Exile, Il convivio, and De monarchia
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
Information about Dante’s early years in exile is scanty; nevertheless, enough is known to
provide a broad picture. It seems that Dante at first was active among the exiled White Guelfs in
their attempts to seek a military return. These efforts proved fruitless. Evidently Dante grew
disillusioned with the other Florentine outcasts, the Ghibellines, and was determined to prove his
worthiness by means of his writings and thus secure his return. These are the circumstances that
led him to compose Il convivio (c. 1304–07; The Banquet).
Dante projected a work of 15 books, 14 of which would be commentaries on different
canzoni. He completed only four of the books. The finished commentaries in many ways go
beyond the scope of the poems, becoming a compendium of instruction (though they also show
his lack of formal training in philosophy). Dante’s intention in the Convivio, as in The Divine
Comedy, was to place the challenging moral and political issues of his day into a suitable ethical
and metaphysical framework.
Book I of the Convivio
Book I of the Convivio is in large part a stirring and systematic defense of the vernacular.
(The unfinished De vulgari eloquentia [c. 1304–07; Concerning Vernacular Eloquence], a
companion piece, presumably written in coordination with Book I, is primarily a practical
treatise in the art of poetry based upon an elevated poetic language.) Dante became the great
advocate of its use, and in the final sentence of Book I he accurately predicts its glorious future:
This shall be the new light, the new sun, which shall rise when the worn-out one shall set,
and shall give light to them who are in shadow and in darkness because of the old sun, which
does not enlighten them.
The revolution Dante described was nothing less than the twilight of the predominantly
clerical Latin culture and the emergence of a lay, vernacular urban literacy. Dante saw himself as
the philosopher-mediator between the two, helping to educate a newly enfranchised public
readership. The Italian literature that Dante heralded was soon to become the leading literature
and Italian the leading literary language of Europe, and they would continue to be that for more
than three centuries.
In the Convivio Dante’s mature political and philosophical system is nearly complete. In
this work Dante makes his first stirring defense of the imperial tradition and, more specifically,
of the Roman Empire. He introduces the crucial concept of horme—that is, of an innate desire
that prompts the soul to return to God. But it requires proper education through examples and
doctrine. Otherwise it can become misdirected toward worldly aims and society torn apart by its
destructive power. In the Convivio Dante establishes the link between his political thought and
his understanding of human appetite: given the pope’s craving for worldly power, at the time
there existed no proper spiritual models to direct the appetite toward God; and given the
weakness of the empire, there existed no law sufficient to exercise a physical restraint on the
will. For Dante this explains the chaos into which Italy had been plunged, and it moved him, in
hopes of remedying these conditions, to take up the epic task of The Divine Comedy.
But a political event occurred that at first raised tremendous hope but then plunged Dante
into still greater disillusionment. In November 1308 Henry, the count of Luxembourg, was
elected king of Germany, and in July 1309 the French pope, Clement V, who had succeeded
Boniface, declared Henry to be king of the Romans and invited him to Rome, where in time he
would be crowned Holy Roman emperor in St. Peter’s Basilica. The possibility of once again
having an emperor electrified Italy; and among the imperial proponents was Dante, who saw
approaching the realization of an ideal that he had long held: the coming of an emperor pledged
to restore peace while also declaring his spiritual subordination to religious authority. Within a
short time after his arrival in Italy in 1310 Henry VII’s great appeal began to fade. He lingered
too long in the north, allowing his enemies to gather strength. Foremost among the opposition to
this divinely ordained moment, as Dante regarded it, was the commune of Florence.
Political epistles
During these years Dante wrote important political epistles—evidence of the great esteem
in which he was held throughout Italy, of his personal authority, as it were—in which he exalted
Henry, urging him to be diligent, and condemned Florence. In subsequent action, however,
which was to remind Dante of Boniface’s duplicity, Clement himself turned against Henry. This
action prompted one of Dante’s greatest polemical treatises, his De monarchia (c. 1313; On
Monarchy), in which he expands the political arguments of the Convivio. In the embittered
atmosphere caused by Clement’s deceit, Dante turned his argumentative powers against papal
insistence on its superiority over the political ruler—that is, against the argument that the empire
derived its political authority from the pope. In the final passages of the Monarchia, Dante writes
that the ends designed by Providence for humanity are twofold: one end is the bliss of this life,
which is conveyed in the figure of the earthly paradise, and the other is the bliss of eternal life,
which is embodied in the image of a heavenly paradise.
Yet despite their different ends, these two purposes are not unconnected. Dante concludes
his Monarchia by assuring his reader that he does not mean to imply “that the Roman
government is in no way subject to the Roman pontificate, for in some ways our mortal
happiness is ordered for the sake of immortal happiness.” Dante’s problem was that he had to
express in theoretical language a subtle relationship that might be better conveyed by metaphoric
language and historical example. Surveying the history of the relationship between papacy and
empire, Dante pointed with approval to specific historical examples, such as Constantine’s good
will toward the church. Dante’s disappointment in the failed mission of Henry VII derived from
the fact that Henry’s original sponsor was apparently Pope Clement and that conditions seemed
to be ideal for reestablishing the right relationship between the supreme powers.
