In a most interesting article in a learned journal not known for its interesting articles, author Rod Dreher bemoans the fact that he didn’t read Dante’s Inferno — or the rest of the Divine Comedy — until he was in middle age (as was Dante himself).
Midway along the journey of our life
I woke to find myself in some dark woods,
For I had wandered off from the straight path.
So begins Dante’s journey through Hell, Purgatory and into Paradise, as well as the story about a twenty-first century man who had also lost his way only to pick up Dante’s poem by accident and find himself captivated. What interested Dreher most were the chords struck by Dante that resound in today’s world and which should be heard by all college students, if not all who can read. And while it is sad to note that Dreher hadn’t read Dante’s poem until his mid-forties, it is refreshing to have him echo my conviction that the classics are relevant to today (which, indeed, is why they are regarded as “classics.”) But how can a poem written by a medieval Catholic speak to today’s students whose attention is entirely on themselves? That’s the question this article seeks to answer.
It is precisely the fixation of modern youth on themselves that one finds in the occupants of Dante’s Hell. To begin with, they all tell lies, and Dante is warned not to believe all he hears — which reminds me of Jameis Winston’s press conference where he said, with a straight face, “I’m not a ‘me’ person.” But more important, the nine circles of Dante’s Inferno are filled with thousands of passionate people who do not know how to love. The circles begin with love perverted, the love of a man for a woman that never rises above the level of lust, and ends, eight levels later, with those who either love only themselves or or betray those who love them, buried in ice up to their chins and condemned to remain frozen for eternity — as far from God’s love and warmth as possible. In between Dante finds those whose love degenerates into mere passion and is misdirected (they love money or fame, for example); they sin but fail to repent. And, indeed, it is the unwillingness of the sinners in Hell to repent that places them there instead of in Purgatory. As Dreher points out, “All the damned dwell in eternal punishment because they let their passions overrule their reason and were unrepentant.” Such as it is, their love was twisted and self-involved, and it dwarfed their reason which would, together with love properly felt, have led them away from themselves and into the world of others who are also in need of love.
And thus we find the message that rings true today when folks are told to “let it all hang out.” As the author notes,
“This is countercultural, for we live in an individualistic, libertine, sensual culture in which satisfying desire is generally thought to be a primary good. . . . We live in a narcissistic, confessional culture in which speaking whatever is on your mind and in your heart is valorized as ‘honest’ and ‘courageous’ — just as calling lust love falsely ennobles it by dressing up egotism with fake moral grandeur. . . All these damned souls suffer hellfire because they worshipped themselves and their own passions. In Dante egotism is the root of all evil.”
Furthermore, Dante’s sinners are unanimous in finding fault with others, never with themselves. They are very good at pointing fingers elsewhere and refusing to admit that theirs is the fault. The relevance of the ancient poem begins to become apparent.
Dreher takes the reader through several other circles, but in the end he notes, appropriately, that “Dante’s egoists suffering in Hell would be admired and even heroic figures in twenty-first century America” [Cue Jameis Winston, et al]. There is much for each of us to learn from this ancient poem written by a poet in his darkest hours — suffering exile from his family and from his beloved Florence as well. In the end, as Dreher concludes,
Dante shows us that you can just as easily go to Hell by loving good things in the wrong way as you can by loving the wrong things. It’s a subtle lesson, and a difficult lesson, and a lesson that is no less difficult to learn in the twenty-first century than it was in the fourteenth. But it’s still necessary to learn. Happy is the man who embraces this wisdom at any point in his life, but happier is the man who does so in his youth.”
It is sad that Dreher had to wait until his own mid-life crisis to read this remarkable poem. It is even sadder that very few will ever read it at all, though it is a bit of a stretch to think for a moment that even if today’s youth did read it they would see its relevance to their own lives. But it is certain that very few of them will read it at all if it is not required reading, which is even less likely in a culture that insists upon allowing everyone to find his or her own way — even at the risk of getting lost. Like Dante.
(Note: For those of us who don’t read Italian, I have found that John Ciardi’s translation is the most readable. Many are not.)