He must come down among my servitors,

Because he gave the fraudulent advice

From which time forth I have been at his hair;

For who repents not cannot be absolved,

Nor can one both repent and will at once,

Because of the contradiction which consents not.”

O miserable me ! how I did shudder

When he seized on me, saying: “Peradventure

Thou didst not think that I was a logician!” ’

“Guido lived in Italy from about 1220 to 1298. He was a prominent Ghibelline and military strategist before retiring in order to become a Franciscan, around 1296. Afterward, Pope Boniface VIII persuaded him to give fraudulent counsel to the Colonna family, with whom he’d been having trouble.

“Boniface wanted Guido to promise the family amnesty if they would leave the security of their fortress. Guido did so, but only after he secured absolution. As a result of his counsel, the Colonna family left the fortress only to be punished by Boniface. Later, Guido died in the Franciscan monastery in Assisi.

“Guido’s account of what happened after his death is dramatic. We can envision St. Francis courageously confronting a demon in order to rescue the soul of his fellow Franciscan.”

Her eyes flickered to Gabriel’s, which were a lively, expressive blue. A look passed between the two, and for an instant she knew they were both thinking of the ways they had rescued each other.

“But as is usual with Dante’s writings, appearances can be deceiving. In life, Guido had a persuasive but deceptive tongue. In death, he inhabits the circle of the fraudulent. So his words should be treated with skepticism. Certainly, skepticism is warranted about Guido’s claim that Francis came for his soul. If that was Francis’s purpose, he failed.

“Nowhere else in The Divine Comedy do we witness evil overcoming goodness. The Comedy is so called because the narrative moves from disorder in Hell to order in Paradise. If one soul were to be punished unjustly, it would undermine the entire narrative. So a lot is at stake in this passage. Our interpretation of it has significance for the entire Comedy.”

Julia paused and took a sip of water, her hand shaking slightly.

“According to Dante, justice motivated God to create Hell. Virgil alludes to this when he explains that justice motivates the souls of the departed to pass over the river Acheron into Hell. Dante seems to take the view that those who inhabit Hell do so justly, because they merit their final destination. Souls aren’t in Hell by accident or because of divine caprice. If that’s the case, how do we interpret Guido’s statements?”

Katherine nodded, her eyes sparkling with pride. The movement caught Julia’s attention, and a short look passed between the two women.

“With the understanding that Dante believes the souls that inhabit Hell do so justly, let’s reconsider Guido’s story. The demon sees Francis and shouts at him, saying that Guido’s soul belongs in Hell and that it would be robbery for Francis to take it. If that’s true, why would Francis appear?”

Julia paused, hoping that the audience would join her in considering the question.

“A survey of the literature in Dante studies for the past fifty years reveals at least two interpretations of this passage. First, that Guido is truthful and Francis appeared for his soul. Second, that Guido is lying and Francis didn’t appear at all.

“I believe that both possibilities are too extreme. For the first interpretation to be the correct, we’d have to attribute either ignorance or injustice to Francis, neither of which is reasonable.

“The second interpretation asserts that Francis didn’t appear, but then the demon’s speech doesn’t make sense, since Guido cannot steal his own soul. So we’re left with a puzzling report of Francis’s appearance, accompanied by an explanation that strains credulity. The explanation is given by Guido and a demon, neither of whom is trustworthy.

“I believe we can solve the puzzle of Francis’s appearance by rejecting Guido’s explanation, and substituting one that would be consistent with Francis’s life and character. According to my interpretation, Francis appeared and was seen by the demon. But the demon misunderstood why Francis was there.”

Julia began to grip the lectern more tightly, as the members of the audience began to murmur. Her mouth felt dry as the desert, but she continued, her eyes locked on Gabriel’s.

“Much as it might be . . . comforting to think of Francis coming down from Heaven like an archangel to fight for Guido’s soul, that can’t be what happened.” A look passed between the Emersons before Julia continued.

“Guido capitalizes on Francis’s well-known commitment to his brothers, no doubt thinking that reasonable people will believe that he appeared at the death of a fellow Franciscan. Further, Guido wants Dante to spread this tale, so others will think that he was important enough to merit the saint’s attention, or that his condemnation to Hell was a mistake.

“The demon, thinking to persuade Francis not to rob him, explains why Guido deserves to be in Hell. Guido sought absolution for the sin of fraudulent counsel before he committed the sin. He believed absolution would free him from the consequences of his sin, and so he willingly and unrepentantly committed fraud against the Colonna family.

“The demon points out that absolution only works if the human being repents. You can’t sin intentionally and be repentant of your sin at the same time.” Julia gave the audience a tentative smile. “Absolution isn’t like fire insurance.”

(At this, a few members of the audience, including Paul, laughed.)

“Guido cloaks himself in Franciscan robes and preemptive absolution, but he’s a fraud. Francis would have known this. If anything, Guido shamed the Franciscans by behaving the way he did.

“Although Francis could have condemned Guido’s sin, he remains silent. He can’t save Guido. He has to watch as the demon takes Guido by the hair and drags him down.

“The ugliness of the demon’s shouting and Guido’s false Franciscanism appear even worse when contrasted with Francis’s quiet, pious presence. His silence and lack of action give the lie to the demon’s explanation that Francis is there to steal. And his silence forces us to reexamine Guido’s tale.

