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GEORGE E BUTLER STATIUS, LUCAN, AND DANTE'S GIANTS VIRGIL'S LOSS OF AUTHORITY IN INFERNO 3\ In Dante's Commedia, the classical poet Virgil guides the pilgrim through the lower world of the Inferno and helps him ascend Mount Purgatory, but part way up the mountain, Virgil's epic successor Statius escorts them, and, later, Beatrice continues to lead the wayfarer in the Paradiso. At the begin- ning of the Inferno, Virgil's authority goes unquestioned. "Tu se' lo mio maestro e '1 mio autore" ("You are my master and my author," Inf. 1.85), says the pilgrim, and Virgil is '1'altissimo poeta" ("the great poet," Inf 4.80). 1 In the Purgatorio, however, Virgil confesses the limits of reason. "Quanto ragion qui vede, / dir ti poss'io," he tells the pilgrim; "da indi in là t'aspetta / pur a Beatrice, ch'è opra di fede" ("As far as reason sees here I can tell you; beyond that wait only for Beatrice, for it is a matter of faith," Purg. 18.46-48). Throughout the Commedia, Virgil, as the pagan exemplar of reason uninformed by faith, loses his authority. To illustrate Virgil's fal- libility, Dante juxtaposes him against other classical poets, most notably his epic successors Statius and Lucan. While the reduction of Virgil's authori- ty is ongoing, it is particularly interesting in Inferno 3 1 , where the pilgrim and his guide prepare to enter the nethermost reaches of Hell. Dante was well acquainted with classical literature, and the Commedia is an encyclopaedic culmination of his learning.^ To be sure, the poem is particularly indebted to Virgil's Aeneid.^ As Peter S. Hawkins observes, Dante's borrowings from Virgil's epic, especially in the Inferno, "are so abundant that it is impossible to escape the fact that the Commedia is con- structed out of its narratives, personae, metaphors, and imperial dream."'* However, Dante also admired the works of Statius and Lucan, and he refers to both poets throughout the Convivio. In that text he calls Lucan "quello grande poeta Lucano" ("that great poet Lucan," 4.28.13), and he praises Statius as "lo dolce poeta" ("the sweet poet," 4.25.6). The influence of Lucan and Statius on the Commedia is pervasive. Edward Moore calculates that Dante quotes or refers to Virgil some 200 times throughout his writ- ings, to Lucan around 50, and to Statius between 30 and 40.'' Dante was thoroughly familiar with the Thebaid, and Statius' city of Thebes is funda- Quaderni d'italianistica. Volume XXIV, No, 2, 2003, 5 George F. Butler mental to his city of Dis.^ On the other hand, Dante's use of Lucan, though clear, has received only modest attention. 7 Lucan is among the vir- tuous pagans in Limbo. Virgil says to the pilgrim: Mira colui con quella spada in mano, che vien dinanzi ai tre sì come sire: quelli è Omero poeta sovrano; l'altro è Orazio satiro che vene; Ovidio è 1 terzo, e l'ultimo Lucano. [Note him there with sword in hand who comes before the other three as their lord. He is Homer, sovereign poet; next is Horace, satirist; Ovid comes third, and Lucan last.] {Inf. 4.86-90) Dante introduces Lucan and signals that the Pharsalia should be com- pared and contrasted with the Commedia. On the one hand, Virgil's state- ment describes the chronological order of Lucan in relation to the other poets. On the other, it is an ambiguous comment on Lucan's poetic merit. Homer might be the first and best of the poets, and Lucan might fall far behind him. Or Lucan might be "l'ultimo Lucano" because he builds on and transcends the works of his predecessors much as Dante does, and Dante's poetic persona is in their midst.^ When Dante writes that the transformations experienced by the thieves Cianfa and Agnello {Inf 25 A9- 96) exceed Lucan's descriptions of the deaths of Sabellus and Nasidius {Phars. 9.763-97), he indicates that his poem goes beyond the Pharsalia. "Taccia Lucano omai" ("Let Lucan now be silent," /«/^ 25.94), he adds, a remark which underscores the superiority of the Commedia. Virgil stands in contrast to Statius and Lucan, but in different ways. In a move that has attracted considerable scholarly attention, Dante casts Statius as a pagan who secretly converted to Christianity {Purg. 22.88-91).^ Because he is enlightened by Christian truth, Dante's Statius surpasses the poetically superior Virgil. 