CHAPTER III
THE DIVINE COMEDY
We have seen, at the end of the last chapter, how Dante had made a vow to glorify Beatrice, as no other woman had ever been glorified, and how he studied and labored to prepare himself for the lofty task. The Divine Comedy is the fulfilment of this "immense promise." Although it is probable that Dante did not begin to write this poem till after the death of Henry VII. (1313), yet there can be no doubt that it was slowly developing in his mind during all the years of his exile.
The Divine Comedy is divided into three parts or books, canticas, as they are called by Dante: Hell, Purgatory, and Paradise, each one containing thirty-three cantos, with one additional introductory canto prefixed to the Hell. Even the number of lines in the three canticas is approximately the same.[7] Dante's love for number-symbols was shown in the New Life, hence we are justified in accepting the theory that the threefold division of the poem is symbolical of the Trinity, and that the thirty-three cantos of each cantica represent the years of the Savior's life. It is worthy of note that the last word in each of the three books is "stars."
The allegory of the Divine Comedy has been the subject of countless discussions. The consensus of the best modern commentators seems to be, however, that although the allegory is more or less political, it is chiefly religious. The great theme is the salvation of the human soul, represented by Dante himself, who is the protagonist of the poem. As he wanders first through hell, he sees in all its loathly horrors the "exceeding sinfulness of sin," and realizes its inevitable punishment; as he climbs the steep slopes of purgatory, at first with infinite difficulty, but with ever-increasing ease as he approaches the summit, he learns by his own experience how hard it is to root out the natural tendencies to sin that pull the soul downward; and finally, as he mounts from heaven to heaven, till he arrives in the very presence of God Himself, he experiences the joy unspeakable that comes to him who, having purged himself of all sin, is found worthy to join "the innumerable company of saints and the spirits of just men made perfect."
The Divine Comedy is a visionary journey through the three supernatural worlds, Hell, Purgatory, and Paradise. Such visions were by no means infrequent in the Middle Ages, and Dante had many predecessors. He simply adopted a poetical device well known to his contemporaries. What differentiated him from others is the dramatic and intensely personal character of his vision; the consummate skill with which he interwove into this one poem all the science, learning, philosophy, and history of the times; and the lovely poetry in which all these things are embalmed. To appreciate the vast difference between the Divine Comedy and previous works of a similar nature, we need only to read a few pages of such crude books as the Visions of Alberico, Tugdale, and Saint Brandon.
To Dante and his contemporaries the supernatural world was not what it is to us to-day, a vast, unbounded space filled with star-systems like our own: the topography of Hell, Purgatory, and Paradise seemed to them as definite as that of our own planet. The Ptolemaic system of astronomy (overthrown by Copernicus, yet still forming the framework of Milton's Paradise Lost) was accepted with implicit confidence. According to this system the universe consisted of ten heavens or concentric spheres, in the center of which was our earth, immovable itself, while around it revolved the heavenly spheres. The earth was surrounded by an atmosphere of air, then one of fire, and then came in order the heavens of the moon, Mercury, Venus, the sun, Mars, Jupiter, Saturn, the fixed stars, and the Primum Mobile (the source of the motion of the spheres) beyond which stretched out to infinity the Empyrean, the heaven of light and love, the seat of God and the angels.
According to Dante, hell is situated in the interior of the earth, being in shape a sort of funnel with the point downward, and reaching to the center of the earth, which is also the center of the universe. Purgatory rises in the form of a truncated cone in the surface of the southern hemisphere, having in solid form, the same shape as the hollow funnel of hell. It was formed of the earth which fled before Lucifer, and splashed up behind him like water, when, after his revolt against the Almighty he was flung headlong from heaven and became fixed in the center of the earth, as far as possible according to the Ptolemaic system from the Empyrean and God.
Hell is formed of nine concentric, ever-narrowing terraces, or circles, exhibiting a great variety of landscapes, rivers, and lakes, gloomy forests and sandy deserts, all shrouded in utter darkness except where flickering flames tear the thick pall of night, or the red-hot walls of Dis gleam balefully over the waters of the Stygian marsh. Here are punished the various groups of sinners, whom Dante sees, whose suffering he describes, and with whom he converses as he makes his way downward from circle to circle.
It was in the year 1300, at Easter time, when Dante began his strange and eventful pilgrimage, "midway in this our mortal life," he says in the first line of the poem, that is when he himself was thirty-five years old. He finds himself lost in a dense forest, not knowing how he came there, and after wandering for some time, reaches the foot of a lofty mountain, whose top is lighted by the rays of the morning sun. He is about to make his way thither, when he is stopped by the appearance, one after the other, of three terrible beasts, a leopard, a lion, and a wolf. He falls back in terror to the forest, when suddenly he sees a figure advancing toward him and learns that this is Vergil, who has been sent by Beatrice (now in heaven) to lead her lover from the wood of sin to salvation. To do this it will be necessary for Dante to pass through the infernal world, then up the craggy heights of purgatory to the earthly paradise, where Beatrice herself will take charge of him and lead him from heaven to heaven, even to the presence of God Himself. Dante's courage and confidence fail at this prospect—he is not Æneas or St. Paul, he says, to undertake such supernatural journeys—but when Vergil tells him that Beatrice herself has sent him, Dante expresses his willingness to undertake the difficult and awe-inspiring task.