Dante

Life

Dante Alighieri was born in 1265, between May 14 and June 13. As an infant, Dante was originally christened 'Durante' in Florence's Baptistery, and the name Dante could be a shortened version of that name.

A portrait of Dante, from a fresco in Palazzo dei Giudici, Florence.

Dante Alighieri, painted by Giotto in the chapel of the Bargello palace in Florence. This oldest portrait of Dante was painted during his lifetime before his exile from his native city.

He was born into the prominent Alighieri family of Florence, with loyalties to the Guelphs, a political alliance that supported the Papacy, involved in complex opposition to the Ghibellines, who were backed by the Holy Roman Emperor.

These factions fashioned their names after those of opposing factions of German Imperial politics, centered around the noble families the Welfs (Guelfs or Guelphs) and Waiblingen (Ghibellines), but adapting their meaning to the Italian political arena. After the defeat of the Ghibellines by the Guelphs in 1289, the Guelphs themselves were divided into White Guelphs, who were wary of Papal influence, and Black Guelphs who continued to support the Papacy. Dante (a White Guelph) pretended that his family descended from the ancient Romans (Inferno, XV, 76), but the earliest relative he can mention by name is Cacciaguida degli Elisei (Paradiso, XV, 135), of no earlier than about 1100.

He fought in the front rank of the Guelph cavalry at the battle of Campaldino (June 11, 1289). This victory brought forth a reformation of the Florentine constitution. To take any part in public life, one had to be enrolled in one of “the arts”. So Dante entered the guild of physicians and apothecaries. In following years, his name is frequently found recorded as speaking or voting in the various councils of the republic.

Dante's father, Alighiero de Bellincione, was a White Guelph who suffered no reprisals after the Ghibellines won the Battle of Montaperti. This suggests that Alighiero or his family enjoyed some protective prestige and status.

The poet's mother was Bella degli Abati. She died when Dante was 7 years old, and Alighiero soon married again, to Lapa di Chiarissimo Cialuffi. (It is uncertain whether he really married her, as widowers had social limitations in these matters.) This woman definitely bore two children, Dante's brother Francesco and sister Tana (Gaetana).

When Dante was 12, in 1277, he was promised in marriage to Gemma di Manetto Donati, daughter of Messer Manetto Donati. Contracting marriages at this early age was quite common, and involved a formal ceremony, including contracts signed before a notary. Dante had already fallen in love with another girl whom he called Beatrice. Years after Dante's marriage to Gemma he met Beatrice again. He had become interested in writing verse, and although he wrote several sonnets to Beatrice, he never mentioned his wife Gemma in any of his poems.

Dante had several sons with Gemma. As often happens with significant figures, many people subsequently claimed to be Dante's offspring; however, it is likely that Jacopo, Pietro, Giovanni, Gabrielle Alighieri, and Antonia were truly his children. Antonia became a nun with the name of Sister Beatrice.

Works

Dante, poised between the mountain of purgatory and the city of Florence, displays the famous incipit Nel mezzo del cammin di nostra vita in a detail of Domenico di Michelino's painting, Florence 1465.

The Divine Comedy describes Dante's journey through Hell (Inferno), Purgatory (Purgatorio), and Paradise (Paradiso), guided first by the Roman epic poet Virgil and then by Beatrice, the subject of his love and another of his works, "La Vita Nuova." While the vision of Hell, the Inferno, is vivid for modern readers, the theological niceties presented in the other books require a certain amount of patience and scholarship to understand. Purgatorio, the most lyrical and human of the three, also has the most poets in it; Paradiso, the most heavily theological, has the most beautiful and ecstatic mystic passages in which Dante tries to describe what he confesses he is unable to convey (e.g., when Dante looks into the face of God: "all'alta fantasia qui mancò possa" - "at this high moment, ability failed my capacity to describe," Paradiso, XXXIII, 142).

Dante wrote the Comedy in a new language he called "Italian", based on the regional dialects of Tuscany, Sicilian and some elements of Latin and other regional dialects. By creating a poem of epic structure and philosophic purpose, he established that the Italian language was suitable for the highest sort of expression. In French, Italian is nicknamed la langue de Dante. Publishing in the vernacular language marked Dante as one of the first (among others such as Geoffrey Chaucer and Giovanni Boccaccio) to break from standards of publishing in only Latin or Greek (the languages of Church and antiquity). This break allowed more literature to be published for a wider audience - setting the stage for greater levels of literacy in the future.

Readers often cannot understand how such a serious work may be called a "comedy". In Dante's time, all serious scholarly works were written in Latin (a tradition that would persist for several hundred years more, until the waning years of the Enlightenment) and works written in any other language were assumed to be comedic in nature. Furthermore, the word "comedy," in the classical sense, refers to works which reflect belief in an ordered universe, in which events not only tended towards a happy or "amusing" ending, but an ending influenced by a Providential will that orders all things to an ultimate good. By this meaning of the word, the progression of Dante's pilgrim from Hell to Paradise is the paradigmatic expression of comedy, since the work begins with the pilgrim's moral confusion and ends with the vision of God.

Dante's other works include the Convivio ("The Banquet"), a collection of poems and interpretive commentary; Monarchia, which sets out Dante's ideas on global political organization; De vulgari eloquentia ("On the Eloquence of Vernacular"), on vernacular literature; and, La Vita Nuova ("The New Life"), the story of his love for Beatrice Portinari, who also served as the ultimate symbol of salvation in the Comedy. The Vita Nuova contains love poems in Tuscan, which was not unprecedented; the vernacular had been used for lyric works before. However, Dante's commentary on his own work is also in the vernacular, instead of the Latin that was almost universally used.