"O Supreme Light that so high upliftest Thyself from mortal conceptions, re-lend a little to my mind of what Thou didst appear and make my tongue so powerful that it may be able to leave one single spark of Thy glory, for the future people: for by returning to my memory and by sounding a little in these verses, more of Thy victory shall be conceived" (Par. XXXIII, 67).
Comedy is the title which Dante gives to his trilogy and posterity has added the prefix adjective divine. The term comedy however is not used in the modern sense which suggests to us a light laughable drama written in a familiar style. "Comedy" Dante himself explains in his dedication of the poem, "is a certain kind of poetical narrative which differs from all others. It differs from tragedy in its subject matter in this way, that tragedy in the beginning is admirable and quiet, in its ending or catastrophe foul and horrible ... Comedy on the other hand, begins with adverse conditions, but its theme has a happy termination. Likewise they differ in their style of language, for tragedy is lofty and sublime, comedy lowly and humble.
"From this it is evident why the present work is called a comedy, for if we consider the theme in its beginning it is horrible and foul because it is Hell; in its ending fortunate, desirable and joyful because it is Paradise: and if we consider the style of language the style is lowly and humble because it is the vulgar tongue in which even housewives hold converse."
The theme of the poem Dante himself explains: "The subject of the work literally taken is the state of souls after death; this is the pivotal idea of the poem throughout its entire course. In the allegorical sense the poet treats of the hell of this world through which we are journeying as pilgrims, with the power of meriting and demeriting, and the subject is man, in as much as by his merits and demerits he is subject to divine Justice, remunerative or retributive" (Epis. dedicat. ad Can Grande).
One of the earliest commentators amplifies the poet's statement. Benvenuto da Imola writes: "The matter or subject of this book is the state of the human soul both as connected with the human body and as separated from it. As the state of the whole is threefold, so does the author divide his work into three parts. A soul may be in sin; such a one even while it lives with the body, is morally speaking dead, and hence it is in moral Hell; when separated from the body, if it died incurably obstinate, it is in the actual Hell. Again a soul may be receding from vice: such a one while still in the body is in the moral Purgatory, or in the act of penance in which it purges away its sin; if separated, it is in the actual Purgatory. Yet even while living in the body, a soul is already in a manner in Paradise, for it exists in as great felicity as is possible in this life of misery: separated from the body, it is in the heavenly Paradise where there is true and perfect happiness, where it enjoys the vision of God." (Ozanam, Dante, p. 129.)
This testimony as to the subject matter of the Divine Comedy is brought forth to offset the statements not infrequently made by expositors who deny or ignore the supernatural that Dante's full thought can be realized even if the reader rejects the poet's spiritual teaching, especially his doctrine of the existence of a real Heaven and a real Hell. It is true that Dante is "such a many-sided genius that he has a message for almost every person." It is likewise true that an allegorical interpretation may be adopted with no belief in the Hereafter and it may open up many fruitful lessons for the reader. That being granted, one may still ask whether one can ignore Dante's doctrine of future rewards and punishment and so get full satisfaction from treating the poet's conception of the Hereafter as a mere allegory.
The allegory presupposes that sin inevitably brings its own penalty. But in this life virtue does not always bear its own reward nor is evil always followed by retribution. Dante as the prophet and the preacher of Christianity would have us understand, as Benvenuto da Imola points out, that if the moral law is not vindicated in this life it will be in the Hereafter, for our acts make our eternity. So the poet holds that while this life according as it shows the soul in sin, in repentance or in virtue may be considered allegorically Hell, Purgatory or Heaven, before the Last Judgment a real Hell, a real Purgatory, a real Heaven is the abode of disembodied spirits according to their demerits or merits and after the Last Judgment, Purgatory no longer existing, souls will be in eternal suffering in Hell or in unending joy in Heaven.
It is not to be expected that any reader will believe that Dante's Hell is a photograph of reality. It is a Hell largely fashioned by poetic visions and political theories, peopled in a great measure by those who stand in opposition to the poet's theory of government. It is not, as is sometimes asserted, a place to which the poet consigns his personal enemies. As Dinsmore says: "Dante had too much greatness in his soul and too much pride (it may be) to make revenge a personal matter: he had nothing but contempt for his own enemies and never except in the case of Boniface VIII ... did he place a single one of them in the Inferno, not even his judge Cante Gabriella."
Though largely colored by his political theories Dante's Hell is also a theological conception based on the teaching of the Catholic Church that Hell exists as a place or state of punishment for the rebel angels and for man dying impenitent, that is, for man in whom sin has become so humanized that death finds him not simply in the act or habit of sin but so transformed that in the striking words of Bossuet, "he is man made sin." Dante fully accepted that doctrine which had been the constant tradition and faith of the Church and had been reaffirmed in the second ecumenical Council of Lyons held when Dante was a boy, nine years of age.
It is not unlikely with his precocity for knowledge and sentiment at that age that he was deeply impressed with the history of that council especially as its legislation also dealt with the Crusades, the union of Churches, the reform of the Church, the appointment of a king of the Romans and an emperor—matters of vital importance to him later. He must have recalled that Council also with special interest, for two of his ideal personages, Thomas Aquinas and Bonaventure met their death, one on his way to the Council, the other while actually attending its sessions.