Introduction
Vigil and Dante are main characters in the Divine Comedy poem of the 14th century. Its first part is the inferno followed by Purqatorio and Paradiso in that order. The poem is the author’s allegory of the journey through hell. In the poem, Virgil acts as a guide to Dante’s vigil journey. The poem portrays hell as having nine circles where suffering and torment goes on earth. Symbolically, the divine comedy is a representation of the soul’s journey to heaven. Describing rejection and recognition within the Inferno is the theme of the entire poem. Virgil’s presence in the Inferno has a variety of meanings expressed creatively by the author to convey their message as well as illustrate their themes. Virgil’s main job is to be a guide to Dante but in the process of their interaction, the reader knows that a lot more goes on beyond simple guiding and giving direction.
Occasionally, Virgil tries to scare some meaning into Dante’s head. He does this by provoking all the devils guarding hell who they meet along the way. For example he says at some point to the guarding devils, “Minos. Yep Charon. Him too. Phlegyas? You bet” (Alighieri, Dante, H. Longfellow and Peter Bondanella, 226). As one reads on, they find out that Virgil irritates Minotaur very much until when Dante is compelled to carry out an equivalent of the Pamplona Bull Run. In addition, when they meet demons, Dante progressively gets into fear to tap into hell. Virgil then orders Dante to go and talk to some sinners as he engages Geryon. At this stage, Dante acts pathetic and when usurers ask him to scram, he never argues with them and instead goes back to seek refuge behind Virgil. One thing is very clear at this stage; Virgil’s intention is not for Dante to get into trouble but simply to create an avenue where Dante can have his own personal experience. Through out the tour, Virgil acts in the best interest of Dante and protects him always as the tour hell. He sometimes could even put his life to danger to ensure that Dante was safe from demons.
Though some times Virgil acts sternly with Dante, for example when both of them were surveying a game, we are aware that deep within Virgil was a great urge to share the beer. His likeness for Dante is illustrated in their relationship of pseudo-familial nature. Many a times the reader will notice Virgil referring to Dante as ‘son’ or Dante calling him ‘father’ (Bondanella 301). A good example to illustrate the pseudo –familial connection is when Dante rebukes the sinner and we are able to see Virgil looking on proudly. We even notice his strong intention to rumple the hair of Dante or tap his back. The two really have a good connection.
It goes without saying that to Virgil, Dante is a son he would have wished to have. For example when they are fleeing the two demons, he carries Dante on his chest and runs for their safety. Dante is very scared at this occasion but Virgil provides the motherly security Dante requires. One guardian devil observes, “Hmmm, father and mother? You are right to guess that something bigger is going on here” (Tomasch 301). Point worth noting is that Virgil symbolizes the guardian Italy spirit as well as a recognized poet laureate belonging to the Romans. The common ancestry between Virgil and Dante might also have been a contributing factor to the warm relationship both of them enjoy. Remember that Virgil is great grand father of Dante’s traditional language. In fat this is the foundation of their relationship.
Therefore, in the poem, Virgil represents a guide, a parent (both father and mother), a guide as well as a teacher to Dante.
Secondly, Virgil is also a symbol of literary creativity. As much as Dante is a great poet, Virgil has the title and honor of the world’s most celebrated poet. Occasionally, the author and the main character entertain the audience with his use of language by attractively using language styles like imagery. Indeed he is a sharp orator. The reader finds out that Virgil wrote a lot of aneroid. This would turn out to be a favorite book of Dante. His mastery of language also enabled him to speak hexametrical and this enabled him to make people happy. His skill at using language makes him persuade people without difficult and then makes people do what he wants them to do. His power of persuasion is great. An observer asks, “Have you noticed how every time Virgil talks to someone, he gets what he wants?” (Cassell 322) He further notes, “To talk like Virgil, you got to know you’re hot stuff.” (Cassell 256) He words are jeweled. Virgil therefore is a symbol of creativity and mastery of language. Virgil is represents an embodiment of language. His mouth piece is viewed as heavenly. For example in Canto II he is able to recite every word that the Beatrice, Saint Lucia and Virgin Mary ordered him to do. And whenever he recites Biblical tells, he recognizes God as the sole author. Everybody agrees that Virgil was a force in literary works.
Virgil also is a representation of diversity in the society. This is a contrary to anybody’s expectation that the role model figure in a biblical text has to be pagan. He admits that he lives with others in limbo in hell. He has not even attained perfection; he is proud, mean and long winded. One wonders why a pagan model was chosen. The author would have selected another model the poem if he wanted to, however, Virgil was selected because of the things he represents like conflict between evil and good, an open attitude, the classics, culture, glory and honor and spirituality. Through Virgil, the author is able to bring out the main theme of the text which is devotion and commitment to ones religion. Virgil is a representation of traditional philosophy and ethics of Aristotle. Through Virgil, the author is able to illustrate that devotion should not only be directed to God but ones family and country as well. As a symbol of classism, his conversation with Christian beliefs and classism is the catch point of the Inferno.
In conclusion, Virgil is a representative role model, diversity, acceptance of reality and creativity. Though Virgil, the author s able to express the character other players, the themes of the poem and creativity.
Works Cited
Cassell, Anthony. "The Tomb, the Tower and the Pit: Dante's Satan," in Dante: Dante and Interpretation New York: Rutledge, 2003. Print.
Bondanella, Peter. "Introduction and Notes." Dante Alighieri. Inferno. Trans. Henry Wadsworth Longfellow [1867]. New York: Rutledge Press, 2005. Print.
Alighieri, Dante, H. Longfellow and Peter Bondanella. The Inferno. Barnes & Noble: new York, 2005. Print.
Tomasch ,Sylvia. "Judecca, Dante's Satan, and the Dis-placed Jew," in Text and Territory: Geographical Imagination in the European Middle Ages Pennsylvania: University of Pennsylvania Press, 1998. Print.
