Abstract

The article investigates the influence that the theological debates on divine grace have exercised on the evolution of Dante’s reflection on the relationship between nobility of the soul and natural predisposition, from the Vita nuova to the Commedia. If in his youthful work, commenting the sonnet Negli occhi porta la mia donna amore, Dante had attributed to Beatrice the ability to «induce Love in potentiality where he is not» (Vn. 12, 6) - an ability that Augustine’s doctrine of grace had reserved to God -, in Le dolci rime d’amor and, above all, in the IV book of the Convivio, Dante affirms, with Guinizelli, the essential correlation between a «gentle heart» and love, that is to say the necessity of a natural predisposition for the purpose of possessing nobility, i. e. the divine «grace» (Cv. IV XX 7). Finally, in the Commedia, the poet returns to freeing God’s gift from any preventive natural disposition, as demonstrated not only by the repeated references to the twins Jacob and Esau, destined to opposite fates by virtue of the «grace» with which God «at his own pleasure endows each creature differently» (Pd. XXXII, vv. 65-6), but also by the XXX canto of Purgatorio, where Dante no longer appears uncertain whether to attribute his genius to a «good star» or to «a better thing» (If. XXVI, vv. 21-24), but clearly affirms its dependence on the «largess of celestial graces» (v. 112).