Dante Alighieri (28 page)

    
Boccaccio says:—

    
“Dante also composed a commentary in prose in the Florentine vulgar tongue on three of his canzoni at full length; he appears to have intended, when he began, to
write a commentary upon all of them, but whether he afterwards changed his mind, or never had time to carry out his intention, at any rate he did not write the commentary on more than these three. This book, which he entitled
Convivio
, is a very beautiful and praiseworthy little work.”
³³

    
The
Convivio
was written some time after the
Vita Nuova
, but before the
Divina Commedia
, in which Dante sometimes corrects opinions he had expressed in the
Convivio
, such as his theories as to the spots on the moon,
³⁴
and the arrangement of the celestial hierarchies.
³⁵
From the references to the Emperor Albert I (iv. 3, 1. 42) and to Gherardo da Cammino (iv. 14, 11. 114 ff.) it would appear to have been composed (perhaps at Bologna) between April, 1306 (Gherardo having died on 26 March, 1306) and 1 May, 1308 (the date of Albert's death).
³⁶
It was certainly written after Dante's exile from Florence, as at the beginning of the work there is a most pathetic reference to the miseries he endured during his wanderings as an outcast from his native city.
³⁷

    
Dante explains in the first book, which is introductory, the meaning of the title, the aim of the work, and the difference between it and the
Vita Nuova
; he himself, he says, as the author, represents the servants at an actual banquet (
convivio
); he then points out that the book is of the nature of a commentary, and is written in a lofty style in order to give it an air of gravity and authority, and to counterbalance the objection of its being in Italian; he next gives his reasons for writing it in the vulgar tongue instead of in Latin, in which respect it differs from other commentaries; he
further explains that the commentary stands in the same relation to the canzoni as a servant does to his master; and he concludes by declaring that in this work is made manifest the great excellence of the Italian language—that language which he was destined to bring to the highest degree of perfection in the
Divina Commedia
.

