- 著者
-
小川 正廣
OGAWA Masahiro
- 出版者
- 名古屋大学文学部
- 雑誌
- 名古屋大学文学部研究論集 (ISSN:04694716)
- 巻号頁・発行日
- vol.54, pp.1-24, 2008-03-31 (Released:2008-10-01)
Virgil is the most important classical author for the creation of Dante’s Divine Comedy. The present
paper discusses how this ancient poet is treated in the poem and why the Comedy can be regarded as
an epic rather than a “commedia”, which was the original title of the work and probably means a story
with a happy ending.
Although Virgil is paid the deepest respect as Dante’s master and guide in the Comedy, his limitations
are repeatedly shown mainly in theological matters. In particular he lacks in deep understanding of human
sin and Christian salvation, so that he is to disappear before Beatrice who can fully purify Dante’s
soul and lead him through the paradise. In respect of natural virtues and human intellectual power,
however, he is so excellent that his guidance through the underworld, successfully finished, represents a
fortunate union of the classical humanism and the medieval Christianity.
But there is another aspect of Virgil: the great spirit who stands for Limbo. In Dante’s hell this special
place contains, besides the traditional residents of pious Jews before Christ and unbaptized children,
the various pagan poets and philosophers who, despite their outstanding human achievements and
their being innocent except for original sin, will not be given divine grace for ever. Why cannot those
best pagans be saved? The question is put in Paradiso but remains mysteriously unanswered. Thus
Dante casts a doubt on the Christian doctrine, while depicting the supreme bliss of his alter ego elevated
to the vision of God. It is because of this unprejudiced view of human conditions that the Comedy should
be ranked along with classical epic poetry and still has great spiritual value for us today.