“Would Francis have been so passive in trying to rescue a soul that was condemned unjustly? Of course not. But since Guido hasn’t repented of his sin, all Francis can offer him is his silent compassion and, possibly, his prayers.”

Julia paused and intentionally looked in Christa’s direction.

“Francis could have argued with the demon. He could have called him a liar for presenting a false account of his appearance. He could have protested that the demon is simply gossiping about him. But instead of fighting to preserve his good name, Francis is quiet so that the evil can be heard for exactly what it is.”

Julia shifted her gaze to the other conferencegoers, noting numerous nods of agreement and Paul’s wide, expressive grin.

“Guido would have us believe that St. Francis was either gullible enough to believe that Guido belonged in Heaven or arrogant enough to believe that he could second-guess God. Guido would have us believe that Francis confronted a demon but lost, because he wasn’t smart enough to best the demon in a match of logic.

“Francis’s life and his actions give the lie to those possibilities. In my view, he comes to the grave of Guido da Montefeltro to mourn him and his life of fraud, not to rescue him. In so doing, Francis manifests compassion and mercy, although it is a severe mercy.” At this, Julia’s eyes met her husband’s.

“Francis was not a thief. He was not deceptive or fraudulent, and he made no attempt to use vain words to further his cause. If anything, Guido captured the essence of Francis’s nature by describing him as being present but silent.

“It’s surprising, perhaps, that someone so skilled in fraud would be so adept at painting a picture of virtue. But when we reflect on the stories Francis’s followers told about his life and works, we see that that’s exactly what Guido does, even though he attempts to overshadow the picture with his skillful use of rhetoric.

“In conclusion, I think that the two historical interpretations of this passage are mistaken. Francis appeared at the death of Guido, but not to steal his soul.

“Francis’s appearance contrasts true Franciscanism with the false Franciscanism of Guido da Montefeltro. If anything, Dante uses Guido as a foil to praise the piety of St. Francis by providing a stark contrast between the two men. Thank you.”

Julia nodded at the audience as they offered her a respectable level of applause. She noticed several of the academics whispering to one another before her eyes found the faces of Professors Picton, Marinelli, and Emerson.

Gabriel winked, and her face broke into a relieved smile.

“Are there any questions?” Julia asked, turning to the audience.

There was a moment that in Julia’s mind seemed to last forever, in which no one spoke. She found Christa’s face and watched her conflicted expression, and believed that she had escaped unscathed.

Then, as if in slow motion, Christa’s expression changed and hardened. She scrambled to her feet.

Out of the corner of her eye, Julia saw Professor Pacciani take hold of Christa’s elbow somewhat roughly, trying to pull her back into her seat. But Christa wrenched her arm free.

“I have a question.”

Julia bit her lip unconsciously, her heart leaping into her throat.

As if it had been choreographed, every member of the audience turned to look at Christa. Several conferencegoers whispered to their neighbors, their eyes alive with anticipation. Christa’s conflict with the Emersons was well known now by almost every attendee. Indeed, the room began to buzz with a kind of nervous energy as everyone wondered what she was going to say.

“There are so many holes in your paper, I don’t know where to begin. But let’s start with your research, such as it is.” Christa’s tone was contemptuous. “The majority of papers on this passage accept the fact that Francis came for Guido. A few recent papers deny that Francis appeared. But no one”—she paused for emphasis—“no one thinks that Francis appeared but not for Guido’s soul. Either Guido is lying or he isn’t. It can’t be half and half, like cream.”

She smirked as a few members of the audience laughed.

Julia swallowed hard, her eyes darting around the room, reading everyone’s reaction before returning to Christa’s.

“Furthermore, you don’t even mention the beginning of canto twenty-seven, when Guido explains to Dante that he’s telling the truth because he thinks that Dante will spend the rest of eternity in Hell and therefore won’t be able to tell anyone what really happened. That passage demonstrates that Guido is telling the truth about Francis’s appearance.

“Finally, if you’d bothered to read Professor Hutton’s seminal work on the organization of the Inferno, you’d know that he thought the demon’s speech was reliable because his words were historically accurate. So Hutton thought that Francis appeared for Guido’s soul, too.”

With a proud smile, Christa sat down, waiting for Julia’s response. She was so proud of herself, so self-satisfied, she missed the look that Professor Picton gave to Professor Pacciani. The look indicated very clearly that Katherine was holding Pacciani responsible for the flamboyant behavior of his guest, and that she was not pleased with that behavior. In response, Professor Pacciani whispered in Christa’s ear, gesticulating wildly.

Julia simply stood there, blinking rapidly, while every single person in the room waited for her answer.

Gabriel moved forward in his chair, as if he were going to stand. He thought better of it, however, when Professor Picton narrowed her eyes at him. The expression on his face was thunderous as he glared in Christa’s direction.

Paul muttered an expletive and folded his arms across his chest.

Professor Picton simply nodded at Julia, her face a picture of confidence.

Julia raised a shaky hand to push her hair behind her ear, the diamonds in her engagement ring catching the light.

“Um, let’s begin with your point that some interpreters believe that Francis came for Guido’s soul and that this can be shown by his opening lines to Dante.”