음악적 조화와 인간의 구원 : 단테의 <신곡>에 나타난 음악의 계보와 성향

Abstract

Dante’s conception of human salvation has been investigated in various sacred and profane aspects. But the idea that it was established in relation to artistic expression such as music has relatively had a short list of research. I start on the hypothesis that to Dante salvation was a project of human will and vision collaborated with the divine providence, and the elements of music sustain and express best the project. Musical expression is a textual apparatus built richly and covertly in the Comedy. Dante had his own view on music, based on the theoretical knowledge which had been accumulated for centuries since Pythagoras and Boethius, that music may become vital on a rationalist harmony. He attempted to gear his view of music to literary expression of human salvation in response to the contemporary music principle of polyphony. Indeed, the pilgrim Dante listens to music as a completed aesthetic form in paradise(“L’armonia che temperi e discerni” Par.I.78) while in hell he hears sounds that are merely irregular and incomplete(“aspre e chiocce” Inf. 32.1), whereby realizes that salvation is to be pursued in the dimension of musical harmony. Dante also strove to link musical harmony to linguistic harmony by submitting the ideal stage of perfect poetic language(vulgare illustre) with its inclination toward music. My aims are thus: to classify and compare the elements of music in the literary text of Divine Comedy; to explore the classic and medieval theories of music and apply them to the textual analysis of the Comedy; to define the process of connecting Dante’s idea of musical harmony with his concept of salvation in relation to the harmony of human intellect and divine providence. This work will offer another useful path to approach the concept of salvation designed in Dante’s world.