    
Analysis of the
Convivio
³⁸
:—

    
Book
I.—
Chap
. 1. Introductory. The work undertaken in order to justify the universal desire for knowledge spoken of by Aristotle. Causes whereby men may be prevented from acquiring the highest knowledge. Happy those who sit at the table where the bread of angels is eaten. Dante himself sits not at the table, but gathers up the fragments which fall from it. Moved with pity for his kind, he reserves a part of his store, both bread and meat, to make a feast (
convivio
) for them. The meat will be served in fourteen canzoni, the bread will be served in the commentary which will give first the literal, then the allegorical interpretation of the canzoni. The author explains the reason for the difference in style between the present work and the
Vita Nuova
.—
Chap
. 2. As bread served at a banquet is freed from impurity by the servants, so must the commentary be freed from objection. Two objections may be urged, viz. that the author has to speak of himself, and that the commentary is difficult to understand. Teachers of rhetoric forbid a man to speak of himself, but it is allowable in exceptional cases, as in self-defence, and for the edification of others. Dante pleads both these reasons in the present instance: he wishes to defend himself from the charge of having yielded to passion in his canzoni, and to instruct
others in the writing and understanding of allegory.—
Chap
. 3. As to the difficulty of the commentary, this is intentional, in order to counteract certain disadvantages under which the author labours. He has been exiled from his beloved Florence, and has wandered in poverty all over Italy, thus becoming known and despised in every quarter. Report magnifies, and personal knowledge diminishes, a man's good and evil qualities. Good report is magnified as it passes from one to another; so too is evil report.—
Chap
. 4. On the other hand a man's presence diminishes his apparent worth for three reasons: viz. the proneness of men, like children, to judge by the outside; their envy, which makes them blind to the truth; and the natural imperfection of the person judged. Wherefore a prophet is without honour in his own country. As Dante's presence has become familiar throughout Italy during his wanderings as an exile, he wishes to counteract the effect of this familiarity by the adoption of a somewhat lofty style for his commentary; hence its difficulty.—
Chap
. 5. The commentary has been freed from accidental flaws, but one defect is inherent in it, viz. that it is written in Italian, not in Latin. Three reasons for the choice of the vernacular, viz. to avoid disorder, for the sake of liberality, and from natural affection for the mother-tongue. As to the first reason: the best results are obtained when the qualities of the agent are adapted for the end in view. The qualities of a good servant are subjection, intimate acquaintance with his master, and obedience. Latin is devoid of all these qualities. Firstly, it is not subject, but by nature sovereign.—
Chap.
6. Secondly, Latin has not the intimate acquaintance with Italian which is needed for a commentary on the canzoni; it has only a general knowledge of Italian, and has no intimacy with its friends; whereas a good servant should
have an intimate knowledge both of his master and of his master's friends.—
Chap
. 7. Thirdly, Latin could not be obedient. Perfect obedience should be free from bitterness; it should result from a command, not from choice; and it should be duly measured. Latin could not fulfil these conditions. Remarks on the inadequacy of translation.—
Chap
. 8. The second reason for choosing Italian is its liberality. Perfect liberality gives to many; its gifts are useful; and it gives without being asked. Explanation of these characteristics, which are shown to be essential.—
Chap
. 9. In the case of Latin, the liberality would not have been perfect, for it does not possess these characteristics. It would not have served many, for it would not have been understood, inasmuch as nobody learns Latin except for gain. It would not have been useful, for few would have used it. It would not have given itself unasked, for every one demands that commentaries should be in Latin.—
Chap
. 10. The third reason for choosing Italian is the natural affection which a man feels for his mother-tongue. Natural affection prompts a man to magnify its object, to be jealous for it, and to defend it. Dante displays his love for Italian in all these three ways. He magnifies it by displaying it in act, not merely in potentiality. His jealousy for it moved him to write his commentary in Italian, lest if he wrote it in Latin some bungler hereafter should translate it into Italian. He is anxious to defend his mother-tongue against those who disparage it, in favour of Provençal, for instance, and to exhibit it in its native beauty. This is best displayed in prose, as a woman's beauty is seen best when unadorned.—
Chap
. 11. Five detestable causes move men to disparage their mother-tongue, viz. lack of discernment, deceitful excuses, love of vainglory, the prompting of envy, and faintheartedness. As to the first, those who lack discernment
are like blind men, or senseless sheep. As to the second, the bad workman blames his tools or his materials, not himself. Those who are unskilled in the use of Italian lay the blame on it, and exalt another tongue at its expense. As to the third, vainglory impels a man to seek praise for mastering a tongue other than his own. As to the fourth, those who cannot use Italian envy those who can, and therefore decry it. As to the fifth, a faint-hearted man always thinks meanly of himself and his belongings, and therefore despises his mother-tongue.—
Chap
. 12. Dante's affection for his mother-tongue incontestable. Affection is inspired by propinquity and goodness, and increased by benefits conferred, and by common aims and intercourse. A man's mother-tongue is nearest to him. Also, it displays the characteristic excellence of language, in that it best enables a man to express his meaning.—
Chap
. 13. The conditions which increase affection are also present. If existence is the greatest boon, then a man's mother-tongue is to be loved as having given him existence, by bringing his parents together. Further, it led Dante into the way of knowledge by enabling him to learn Latin. The vernacular, moreover, if it could have a conscious aim, would seek to preserve itself by assuming the most durable shape, namely the poetic. It has been Dante's aim to give it this shape. All his life he has also had the most familiar intercourse with his mother-tongue. Dante may thus claim to have purged his Italian commentary from all stain, so that the meat may now be served up with this bread, and may be partaken of by the multitude.