'o Statius, however, credits Virgil for both his poetic achievement and his salvation: "Per te poeta fui, per te distiano" ("Through you I was a poet, through you a Christian," Purg. llJo). Statius is what Virgil might have been, had Virgil been a Christian. Because Statius is a Christianized Virgil, he is able to guide Dante's pilgrim through Purgatory, a place where classical myth becomes increasingly eclipsed by Christian doctrine. While Statius is an evolution and extension of Virgil, Lucan is more a competitor. Like Statius, he comes after Virgil chronologically. While Virgil tells of the founding of Rome, Lucan's civil war epic is an a.nt\-Aeneid about Rome's dissolution. Dante does not make Lucan a Christian. However, because he writes after Virgil and, like Dante, innovates the epic genre, Lucan poses a challenge to Virgil's authority. — 6 Statius, Lucan, and Dante's Giants The journey from Hell to Paradise is one in which Christianity dis- places paganism and the vague foreshadowings of classical myth yield to the clarity of Christian truth. Because Virgil was a pagan, and because in death he is still not fully enlightened, he is not a completely reliable guide for the pilgrim. While Dante makes this point most forcefully when Statius and Beatrice guide the wayfarer, he also points to Virgil's fallibility as a guide in Hell, a realm that is fundamentally Christian in spite of its classi- cal elements. When Virgil and the pilgrim cross Styx and approach the wall of the city of Dis, a mob of fallen angels prevents them from entering {Inf. 8.82-93). Virgil tells the pilgrim that the demons may not deny them access, since God has willed otherwise {Inf. 8.103-105). The Latin poet speaks to the demons privately but unpersuasively, and they shut the gates of Dis in his face {Inf. 8.112-17). Virgil announces that an angel must open the gates for them {Inf. 8.128-30), and the Latin poet's usual elo- quence changes to nervous babbling: "Pur a noi converrà vincer la punga," cominciò el, "se non . Tal ne s'offerse. Oh quanto tarda a me ch'altri qui giunga!" ["Yet we must win this fight," he began, "or else . such did she offer herself to us! Oh, how long to me it seems till someone come!"] {Inf. 9.7-9) When the angelic messenger arrives, "Venne a la porta e con una verghetta / l'aperse, che non v'ebbe alcun ritegno " ("He came to the gate, and with a little wand he opened it, and there was no resistance," Inf. 9.89-90). Unlike the pagan Virgil, the angel effortlessly gains access to Dis. Virgil explains that the demons have previously tried to deny access to Hell: Questa lor tracotanza non è nova; che già l'usaro a men segreta porta, la qual sanza serrarne ancor si trova. [This insolence of theirs is nothing new, for they showed it once at a less secret gate, which still stands without a bolt.] {Inf. 8.124-26) As commentators have noted, Dante is alluding to Christ's harrowing of Hell. Virgil elsewhere reveals that he witnessed Christ's descent {Inf. 4.52-63, 12.34-45), and as Hawkins has discussed at length, Dante uses the motif of the harrowing of Hell to contrast Virgil and Christ." In describing Virgil's inability to enter Dis without divine assistance, Dante points to the limited power of the classical author. Virgil's incapac- ity is matched by his limited knowledge, perception, and comprehension. As he stares into Dis, he is unable to see and has trouble finding his way: George F. Butler Attento si fermò com' uom ch'ascolta; che l'occhio noi potea menare a lunga per l'aere nero e per la nebbia folta. [He stopped attentive, like a man that listens, for his eye could not lead him far through the dark air and the dense fog.] {Inf. 9.4-6) His inability to perceive his surroundings is noteworthy, since Dante's description of the area surrounding Dis strongly evokes the Aeneid. The walls seem to be made of iron {Inf. 8.78), there is a high tower {Inf. 9.35- 36), and the three Furies appear {Inf. 9.37-51). In the Aeneid, Virgil simi- larly writes: Respicit Aeneas subito et sub rupe sinistra moenia lata videt, triplici circumdata muro, quae rapidus flammis ambit torrentibus amnis, Tartareus Phlegethon, torquetque sonantia saxa. porta adversa, ingens, solidoque adamante columnae, vis ut nulla virum, non ipsi exscindere bello caelicolae valeant; stat ferrea turris ad auras, Tisiphoneque sedens, palla succincta cruenta, vestibulum exsomnis servar noctesque diesque. [Suddenly Aeneas looks back, and under a cliff on the left sees a broad castle, girt with triple wall and encircled with a rushing flood of torrent flames—Tartarean Phlegethon, that rolls along thundering rocks. In front stands the huge gate, and pillars of solid adamant, that no might of man, nay, not even the sons of heaven, may uproot in war; there stands the iron tower, soaring high, and Tisiphone, sit- ting girt with bloody pall, keeps sleepless watch o'er the portal night and day.] {Aen.
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