List of Cultural References in Divine Comedy - V

V

• Varro: Either Publius Terentius Varro or Lucius Varius Rufus. Both were Roman writers of the 1st cent. B.C.E.
  • Resident of Limbo. Purg. XXII, 98.
• Venerable Bede: See Saint Bede.
• Venetian Arsenal: Shipyard and naval depot for Venice, built c. 1104, in Castello sestiere, it was one of the most important shipyards in Europe, and was instrumental in maintaining Venice as a great naval power.
  • Described. Inf. XXI, 7–15.
• “Veni, sponsa, de Libano” ("Come with me from Lebanon, my spouse.") (Song of Solomon 4:8)
  • Sung by the elders representing the books of the Old Testament in the Pageant of the Church Triumphant. Purg. XXX, 10–12.
• "Venite, benedicti Patris mei." ("Come, blessed of my Father.") (Mat 25:34)
  • Sung by an angel as Dante finishes the last purgation. Purg. XXVII, 58.
• Venus: Roman goddess of love. In Greek mythology she was known as Aphrodite.
  • Dante compares the loving eyes of Matilda to those of Venus inspired by her son Cupid.
• Vespers: Evening monastic prayer service. As a reference to a period of time, Vespers is 3 P.M. to 6 P.M.
  • Used to indicate the time of day. Purg. III, 25; XV, 6; XV, 139.
• "Vinum non habent": "They have no wine." (John 2:3) Words spoken by Mary to Jesus at the wedding feast at Cana to prompt him to supply more wine for the feast.
  • Heard by souls in the terrace of the envious as a lesson in generosity. Purg. XIII, 29.
• "Virum non cognosco": ("I have not known a man.") The Virgin Mary's response to the angel's announcement of the virgin birth of her son Jesus.
  • Recited penitentially by souls on the terrace of the lustful in Purgatory. Purg. XXV, 128.
• Volto Santo ("Holy face") of Lucca: An early Byzantine crucifix made of very dark wood, greatly venerated as having been miraculously created.
  • Used by the Malebranche to mock the pitch-blackened face and body of one of the barrators (perhaps Bottario). Inf. XXI, 46–8.
• Virgil (Publius Vergilius Maro) (October 15, 70–19 BCE): Latin poet. He serves as Dante's guide through the Inferno and Purgatorio. In the absence of texts of Homer, the readers in the Middle Ages considered Virgil's Aeneid to be the great epic poem of the Classical world. In Dante's time, many believed that Virgil had predicted the arrival of Christianity in lines from his Eclogue IV: "at the boy's birth in whom/the iron shall cease, the golden race arise" (trans John Dryden). This made him doubly suited to his role as guide. He also symbolises Reason. Virgil accompanies Dante from Inf. I, 61 to Purg. XXX, 54.
  • Sudden appearance. Inf. I, 61–3
  • The "light and honor of all other poets" (Mandelbaum). Inf. I, 82
  • Dante's inspiration. Inf. I, 85–87
  • Offers to be Dante's guide. Inf. I, 112–4
  • In Purgatory, the poet Statius claims that Virgil's Aeneid was his poetic inspiration. It was my "mother" and my "nurse." Purg. XXI, 97–98.
  • In a story created by Dante, Statius relates how reading Virgil's Eclogue IV helped to convert him to Christianity. "Per te poeta fui, per te cristiano." ("Through you I became a poet; through you a Christian.") There is no evidence that Statius was a Christian. Purg. XXII, 64–93.
  • Departs from Dante without saying farewell. Purg. XXX, 49–54.
• Vitaliano del Dente: Paduan banker, he was podestà of Vicenza in 1304 and of Padua in 1307.
  • His future damnation as a usurer is foretold by Reginaldo Scrovegni. Inf. XVII, 68–9.
• Vulcan: In Roman mythology, blacksmith of the gods and, with the help of the Cyclops, maker of thunderbolts for Jove.
  • From whom Jove "took in wrath the keen-edged thunderbolt". Inf. XIV, 52–7.