"Love follows knowledge."
"Beauty above all beauty!"
– St. Catherine of Siena

Thursday, August 8, 2019

Comments to Dante’s Paradiso, Cantos XXXI thru XXXIII, Part 3

Indeed, vision and eyes are of the utmost importance in the last canto leading to the theophany.  Actually eyes and vision have been a motif in the entire Commedia.  But here in the last canto the motif seems to reach a crescendo.  Almost every other tercet has a reference to vision or sight or eyes.  If Christ, and more generally God, is light, then how could sight not be a significant means of comprehending divinity?  It is the Holy Mother’s eyes who looks on Dante with love and then turns her eyes toward God.  Dante is allowed to withstand the intense brightness through her sight.  It’s almost as if he merges his sight with hers (43-57).

Finally the theophoric vision is the climax of the entire journey.  Dante (the character) is allowed to see what no mortal has ever been allowed to see—the vision of the Trinity.  Here’s how he describes the moment before he witnesses the theophany.

I believe, from the keenness of the living ray
that I endured, I would have been undone
had I withdrawn my eyes from it.

And I remember that, on this account,
I grew more bold and thus sustained my gaze
until I reached the Goodness that is infinite.

O plenitude of grace, by which I could presume
to fix my eyes upon eternal Light
until my sight was spent on it!  (XXXIII. 76-84)


As he witnesses the fullness of God, he is granted one more grace, that for a brief instant, for a fleeting moment, he is given comprehension of the entire order of all things.

In its depth I saw contained,
by love into a single volume bound,
the pages scattered through the universe:

substances, accidents, and the interplay between them,
as though they were conflated in such ways
that what I tell is but a simple light.

I believe I understood the universal form
of this dense knot because I feel my joy expand,
rejoicing as I speak of it.  (85-93)

And what is this vision of God?  Several cantos prior, Dante’s first vision of God was a point of light.  But now that his sight has been enlarged and strengthened, he can now see that point of light is a full circle.  Indeed, it is three circles, one for each person of the Trinity, each overlaying on top of each other, each a different color.

In the deep, transparent essence of the lofty Light
there appeared to me three circles
having three colors but the same extent,

and each one seemed reflected by the other
as rainbow is by rainbow, while the third one seemed fire,
equally breathed forth by one and by the other.  (115-120)

This is the Father and the Son, and that which proceeds from the two, the Holy Spirit.  And as he held his gaze he sees a face within the circles.

That circling which, thus conceived,
appeared in you as light's reflection,
once my eyes had gazed on it a while, seemed,

within itself and in its very color,
to be painted with our likeness,
so that my sight was all absorbed in it.  (127-132)

“An image painted with our likeness.”  Is that the face of God or the face of Christ, or is that the same thing?  It is our likeness, we made in the image of God. 

Overwhelmed, perhaps even disoriented, Dante in an instant finds himself back home trying to understand what has happened to him and understand “the Love that moves the sun and all the other stars” (145).

And so ends the greatest work of literature ever written.



###

Some concluding statements.  I began reading Paradiso believing it was the weakest of the three canticas of Inferno, Pugatorio, and Paradiso.  Such a notion was implanted from what I can only say are biased academics.  Paradiso does not have the fanciful torments of Inferno.  It does not have the bodily tensions of Purgatorio.  But Paradiso is special.  Perhaps it is the most theological of the three canticas—and that is why I think that academic biased developed.  But the theology is dramatized in imagery, proposed in beautiful similes and metaphors, all leading to that vision of God as the Trinity.  Paradiso is the most beautiful of the three canticas.  The sublimity of the imagery is unsurpassed.  One can be horrified at the imagery of Inferno, and feel empathy at the imagery of Purgatorio.  But one longs to embrace the imagery of Pardiso.  Indeed, one longs to participate in the imagery of Paradiso

In the very first canto of Paradiso, Beatrice in response to a question as to why all things move upward provides an answer which I think is the central thesis of not just Paradiso but of the entire Devine Comedy.

'All things created have an order
in themselves, and this begets the form
that lets the universe resemble God.

'Here the higher creatures see the imprint
of the eternal Worth, the end
for which that pattern was itself set forth.

'In that order, all natures have their bent
according to their different destinies,
whether nearer to their source or farther from it.

'They move, therefore, toward different harbors
upon the vastness of the sea of being,
each imbued with instinct that impels it on its course.  (Par.I.103-114)

That the universe has an order, that things created have an order, all of which resembles God, who has created all forms out of reason and love, is at the heart of this epic.  The entire Commedia is shaped to reflect God’s order.  The order in Inferno, as it winds its way down to the bottom pit of hell, reflects God’s ordering of justice.  The penitential climb up the mountain in Purgatorio reflects the order to retrain the soul to what you were made to be.  The order of Paradiso, with its impelling motion toward the city of God, reflects the order of God’s love as He draws us into His bosom as a parent draws their child.  No other epic has such a complete vision of humanity in its relationship to his universe, and, indeed, to his creator.


Which is the greatest of the three canticas?  You can’t think of it that way.  Each fulfills the other two.  They complement each other as a trinity for a unified vision.  So which of the three canticas do I prefer?  Whichever I have read last, which at the moment is Paradiso.

Robert and Jean Hollander

The great translators, Robert and Jean Hollander.

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