The Divine Comedy: Paradiso: Introduction
Earlier this week I finished reading The Divine Comedy, Part 3: Paradiso by Dante Alighieri (Translated by Dorothy L. Sayers and Barbara Reynolds) and will write my commentary of it as I have done in the past with The Purgatorio and The Inferno.#
Some notes on the form of my notes:#
When I am quoting the commentators, I will indicate the page number where the quotation comes from. But, when I am quoting Dante I will indicate the line the quote starts and will not indicate which Canto unless it is unclear from the context of the quote.
The first thing to note is about the translation. While the other two Cantica where translated and annotated solely by Dorothy Sayers, the Paradiso is joint work. The circumstance of this was Dorothy Sayer's death after translating the first twenty cantos. She had also not yet begun the commentaries yet, but she indicated to Barbara Reynolds that she should continue work.#
In the Introduction, Barbara notes that many people do not read the Paradiso because it is so different and more difficult than the other two Cantica. Indeed, even Dorothy noted that many do not make it to the Purgatorio. And of those scholars who do it read it, many find reason to complain or misunderstand meanings are are left unsatisfied.#
Throughout the Paradiso, as you shall soon read, Dante finds himself incapable of explaining many of the things that he is seeing or things that are going on. Macaulay complains of this:
Macaulay, an ardent enthusiast for the narrative power of the poem as a whole, considered the Paradiso by no means equal to the two preceding parts, except in regard to its style. His reason for considering it "far inferior to the Hell or the Purgatory" stem from a misunderstanding of the very quality in Dante which he so much admired, namely, his narrative skill. "Among the beatified he appears," says Macaulay, "as one who has nothing in common with them -- as one who is incapable of comprehending, not only the degree, but the nature of their enjoyment." [pg. 14]
As Barbara notes, this is a misunderstanding because it ignores that the poem is about Dante on two levels: in the story he is unable to understand much in Heaven, particularly the justice of it and the pleasure, because no mortal can and he can merely look upon a reflection; but in the creation of the Paradiso it was necessary for Dante to understand these things to accurately and skillfully great a vision for the reader.
The Paradiso represents the result of the quest towards understanding and enlightenment that the creator Dante travelled through out his life. It is a road map and travel log of the various topics he wondered and visions his saw. In this travel log there is a man named Dante who cannot grasp the things he sees because he has not yet refined them.
This serves as a constant reminder that the pleasures of Heaven are beyond the imagination of the living and no matter where you are, you are merely at the doorstep of understanding God.
As you may recall, Dante's previous guide, Virgil, left him at the end of the Purgatorio atop the Earthly Paradise (The Garden of Eden) and Dante's love, Beatrice, has replaced him.#
Barbara comments on the choice of Beatrice and what she symbolizes...
When Dante and his poem venture, as best they may, into the world of Reality, his guide is Beatrice, who represents his own personal experience of the immanence of the Creator in the creature. In her he had seen, in those moments of revelation which he describes in the Vita Nuova, the eternal Beauty shining through the created beauty, the reality of Beatrice as God knew her. [pg. 16]
Here Barbara refers to Heaven has the "world of Reality" because in Heaven, as you move closer and closer to God in terms of understanding and Love, you begin to see things the way God sees them. This is the true Reality of the world, because truth only exists in the eye of God.
What Beatrice signifies for Dante is when something is so pure and filled with Beauty that the vision of God is momentarily imparted upon you as you look at it. People often speak of the reason they believe in God or they talk about a scene or circumstance that made them love the world: the brilliant sunrise, a mountaintop, the face of loved one, etc.
These are instances when a glimpse at the immeasurable Love God has for all his creations is shown to us. These images bring us closer to understanding God, and thus increase our ability to appreciate future scenes. To bring in the last topic, Dante the character's confusion, why the Graceful love and honour somethings can be confusing because only they see them as God does.
On the nature of the earthly passions and the passions of those in Paradise is some interesting discourse and notes.#
In Heaven, the emotion of wrath is experience with an utter detachment from all sense of guilt. In this the saints display an attitude that is in keeping with Catholic Christianity, which must always simultaneously affirm and deny the value and importance of the things of this world, being at once concerned with them and wholly detached from them. When loved in themselves and for the sake of the self they are, however intrinsically innocent, pomps and vanities, pitfalls and impediments, "falso piacer", the lust of the flesh and the lust of the eyes, the Siren who is the false Beatrice, the mere projection of the ego upon the surface of the phenomena. But when they are loved for God's sake, because He makes and loves them, they are vehicles of His glory and sacraments of Himself, the teeth by which love grips the soul, [pg. 28]
This is important to me for two reasons: it represents why symbols and the world we see with our eyes is important; and, it shows why there can be no Spiritual Authority other than God and his echoes in your conscience.
Why the material world is important. As revealed in a smaller form earlier with the reasoning behind Beatrice's symbolism and here expanded in more general form, the material world can serve as a tool to better understand God. All things are a reflection of the Divine Light by an elaborate system of mirrors--as you will learn later in the Paradiso--and as a result of this the image of God is everywhere.
There are windows and mirrors in every glimpse or glance we take at anything. The problem is when rather than looking at the reflection of God--the true means of better mentally grasping God on Earth--you instead focus on the surface of reflection. When you love something for its own sake as separate from God, you love what you have created in your own mind to represent it... you love an image of yourself rather than that of God.
This is the selfishness and corruption of Love that is the core of every Sin.
There can be no Spiritual Authority other than God. The line between these two types of observation and appreciation is so thin and impossible to distinguish from the outside that it means there is no judge other than God. This is something that I will likely return to but it is the heart of my feelings toward the Scriptures and the words of Churches.
The written and spoken words of all members of Church history are signposts on the road to God. They do not define what is Good or Evil, what is Justice, because Justice is God's Will and it cannot be understood completely by a book or a bishop. The other tool at our disposal upon this quest is the moral compass of our conscience... the Knowledge of Good and Evil that was passed down through Adam.
The road is dangerous and fraught with many temptations that lead away from God and one of those temptations is to follow someone's signs rather than your own. There is no map to hold your hand at every crossway.