Commentary Par XXXI 102

Bernard names himself, having sounded like a lyric poet of Dante's youthful acquaintance talking about his lady, associating himself, however, not with a Giovanna, a Lagia, or a Selvaggia, but with the Blessed Virgin Mary.  Everything about this moment comes as a surprise.  We did not anticipate a new guide in the poem, if Dante surely decided that he wanted to have a chance to bid farewell to Beatrice, as well as to present her as being back in bliss.  In addition, perhaps for reasons reflecting his personal devotion (for a possible confirmation, see [Par XXIII 88-89]), he wanted a guide more associated with Mary for this highest part of the poem (not that Beatrice would have been in any way unqualified); perhaps he also felt a numerological tug in deciding to have a trinitarian third instructor.  Still, one sympathizes with those who feel that there is something ungainly about the substitution of Bernard for Beatrice.  (See the discussion in Botterill [Bott.1994.1], pp. 64-115.)  And no one who defends the advent of a new guide can argue that it has been at all prepared for, as was Beatrice's (as early as [Inf I 121-126]).  Pertile (Pert.2001.1), pp. 67-69, goes so far as to argue, if not particularly convincingly, that Dante had planned (and the first sign of such a plan revealed itself, according to him, in [Inf II 24-25], with the indication of Mary, Lucy, and Beatrice) to have Beatrice replaced by Lucy.  Whatever one thinks of that solution, one must admit that there is a problem here, one that a few strokes of the quill could have avoided.  However, see Mazzoni (Mazz.1997.1), who insists on the influence of Bernard's work (or that which Dante considered Bernardine) behind the text of the poem from its outset.  And see Iannucci (Iann.1995.2), pp. 481-82, for the notion that the surprise of Bernard's presence is only a tactic to alert us to his importance for Dante.  A series of essays discussing the reflection of several of Bernard's writings in the Commedia is found in Aversano (Aver.1990.1).  For a summary of Bernard's importance for Dante and of the presence of his writing behind the cantos in which he appears, see Carroll (DDP Carroll.Par.XXXI.118-142).  For the possible influence of Bernard's De diligendo Deo on the structure of the entire poem, see Hollander (Holl.1976.2, repr. Holl.1980.1, pp. 33-38).  And see [Purg XXVII 139-141] and C.Par.XXXIII.127-132.  For a compact treatment of Bernard's life, see Raoul Manselli, 'Bernardo di Chiaravalle, santo' (ED.1970.1), pp. 601a-5b, which, however, skirts the question of the actual literary influence of Bernard on Dante.  For an introductory treatment in English, one may, in addition to Botterill, consult Gardner (Gard.1913.1), pp. 111-43.

Dante does not refer to Bernard's urgent and frequent support of the Second Crusade (1145-1147) in his preaching.  For a study of this crusade, inevitably linked to the adjective 'disastrous,' see Constable (Cons.1953.1).  Dante's silence is perhaps not surprising, given its failure.

Bernard names himself only at the end of his speech (vv. 94-102).  The impression of humility is perhaps less pronounced than when similar behavior was exhibited by both Thomas Aquinas ([Par X 82-99]) and Cacciaguida ([Par XV 88-135]), who indeed speak longer before naming themselves.  Nonetheless, his comportment is clearly intended to portray his modesty.