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Historical Characters in Dante's Divine Comedy

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Historical Characters in Dante's Divine Comedy University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Uncovering The Sources: Historical Characters In Dante's Divine Comedy Vanessa Dimaggio University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Italian Literature Commons, Medieval History Commons, and the Medieval Studies Commons Recommended Citation Dimaggio, Vanessa, "Uncovering The Sources: Historical Characters In Dante's Divine Comedy" (2019). Publicly Accessible Penn Dissertations. 3486. https://repository.upenn.edu/edissertations/3486 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3486 For more information, please contact [email protected]. Uncovering The Sources: Historical Characters In Dante's Divine Comedy Abstract A lack of citation of Dante’s specific source material for historical characters who appear in the Divine Comedy is widespread throughout the commentary tradition. I performed a close textual analysis of the Divine Comedy’s historical characters, comparing them with the chronicles, annals and histories of Dante’s time, using both archival research and secondary histories to do so, and interpreted those primary historical texts as potential sources consulted by Dante. The historical characters I focused on fell into three categories: 1) characters involved in the battles of Montaperti and Colle Val d’Elsa, 2) characters belonging to or associated with the Norman, Swabian and Aragonese dynasties of Sicily, 3) characters embroiled in sensational or newsworthy events during Dante’s lifetime. The first two categories analyzed historical events that mostly occurred before Dante was born, and thus focused more heavily on written testimony, while the third category analyzed the news of Dante’s adulthood, and thus focused more on oral tradition. Not all of Dante’s information could be accounted for, especially as it pertains to the Battle of Montaperti, which introduced a detailed discussion about the role Dante played in shaping history and his complicated authorial relationship to the chronicler Giovanni Villani, who reports all the same information about the battle as Dante. Dante’s information on the Sicilian dynasties, however, was almost wholly accounted for and showed a proclivity on the author’s part for trusting in Guelph accounts, especially those written by clerics. Finally, plotting the geographic locations of the historical characters involved in newsworthy events during Dante’s lifetime revealed that most of what Dante knew did not have to travel far to reach him. Analyzing the text of the Comedy also proved that Dante was relying more heavily on oral rather than written testimony for his information of events that occurred during his lifetime and that Dante’s text itself has preserved some of this medieval oral tradition for today’s readers. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Romance Languages First Advisor Eva Del Soldato Keywords Dante, Divine Comedy, historical characters, historical sources, Hohenstaufen, medieval Italian historiography Subject Categories Italian Literature | Medieval History | Medieval Studies This dissertation is available at ScholarlyCommons: https://repository.upenn.edu/edissertations/3486 UNCOVERING THE SOURCES: HISTORICAL CHARACTERS IN DANTE’S DIVINE COMEDY Vanessa Noelle DiMaggio A DISSERTATION in Italian Studies For the Graduate Group in Romance Languages Presented to the Faculties of the University of Pennsylvania in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy 2019 Supervisor of Dissertation _________________________________ Eva Del Soldato Assistant Professor of Romance Languages University of Pennsylvania Graduate Group Chairperson ________________________________ Eva Del Soldato Assistant Professor of Romance Languages; Graduate Chair in Italian Studies University of Pennsylvania Dissertation Committee Ann Moyer Mauro Calcagno Mary Watt Associate Professor of History Associate Professor of Music Professor of Italian University of Pennsylvania University of Pennsylvania University of Florida Jonathan Combs-Schilling Assistant Professor of Italian The Ohio State University To Matthew, my love, for believing in me, supporting me and acknowledging me as the smartest doctor in the family ii ACKNOWLEDGMENT First, I would like to thank the University of Pennsylvania School of Arts and Sciences for the Penfield Dissertation Research Fellowship, which funded my research in the libraries and archives of Rome, Florence, Siena and Naples. I would also like to thank the University of Pennsylvania Department of Romance Languages for funding my sixth year of research. My biggest thanks goes to my