Tag Archives: truth

Dante v.s. Pope Nicholas III

Dante and Virgil speak to a simonist, Title: Simonists, Illustration by Gustave Doré, Source: Danteworlds (UTexas)

The image above refers to canto 19 in which Dante and Virgil encounter the souls who have committed the sin of simony. Simony is defined as someone who uses material wealth to pay for a higher position and more influence in the church. In observing the image, Dante appears to be quite cautious in approaching the simonists while Virgil is smiling with pleasure at Dante’s reaction. There are souls trapped in holes all around Dante and Virgil with their legs being the only visible limbs. They appear to be flailing about because of the fire that burns them.

However, it also seems to illustrate the moment when Dante speaks to Pope Nicholas III. When the latter believes Dante is another pope, known as Boniface, he reacts in a confused manner, unsure of how to answer. After following Virgil’s instructions, Dante inquires about Nicholas’s reason for being in Hell. In a tone, unlike the tones present in previous cantos, Dante bluntly asserts that Pope Nicholas III is rightly punished for the sins he committed. Dante proclaims, “You have made gold and silver your god; and/ what difference is there between you and the idol-/worshipper, except that he prays to one, and you to a/ hundred?” (112-115, 295). Dante wishes to express here that in Nicholas’s living days, he makes wealth and bribery his main priority in order rise to the top of the church. Despite the fact that Nicholas serves a religious institution, similar to other religious members, this does not necessarily stop him from using money to his advantage. Simply because one works in a position of power that teaches people right from wrong does not signify that they are staying true to such prophecies when they are hidden from the public.

Furthermore, according to the catholic tradition, especially during this time, an idol-worshipper is considered as someone who follows an evil custom. It signifies that people devote themselves to a cult image such as a statue. In this quote, in order to emphasize the evil and immoral mindset of Pope Nicholas III, Dante compares him to idol-worshippers claiming that Nicholas is much worse because of his endless selfishness and greedy attraction to materialistic wealth. Dante’s reproach is ultimately harsh, blunt and straightforward. These characteristics are unlike the usual tone of Dante that travels through the ongoing circles of Hell. In past cantos, the majority of his reactions consist of sorrowful pity or fear. It is plausible that since this eighth circle is past the midpoint of inferno where Geryon brings them, Dante’s is experiencing a shift in mindset. He is becoming more aware of his connections to the souls in Hell, especially when they are connected to a political or religious background in which Dante participates. Usually this signifies that they come from the same city as he does, Florence, which immediately attracts Dante’s attention. Furthermore, Dante’s is shifting into a stronger and less distressed character who does not become alarmed as intensely as before at the torment that he witnesses. The reason for this is that since Dante and Virgil are descending further down into inferno, the punishments of the souls are becoming harsher and more terrifying. At this point, Dante is used to and no longer shocked at the extremity of the punishments.

In reference to the image, as mentioned before, Dante appears cautious when he recognizes the voice of Pope Nicholas III. However, this does not distract from the idea that he criticizes Nicholas with a sense of superiority. The cautiousness is present because of the dangerous situation apparent in front of him where there is an abundance of fire. Nevertheless, since this is the first time Dante admits to a soul that they are deserving of the punishment they receive, it is evident that he feels he has the upper-hand. This is not only because he is still alive, in obvious contrast to Pope Nicholas III, but also because he encounters an opportunity to condemn the corruption of the church that bothers him throughout his participation in politics. According to the notes (302) idolatry is a sin that is often criticized by Old Testament prophets whom Dante associates himself with. This gives an insight into Dante’s sense of identity because he feels confident in his opinion regarding Pope Nicholas III without any sense of insecurity about his sense of faith. Therefore, he is able to see what actions he must not commit in the future in order to avoid ending up in a damned position similar to Nicholas.

Lastly, Virgil’s reaction as shown in the artwork is clearly reflected in the text when Dante narrates, “I firmly believe that it pleased my leader, with/ such a contented smile he listened still to the sound/ of the true words I spoke,” (121-123, 295). This quote not only expresses a textual mirror of the image but also confirms Dante’s sense of superiority in two ways. Primarily, It is reassuring that his guide, who also happens to be a poet that Dante admires, approves of his statements towards Pope Nicholas III. When Dante states, “…the true words I spoke,” he is also affirming himself as well as the reader for speaking the truth, which pushes any further questions the reader or Virgil might have out of the way.

The Distinction Between Truth and Falsity

Dante and Virgil are near the seventh circle, Dante’s attention is concentrated on the sound of water falling into the next circle of Hell. However, Dante and Virgil are stopped by three figures. These figures are aware that Dante is a Florentine because of his clothing. Virgil tells Dante to show these figures politeness and Dante listens to them, as with Ciacco and Farinata. The figures surround Dante, asking Dante who he is. An important reoccurrence (as seen in previous canto’s) happens again when the figures ask Dante to remember them and to speak about them when Dante returns to the world. Dante states, “For I am of your city; and with fondness, I’ve always told and heard the others tell of both your actions and your honored names. I leave the gall and go for the sweet apples that I was promised by my truthful guide; but first I must descend into the center” (canto 16, lines 58-63).  These three Florentines are eager to talk to someone from their own homeland. These figures in the afterlife (as well as Dante) feel a notable attachment to Florence, which is their home on earth. The meeting between Dante and Guido Guerra, Tegghiaio Aldobrandi, and Jacopo Rusticucci demonstrate the horrible and devastating infernal punishment they persistently endure, however these dignified individuals inspire Dante because of their high values they demonstrated when they were alive. However, these Florentines, are not able to see the present of Florence, and like Dante are greatly concerned with the status of their homeland (Florence). Dante is concerned because, those who rule Florence, are the same people that exiled him. The three noble Florentine’s praise Dante for his skilled speech and this shows that Dante is growing over the course of his journey, learning from Virgil. Furthermore, Jacopo wants Dante to seek immortality through fame and wants Dante to live on in fame when he dies. Dante however doesn’t want this for himself but instead he seeks to reach a truer form of immortality which is salvation in heaven. Dante in this canto represents conservative values because he idealizes the past, which was the Florence he knew and misunderstands and rejects the social and economic changes happening in Florence. So, for Dante there is no probability of redemption in the future, enclosed in condemnation of the present and, therefore he continues to recall Florence’s past.

The theme of language is developed throughout this canto, the language of truth and falsity—the distinction between false words and truthful words. Dante describes Virgil as his “truthful guide.” Then, Dante, cries out while explaining the state of Florence and states “Newcomers to the city and quick gains have brought excess and arrogance…” (Canto 16, lines 73-37). The three Florentines listen to the truth and believe it: “the three looked at each other when they heard my answer as men will stare when they have heard the truth” (Canto 16, lines 76-78). Dante also believes that there is a type of truth which seems like a lie, this is proven when he states, “Faced with that truth which seems a lie, a man should always close his lips as long as he can—
to tell it shames him, even though he’s blameless; but here I can’t be still; and by the lines of this my Comedy, reader, I swear—and may my verse find favor for long years” (Canto 16, lines 124-129). Dante admits that is own work referring to the Comedy, is a piece of literature in which he feels the need tell his story even though it seems fictional. In this way, Dante feels his work holds literal and true beliefs, even though it may seem to be fiction. Because Dante is close to entering the circles devoted to fraud, therefore there is a distinction occurring.