestry as opposed to asking his name, for example, shows the importance and weight of the political factions during Dante’s time. It is through the political faction that Dante belongs to, that Farinata determines whether Dante is an enemy. The divisive nature of politics can clearly be seen from when Farinata discovers that Dante is a Guelph, thereby belonging to Farinata’s opposing faction therefore making the two characters enemies. Even though both Dante and Farinata are Florentine they are immediately divided as they belong to opposing factions. However, it is important to note that Farinata was an outsider from Florence, having come from a prominent family, Farinata was then exiled from Florence and in fact played a leading role in capturing Florence.
The palpable hostility between the two Florentine’s can be seen when the two engage in a dialogue boasting about what their respective parties have achieved. Joan M. Ferrante states that Farinata’s ‘conversation with Dante represents the Florentine feud in miniature’ (?, 69). This can be seen to be an accurate name?description? given to the rivalrous tensions that are portrayed between Dante and Farinata. For example, Farinata says that the Ghibellines managed to drive out the Guelphs. In response to this, Dante retorts that the Guelphs managed to come back, but this is something the Ghibellines have not managed to learn. Dante states: ‘ma i vostri no appreser ben quell’arte’ (Inferno, X:51). It is interesting to note that Dante refers to the Ghibellines as ‘i vostri’ therefore highlighting the separation of himself from them as if they are two completely separate groups of people despite the fact that he is referring to fellow Florentines. This demonstrates the extent of the division within Florence and demonstrates that, in spite of their shared origin and shared city, the two factions considered themselves to be completely separate entities? The use of the word ‘arte’ that Dante uses creates a sarcastic/rude? undertone to his comment to Farinata and further emphasises the animosity between them.
In Purgatorio the political theme can be seen to progress. In this cantica the theme of politics begins to move away from the negative, divisive nature of politics and the resulting hostility? that is portrayed in Inferno. It is in Purgatorio that Dante, the poet, introduces the idea of unity. It can argued that the positive shift away from division and towards unity, can be suggested by the geographical positioning and structure of Purgatorio. Whilst/even though the structure of purgatorio, like inferno, is divided by the different sins, it is in Purgatorio that the Earthly Paradise is located where one can ascend to Paradiso. Furthermore the souls in Purgatorio have been saved and therefore cannot sin, which suggests that it is unlikely that bad examples and great wrongdoings? will be encountered during this cantica.
The political theme in is used in Purgatorio to discuss unity, for example the unifying as opposed to divisive nature of a shared origin. This can be seen, for example, in Sordello’s encounter with Dante and Virgil. The way in which Sordello greets Virgil is of great significance. Sordello says ‘O Mantoano, io son Sordello/ de la tua terra!’ e l’un l’atro abbracciava’ (Purgatorio, VI: 74-75). The warm greeting that the two characters share is due to the fact that both Sordello and Virgil are from Mantua, even though from different times. By referring to Virgil as ‘Mantoano’ and speaking of their shared ‘terra’, the unifying power of shared origin is shown and the embrace that they share further reinforces this. Teodolinda Barolini describes Sordello as an ‘emblem of political unity in the Comedy’ (?:399), and this can be seen to be highly true in the case of Sordello’s welcoming? behaviour that the reader witnesses in his encounter with Virgil, clearly demonstrating the unifying nature of a shared origin.
The warm greeting and encounter of Sordello and Virgil provides a sharp encounter to a previous encounter between two people of shared origin, for example, the cold and hostile encounter between Dante and Farinata that has been explored. The kind nature of Sordello upon meeting Virgil is evident ‘Quell’anima gentile fu così presto, sol per lo dolce suon de la sua terra, di fare al cittadin duo quivi festa;’ (Purgatorio, VI:79-81). This further reinforces the unifying nature of a shared origin. The language, for example, ’fu così presto’ conveys the eager nature of Sordello to greet his compatriot and the fact that Sordello is described as ‘gentile’ highlights the positive way in which Sordello is portrayed. This enthusiastic? greeting provides a great contrast to the way in which Farinata and Dante greet. Despite the fact that the two characters are fellow Florentines they do not embrace or share a warm greeting. Instead their shared origin is a divisive force. From the beginning of their encounter Farinata adopts a hostile tone ‘guardommi un poco, e poi, quasi sdegnoso, mi dimandò’ (Inferno, XX:41-42) and ‘ond’ei levò le cilia un poco in suso’ (Inferno, XX:45). This portrays Farinata as unfriendly and belligerent? and the fact that Farinata and Dante are both originally from Florence acts as a divisive force. Croce describes Sordello as the ‘Farinata del Purgatorio’ (as cited by Teodolinda Barolini, ? ?). However, even though it is true that many similarities can be drawn between Sordello and Farinata, it can be argued that they differ to a great extent. The fundamental difference between these two characters can be seen in the way in which the political theme is used, in order to depict these tow characters as an ‘emblem of political unity’, in the case of Sordello, or in the case of Farinata it can be argued as an emblem of political division and disunity.