    
Book
II.—
Canzone:
“Voi ch' intendendo il terzo ciel movete”.—
Chap
. 1. The commentary on the canzoni will explain both the literal and allegorical sense. Four senses of writings to be distinguished, viz. the literal,
which lies on the surface; the allegorical, which is the truth underlying the literal; the moral, which conveys a lesson of life and conduct; and the anagogical, or spiritual, which refers to heavenly things. Reasons why the literal sense must first be determined.—
Chap
. 2. The first canzone says, literally, that Venus had completed two revolutions when a gentle lady appeared to the poet in company with Love. The victory of the new thought, concerning this lady, over the former thought, concerning Beatrice, impels him to address the heavenly powers whence the new thought derived its strength. Division of the canzone into three principal parts.—
Chap
. 3. To make the literal sense of the first part clear, Dante explains who they are whom he addresses, and what is the third heaven which they move. Discussion of the number of the heavens; eight enumerated by Aristotle; a ninth recognized by Ptolemy.—
Chap
. 4. The order of the first eight heavens, which are those of the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, and the Fixed Stars. Beyond these is the Crystalline Heaven or
Primum Mobile
. Outside of this again is situated, according to the teaching of the Church, the Empyrean, which is the abode of the Deity and of Blessed Spirits, and which exists not in space but only in the Primal Mind. Description of the construction of the heavens, each of which has two poles and an equator. Of the epicycle of Venus.—
Chap
. 5. The beings who move the heavens explained to be angelic Intelligences. Opinions of Aristotle, Plato, and others on the subject. Of the active, and contemplative, life. The latter the most appropriate to Angels, as being the highest. The motion of the heavens due to the thought of certain of these Angels. These beings created by the Deity in infinite numbers, as even the intellect of man, who sees but darkly, can conceive.—
Chap
. 6. Of Angels according
to the Scriptures. Their division into three hierarchies, each consisting of three orders. Distribution of the nine orders among the various heavens. The manner of their contemplation determined by the nature of the Trinity. The Thrones assigned to the third heaven, that of Venus. Virgil, Ovid, and Alfraganus, cited as to the function, and threefold motion, of this heaven, the movers of which are those to whom Dante addresses himself.—
Chap
. 7. The meaning of his prayer for audience, his reasons for addressing the movers of the third heaven, and the inducement offered to them. Explanation of certain terms used in the canzone.—
Chap
. 8. Literal sense of the second part of the canzone, which has two subdivisions. Of the two contending thoughts mentioned above. Further explanations of terms employed.—
Chap
. 9. Solution of difficulty as to the inspiration of Dante's new thought by the same Intelligences which inspired the old. Digression on the immortality of the soul. Agreement of pagan and Christian teaching on the subject.—
Chap
. 10. Further explanation of expressions used in the canzone. Incidental statement as to how impressions enter the eye, and become stamped on the imagination.—
Chap
. 11. Consideration of the reasons alleged by the Spirit of Love in favour of the second lady, especially the qualities of pity and courtesy. Of the relation between “piety” and “pity”. Definition of “courtesy,” which if named from the courts of that day, especially in Italy, would mean baseness.—
Chap.
12. Having dealt with the literal meaning of the part of the canzone addressed to the Intelligences of the third heaven, Dante now deals with the last part, the
tornata
, which is addressed to the canzone itself. Explanation of the term. Of the beauty and goodness of the canzone.—
Chap
. 13. The literal sense being disposed of, Dante now passes to the allegorical meaning. How, in his desire to find
consolation for the loss of his soul's first delight, he turned to the study of Boëthius'
De Consolatione Philosophiae
, and to Cicero's
De Amicitia
, and was thereby led on to the study of philosophy, which in time banished all other thoughts. His canzone in praise of philosophy written in the vulgar tongue ostensibly about a lady, since philosophy
per se
was too exalted to be praised in the vernacular, and further, men would more readily credit him with love for a lady than for philosophy. The canzone thus being an allegory of philosophy, the third heaven and its movers must also receive an allegorical interpretation.—
Chap
. 14. Heaven allegorically interpreted signifies scientific knowledge, and the heavens signify the sciences. Three points of resemblance between the heavens and the sciences. Correspondence of the first seven heavens with the seven sciences of the
Trivium
and
Quadrivium
, of the eighth with physics and metaphysics, of the ninth with moral science, and of the tenth with divine science, or theology. Detailed statement of points of comparison between the seven sciences and the first seven heavens.—
Chap
. 15. Points of comparison between physics and metaphysics and the eighth heaven, between moral philosophy and the ninth heaven, between theology and the tenth heaven. Incidental discussion of the various opinions as to the nature of the Galaxy. The third heaven shown to represent rhetoric.—
Chap
. 16. The movers of the third heaven represent rhetoricians, such as Boëthius and Cicero above mentioned. The lady of the canzone thus shown to be philosophy, and her eyes the demonstrations of philosophy.