In Dante's Inferno, Canto 9 shows Virgil experiencing challenges to his authority, contrasting his otherwise guiding role. Virgil's depiction of the afterlife in the Aeneid indicates a complex structure, integrating Orphic and Hellenistic-Jewish ideas, while in the Divine Comedy, he sometimes depends on divine intervention.
Virgil's role in Canto 9 of Dante's Inferno differs from his role in other cantos predominantly due to the challenges he faces that cast doubt on his authoritative guidance. This contrast is amplified when examining the underworld as described by Virgil in his works, where the afterlife is divided into various realms with moral criteria playing a significant role in the determination of where souls reside.
In Virgil's Aeneid, a tripartite structure of the afterlife is observed, where sinners, the morally good, and those who have completed the cycle of reincarnation each occupy different aspects of the underworld. This structure reflects greater philosophical and moral development in concepts of the afterlife as compared to the Homeric tradition. Differing even further, Virgil in the Divine Comedy, whilst reflecting some of these ancient concepts, also exhibits moments of vulnerability and, specifically in Canto 9, requires divine assistance to overcome challenges, demonstrating a departure from the all-knowing guide portrayed in other sections.
Orphic traditions and Hellenistic-Jewish backgrounds contribute significantly to Virgil's depiction of the underworld. Additionally, by looking into the poet's methodology, as described by Nicholas Horsfall, Virgil as a 'poetic bricoleur' provides a multifaceted understanding of his interpretation and amalgamation of various literary and philosophical traditions in his epic poetry.