The Commedia is not just an aesthetic, but an existential, work. As such, it demands an interpretation which relates it not merely to art and art-history but to our own human concerns, to our situation and existence in life, to life and life-history. That is the note which I wish to strike in this essay, and with this emphasis: the Comedy demands such interpretations; its demand is an integral part of its art.
Of course, though the point is often ignored or forgotten, it is not strictly an original one. Already in the Letter to Can Grande the note is struck, either by Dante or on his behalf, when, having affirmed that the poem has to do with ethics, the Letter goes on to say that its aim is not merely instruction but inculcation. In the previous paragraph it is struck more forcibly still: the work is intended to be nothing less than a means of grace, to produce nothing less than ‘conversion’: ‘Finis totius et partis est removere viventes in hac vita de statu miserie et perducere ad statum felicitatis’ (§ 15). The words are ambitious indeed, and it is hard, at first, to take them more seriously than we are generally wont to take the high-minded professions of moral purpose which conventionally preface a great part of the Renaissance’s literary output. But we should, I think, make the attempt, and test them, to see if, at least in a part—since the whole cannot be studied in an article—the Comedy will substantiate them. We shall try to see how, in spite of the fact that its narrative is compounded of events and phenomena which are miraculous, or fantastic, the Commedia is a communication paradoxically spoken from and to ‘existence’ much as we know it, by an art which, at times, comes close to defining itself as something perhaps quite unique: the art of converting through art, ‘de statu miserie ... ad statum felicitatis.’