The political theme then progresses further in Paradiso. A solution or remedy is not offered here but Dante the poet uses the political theme in order to talk of the way in which he would like Florence to be whilst highlighting the negative aspects of society that must be avoided that are caused by politics. The character of Justinian is used by Dante to openly criticise division and factionalism and instead encourage unity. Justinian criticises both the Ghibellines and the Guelphs and Dante the poet uses this in order to condemn factionalism and show the necessity of a unified society. Justinian states ‘Faccian li Ghibellin, faccian lor arte/ sott’altro segno, ché map segue quello/ sempre chi la giustizia e lui diparte’ (Paradiso, VI: 103-105). This terzina condemns the Ghibellines due to them dirtying the emblem of the Empire. Here, Justinian condemns them for not fostering the proper spirit of the empire and ridding it of the justice that it should represent.
Justinian’s condemnation of the factions and divisions in Florence/ Italy and the emphasis he place on unity is further reinforced when the important political figure states: ‘Diverse voci fanno dolci note:/ così divirsi scanni in nostra vita/ rendon dolce armonia tra queste rote.’ (Par/adiso, VI:124-126). The metaphor used in this terzina illustrates the value and importance of unity and greatly contrasts to what has been seen previously in the Commedia, In Inferno, for example, difference has been seen to be the cause of conflict, hostility and rivalry whereas in Paradiso difference creates ‘dolce armonia’ and therefore becomes positive. This shift suggests the Dante’s disapproval of the factions in Italy and his belief in the need of unity.
idea of unity suggested in purgatorio expanded on in paradiso
In Paradiso the political theme is not only used to condemn the negative political aspects of society such as factionalism but this is then further developed by Dante who uses Paradiso to discuss political ideals. This can be seen by the political theme that runs throughout Dante’s encounter with Cacciaguida, his ancestor. During this encounter Cacciaguida paints a picture of the Florence in which he lived during the 12th century. It can be argued that Dante the poet uses the character and words of Cacciaguida in order to present a political and societal ideal of a representation of Florence. This version of Florence contrasts greatly with the Florence from the F of D’s time./d’s F which Dante has come.? This can be seen, for example, in the way in which Cacciaguida’s version of Florence is described. For example Cacciaguida states ‘si stava in pace’ (Paradiso, XV:99). It can be argued that one of the reasons for which this peace existed is because factions did not exist at the time. This therefore minimised the intra-city conflict between fellow Florentines. The good life that the citizens of Cacciaguida’s Florence enjoyed is emphasised in a later terzina in the canto: ‘A così riposato, a così bello/ viver di cittadini, a così fida/ cittadinanza, a così dolce ostello’. (Paradiso, XV: 130-132). The positive language in this terzina such as ‘ripsoato’, ‘bello’ and ‘fida’ and ‘dolce ostello’ demonstrates the peace and harmony that existed in 12th century Florence and this is further reinforced by the repetition of ‘così’. ‘Così’ is used four times in only three lines and this heightens the effect of the positive words used, increasing the image of beauty that existed in Florence. The references to Rome that Cacciaguida makes further? demonstrate the ideals that Dante wishes to present through the character of Cacciaguida. For example, ‘’traemp a la rocca la chioma,/favoleggiava con la sua famiglia/ d’i Troiani, di Fiesole e di Roma.’ (Paradiso, XV:124-126). It can be argued that the mention of the roots that Florence has in Rome is because of the significance that the Roman Empire has for Dante. In De Monarchia Dante expressed his views on the empire. He believed that, a key value of the empire and Emperor was that both should bring about, and maintain universal peace. Dante believed that the Roman Empire was chosen by God and that Emperor Augustus was successful in his Empire by creating universal peace. Dante also believed that he Pope should not interfere and should remain in his place as leader of the Church. The references to Rome made by Cacciaguida may therefore reflect Dante’s view on the example of the Roman empire as being the ideal political model. This mention of Rome may also reflect Dante’s desire for the Roman empire to be at the centre of the universal government that he believed should have been put in place.
In conclusion, it can be seen that the political theme is a central to the Commedia. The theme of politics is used to effectively explore and convey the nature of society in Florence and the way in which Dante believes politics and society should operate. The progression of the political theme allows Dante to firstly criticise the negative aspects of politics such as factionalism, and the effect that they have on society, as seen by the example of Farinata. The commedia then travels towards a more ideal society that Dante would like to exist in Florence during his time.
Purgatorio acts as a passage between Inferno and Paradiso where chaos and hostility are reduced, for example, the case of Sordello and Virgil in comparison to Dante and Farinata. among other things commedia largely a poltical work?
due ot ideas presented, polticis reflect edin structure possible refleciton, can be argued largely among other things largely political work