Dante's Monarchy: A Compelling Elucidation of Monarchy that is Uniquely His Own

Dante's Monarchy is unique in that it is the first work of its time to pose an incisive and all-encompassing explanation and approbation of monarchy. Through his reliance upon philosophical reasoning, ecclesiastical convention, an almost mathematical logic, as well as his many references to revered historians and Classical philosophers, Dante establishes a compelling case for the divine right of empire in temporal affairs that bears his unique trademark. However, is his Monarchy so consistent with his unique style and vision that one could identify it in a anonymous manuscript?

One of the most immediately noticeable parallels between Monarchy and Dante's Commedia (aside from the structural division of the former into three books, which may or may not bear significance) falls within the first chapter of the work. In the exposition of his goals in Monarchy, to "elucidate" the true nature of monarchy and "draw it forth from where it lies hidden" (Monarchy I.i), he cites God as the true source of inspiration for the lucid and innovative vision of his book, rather than his own considerable genius. This literary convention, though not uncommon in Dante's time (Chaucer, a successor of Dante, relied heavily upon it as well), it speaks volumes to the humility and piety of the author, even when addressing a secular and, as it was later deemed, a heretical subject. To tie this practice of invoking a higher power to account for one's own clarity of intellect to Dante, one need look no further than his Commedia:

Oh Power Divine, but lend me of yourself
So much as will make clear at least the shadow
Of that realm imprinted on my mind. (Paradiso I, 22-24)

Here, as in Monarchy, Dante precludes the 'little vessel of his genius' with a call to Divinity. The concept of humility is central to all his works, and is a chief theme prevalent throughout the three canticles of the comedy. In fact, each of the three books begins with such a call to the higher powers, specifically the Muses.

Here is evident another central theme essential to Dante's stamp of authorship. Through his expert synthesis of scriptural and ecclesiastical traditions with Classical thought, Dante renders his work still more accessible. This ingenious mingling of the ecclesiastical and the logical is epitomized in the prominence of the shade of Virgil as Dante's guide through both Hell and Purgatory, a literary choice that reflects Dante's belief in the power of one's own reason as a guide even in matters of salvation. This convention of reason (as embodied by Virgil) as indispensable in all things is notable in the following quote from Inferno XVII:

"Now we descend by stairways such as these;
Mount thou in front, for I will be midway,
So that the tail may have no power to harm thee" (Inferno XVII).

The protection Virgil offers Dante from corruption in the form of deception (personified by Geryon) is a cunning metaphor for the saving power of reason, God's greatest gift to mankind.

This hallmark of Dante is imprinted behind the text of his Monarchy as well, clear as a watermark. In his repeated allusions to the most prominent thinkers of the Classical period, such as Pythagoras, Aristotle, and Virgil, and their inextricability from the ecclesiastical, Dante betrays his authorship of Monarchy yet again. A prime example of this propensity lies in his exposition of the fulfillment of man's intellectual potential as his chief and proper activity. In so doing, Dante relies upon an indirect quote from Aristotle's Politics, "that 'men of vigorous intellect naturally rule over others'" (Mon. I. Iii). On the heels of the reference, Dante cites Psalms in support of his thesis that contemplative thought is "almost divine," when he states that "an individual human being 'grows perfect in judgment and wisdom when he sits at rest.'" (Mon. I.iv).

Clearly, the main purpose of Monarchy is in the establishment of the Holy Roman Emperor as the preeminent ruler over temporal affairs. The book's thesis is supported through a multiplicity of means and rationalities, and is successful in presenting a compelling and incisive argument for the divine right of the emperor. However, Monarchy is not the only place in which one can witness such staunch loyalty to the Emperor and such a marked defiance of the papal claim to eminence over worldly political concerns.

The Commedia addresses the issue of temporal authority in its definitive treatment of popes and emperors throughout the three canticles. Prime examples are to be found Dante's castigation of Popes such as Pope Nicolas III in Canto IX, the canto of the Simoniac Popes, and in Dante's reverential and almost worshipful treatment of famed Roman emperors such as Justinian in Paradiso VI. In his Monarchy, as in the Commedia, Dante bends the full scope of his artistic and intellectual talent to validate the Emperor and denounce the corrupt papacy, betraying all the righteous indignation of a White Guelf scorned.

Though the authorship of Monarchy is already certain, the seal of Dante's style and talent is stamped so indelibly upon it as to leave no doubt to that it is uniquely his own. Even if it were discovered in the form of an unmarked manuscript, Monarchy's Classical logic and allusions, Imperial bent, and almost poetic style would be enough to attribute it to Dante's incomparable vision.