supervisor, Prof. Eva Del Soldato, for not only being a superstar editor on my dissertation but for being an amazing mentor and advocate throughout the course of my entire graduate career. Thank you for everything you have done for our graduate program; you are my hero. A huge thanks goes to my other committee members as well. Dr. Mary Watt is the reason I pursued a PhD in Italian. Her lectures on the Hohenstaufen during my undergraduate years inspired a large piece of my research. I would like to acknowledge Prof. Ann E. Moyer for her invaluable independent study on Italian history and for taking the time to teach me how to find and organize secondary sources. Finally, I would like to thank Prof. Mauro Calcagno and Prof. Jonathan Combs-Schilling for joining my committee later in the process. I know it was a whirlwind, and I appreciate your patience and flexibility. I would like to thank all of the staff in the Department of Romance Languages— Kim Dougherty, Tina Behari, Suzanne Cassidy, Ashley Truehart and Brianna Crayton. We would be lost without you. I would like to also acknowledge Lillyrose Veneziano Broccia for making me a better teacher and always being so supportive and kind. Thank you to my friends and colleagues, Giuseppe Bruno Chomin and Julia D’Aleandro Meyers, for making me laugh on a daily basis and keeping me sane. Finally, I would not be where I am today without the support of my family. Thank you to my parents, my iii sisters, my sweet B and, most of all, my husband, Matt. A special thanks to my second and third authors, respectively, Sneffels and Elbert. Your paws definitely did not get in the way of my typing. iv ABSTRACT UNCOVERING THE SOURCES: HISTORICAL CHARACTERS IN DANTE’S DIVINE COMEDY Vanessa DiMaggio Eva Del Soldato A lack of citation of Dante’s specific source material for historical characters who appear in the Divine Comedy is widespread throughout the commentary tradition. I performed a close textual analysis of the Divine Comedy’s historical characters, comparing them with the chronicles, annals and histories of Dante’s time, using both archival research and secondary histories to do so, and interpreted those primary historical texts as potential sources consulted by Dante. The historical characters I focused on fell into three categories: 1) characters involved in the battles of Montaperti and Colle Val d’Elsa, 2) characters belonging to or associated with the Norman, Swabian and Aragonese dynasties of Sicily, 3) characters embroiled in sensational or newsworthy events during Dante’s lifetime. The first two categories analyzed historical events that mostly occurred before Dante was born, and thus focused more heavily on written testimony, while the third category analyzed the news of Dante’s adulthood, and thus focused more on oral tradition. Not all of Dante’s information could be accounted for, especially as it pertains to the Battle of Montaperti, which introduced a detailed discussion about the role Dante played in shaping history and his complicated authorial relationship to the chronicler Giovanni Villani, who reports all the same information about the battle as Dante. Dante’s information on the Sicilian dynasties, however, was almost wholly accounted for and showed a proclivity on the author’s part for trusting in Guelph accounts, especially those written by clerics. Finally, plotting the geographic locations of the historical characters involved in newsworthy events during Dante’s lifetime revealed that most of what Dante knew did not have to travel far to reach him. Analyzing the text of the Comedy also proved that Dante was relying more heavily on oral rather than written testimony for his information of events that occurred during his lifetime and that Dante’s text itself has preserved some of this medieval oral tradition for today’s readers. v TABLE OF CONTENTS DEDICATION ………………………………………………………………………… ii ACKNOWLEDGMENT ……………………………………………………………... iii ABSTRACT ……………………………………………………………………………. v CHAPTER 1: INTRODUCTION ……………………………………………………... 1 CHAPTER 2: THE BATTLES WITH SIENA …………………………………….. 43 CHAPTER 3: THE SICILIAN DYNASTIES ……………………………………... 109 CHAPTER 4: HOW DANTE GOT HIS NEWS …………………………………... 175 BIBLIOGRAPHY …………………………………………………………………… 222 vi CHAPTER 1: Introduction In 1918, Dorothy Lister Simons performed an exhaustive inventory of all of the individual characters in the Divine Comedy.1 Simons wanted to emphasize the vastness of Dante’s knowledge of history, legend and news. She counted 332 individual characters assigned to the three realms of the afterlife. Of these 332 characters, 253 were real, historic people, 160 of whom—nearly half—lived between the 11th and 14th centuries.2 Even more pertinent to the present study, nearly one-third
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