Dante Composes The Divine Comedy

This series has six easy 5 minute installments. This first installment: A Very Personal Poem.

Introduction
Dante’s Divine Comedy was the great literary work of the Middle Ages. It was called by him a comedy because its ending was not tragical, but “happy”; and admiration gave it the epithet “divine.” It is in three parts — Inferno (hell), Purgatorio (purgatory), and Paradiso (paradise).

He was a man of his time, deeply involved in Italian affairs. His home was in Florence but when his faction lost wars, he spent much of the rest of his life in exile, first in Rome and last in Ravenna. These were the places where he wrote his epic poem.

The poem is populated by people who lived in his time. Many of them were celebrities; many of them he knew. Events that these people had participated in were current to him and to them (that still lived when the poem was published).

The publication of the poem was a literary milestone on the road to the Renaissance.

This selection is from Essay on Dante by Richard William Church published in 1878. For works benefiting from the latest research see the “More information” section at the bottom of these pages.

Richard William Church (1815-1890) was a writer and Dean of Saint Paul’s Cathedral in London.

Time: 1300-1318
Place: while he was exiled in Rome

The Divina Commedia is one of the landmarks of history. More than a magnificent poem, more than the beginning of a language and the opening of a national literature, more than the inspirer of art and the glory of a great people, it is one of those rare and solemn monuments of the mind’s power which measure and test what it can reach to, which rise up ineffaceably and forever as time goes on marking out its advance by grander divisions than its centuries, and adopted as epochs by the consent of all who come after. It stands with the Iliad and Shakespeare’s plays, with the writings of Aristotle and Plato, with the Novum Organon and the Principia, with Justinian’s Code, with the Parthenon and St. Peter’s. It is the first Christian poem; and it opens European literature, as the Iliad did that of Greece and Rome. And, like the Iliad, it has never become out of date; it accompanies in undiminished freshness the literature which it began.

We approach the history of such works, in which genius seems to have pushed its achievements to a new limit. Their bursting out from nothing, and gradual evolution into substance and shape, cast on the mind a solemn influence. They come too near the fount of being to be followed up without our feeling the shadows which surround it. We cannot but fear, cannot but feel ourselves cut off from this visible and familiar world — as we enter into the cloud. And as with the processes of nature, so it is with those offsprings of man’s mind by which he has added permanently one more great feature to the world, and created a new power which is to act on mankind to the end. The mystery of the inventive and creative faculty, the subtle and incalculable combinations by which it was led to its work, and carried through it, are out of reach of investigating thought. Often the idea recurs of the precariousness of the result; by how little the world might have lost one of its ornaments — by one sharp pang, or one chance meeting, or any other among the countless accidents among which man runs his course. And then the solemn recollection supervenes that powers were formed, and life preserved, and circumstances arranged, and actions controlled, and thus it should be; and the work which man has brooded over, and at last created, is the foster-child too of that “Wisdom which reaches from end to end, strongly and sweetly disposing of all things.”

It does not abate these feelings that we can follow in some cases and to a certain extent the progress of a work. Indeed, the sight of the particular accidents among which it was developed — which belong perhaps to a heterogeneous and wildly discordant order of things, which are out of proportion and out of harmony with it, which do not explain it; which have, as it seems to us, no natural right to be connected with it, to bear on its character, or contribute to its accomplishment; to which we feel, as it were, ashamed to owe what we can least spare, yet on which its forming mind and purpose were dependent, and with which they had to conspire — affects the imagination even more than cases where we see nothing. We are tempted less to musing and wonder by the Iliad, a work without a history, cut off from its past, the sole relic and vestige of its age, unexplained in its origin and perfection, than by the Divina Commedia, destined for the highest ends and most universal sympathy, yet the reflection of a personal history, and issuing seemingly from its chance incidents.

The Divina Commedia is singular among the great works with which it ranks, for its strong stamp of personal character and history. In general we associate little more than the name — not the life — of a great poet with his works; personal interest belongs more usually to greatness in its active than its creative forms. But the whole idea and purpose of the Commedia, as well as its filling up and coloring, are determined by Dante’s peculiar history. The loftiest, perhaps, in its aim and flight of all poems, it is also the most individual; the writer’s own life is chronicled in it, as well as the issues and upshot of all things. It is at once the mirror to all time of the sins and perfections of men, of the judgments and grace of God, and the record, often the only one, of the transient names, and local factions, and obscure ambitions, and forgotten crimes of the poet’s own day; and in that awful company to which he leads us, in the most unearthly of his scenes, we never lose sight of himself. And when this peculiarity sends us to history, it seems as if the poem which was to hold such a place in Christian literature hung upon and grew out of chance events, rather than the deliberate design of its author. History, indeed, here, as generally, is but a feeble exponent of the course of growth in a great mind and great ideas. It shows us early a bent and purpose — the man conscious of power and intending to use it — and then the accidents among which he worked; but how the current of purpose threaded its way among them, how it was thrown back, deflected, deepened by them, we cannot learn from history.

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