BURN, BABY, BURN
The three poets now stand at the final obstacle to the top of Mt. Purgatory: the wall of flame. While other levels of Purgatory had specific ordeals for the cleansing of the souls, apparently ALL souls must pass through this final obstacle, regardless of their prior cleansing and thundering acceptance by God such as we experienced with Statius. There is an angel on their side of the wall, telling them they must pass through, and to listen for the next angel on the other side, singing “a distant song” that will guide them through.

10 'There is no going on, you blessèd souls,
Poscia "Più non si va, se pria non morde,

11 without the fire's stinging bite. Enter,
anime sante, il foco: intrate in esso,

12 and do not stop your ears against the distant song,'
e al cantar di là non siate sorde,"

Regardless of the specific sin that needed cleansing, there still comes a kind of “leap of faith” that is required to move into the realm of the blessed, into Paradise. At least for Dante the Poet, the step into total commitment in loving and embracing God can, in fact, be the hardest step of all. In my own faith life, my work in quantum field theory in the ‘70’s opened the door to the transcendence I found embedded in all reality. However to make a final acceptance of God, to personally surrender and love and accept was like walking through that wall of flame: hard, frightening, demanding. Dante the Pilgrim has been walking, observing, questioning, and learning all through the Inferno and Purgatorio. Now, however, he must go through this final requirement too, he must take that hard step. There is no going around. He is terrified.

14 so that, hearing him, I felt
per ch'io divenni tal, quando lo 'ntesi,

15 like a man who has been put into his grave.
qual è colui che ne la fossa è messo.

16 I bent forward over my outstretched hands
In su le man commesse mi protesi,

17 and stared into the fire, my mind fixed on the image
guardando il foco e imaginando forte

18 of human bodies I once saw being burned.
umani corpi già veduti accesi.

This is a literal baptism by fire. John the Baptist mentions it in Matthew 3:11 when he tells us that the Messiah will come and baptize with the Holy Spirit and with Fire. Dante the Poet surely knows this, but this hurdle is authentic for Dante the Pilgrim in that he has seen in Florence, executions of people he knew who were burned alive. Indeed, his sentence from the city fathers is just that: if he is ever caught within the city limits of Florence he will be burned alive. Yet, comes a time when we all must walk through the wall of flame if we are to continue on our journey of wholeness, holiness and integrity. One cannot be an observer only through life. Well, let me restate that, many DO go through life merely observing, not committing, but that is not life as it should be lived. Henry James wrote of this in his classic novella “The Beast in the Jungle” where the main character John Marcher, lives his entire life looking for the “grand event” of his life. Yet, he misses the greatest opportunity, love, as she walks beside him in his friend ‘May.’ Because he was unwilling to commit, to walk through that wall of flame, he realizes at the end that he has wasted his life as well as May’s. It is love which ultimately drives Dante the Pilgrim forward into the flame, that same love which set his feet on this journey in the dark wood of the beginning of the Commedia, that same love which has matured as he has climbed to this point. Now, as with faith, just so with love, one must sacrifice. Virgil in front and Statius behind, at the hope of seeing Beatrice, Dante the Pilgrim plunges into the fire. 

SHEEP AND GOATS
We come now to the third and final dream for Dante the Pilgrim. The final ‘P’ has apparently been erased from his forehead in the fire, and they now try to climb the stairs before the sun sets. 

61 'The sun departs and evening comes,'
"Lo sol sen va," soggiunse, "e vien la sera;

62 it continued, 'do not stop, but hurry on
non v'arrestate, ma studiate il passo,

63 before the west grows dark.'
mentre che l'occidente non si annera."

Yet they are only partially successful, and are forced to stop halfway up and sleep on the steps themselves. It is here that Dante the Poet uses a fascinating simile that at first glance did not seem to fit at all. He compares his two guides, Virgil and Statius, to shepherds, which makes sense. However, even after plunging through the wall of flame, Dante the Poet believes that he is not one of the sheep, but rather, a goat. 

85 such were the three of us,
tali eravamo tutti e tre allotta,

86 I like a goat and they like shepherds,
io come capra, ed ei come pastori,

87 shut in on all sides by walls of rock.
fasciati quinci e quindi d'alta grotta.

This is odd. In Matthew 25:31 ff. we have the Jesus saying: “31 “When the Son of Man comes in his glory, and all the angels with him, he will sit on his glorious throne. 32 All the nations will be gathered before him, and he will separate the people one from another as a shepherd separates the sheep from the goats. 33 He will put the sheep on his right and the goats on his left.” How is it that Dante the Pilgrim is still a goat? Is this a form of false humility? Can it be that in fact, we are all goats until the final opening of Paradise? Will Dante the Pilgrim always be a goat until the existential reality of his own death occurs and he is there on the terrace as a true pilgrim and participant? 

DREAM A LITTLE DREAM
The dream is that of Jacob’s wives, Leah and Rachel, which are types of the active and contemplative life during Dante’s time. St. Bernard of Clairvaux and others expand on this typology and usually choose the contemplative life [Rachel] as the superior choice to the active life [Leah]. Dante the Poet seems to embrace both, not choosing one over the other. Indeed, it is Leah who speaks in the dream:

100 'Let anyone who asks my name know I am Leah,
"Sappia qualunque il mio nome dimanda

101 and here I move about, using my fair hands
ch'i' mi son Lia, e vo movendo intorno

102 to weave myself a garland.
le belle mani a farmi una ghirlanda.

103 'To be pleased at my reflection I adorn myself,
Per piacermi a lo specchio, qui m'addorno;

Dante the Poet gives both types, active and contemplative, equal measure, as if they both are needful. What seems to matter most here is intentionality, that Leah uses her fair hands and Rachel her beautiful eyes, all in order to do one’s work in a mindful way that is filled with joy and beauty. There is no narcissism in staring at one’s self in the mirror, but rather an acceptance that what one does and how one chooses to live must be done with presence and love and integrity. That is where they find their satisfaction.

104 but my sister Rachel never leaves her mirror,
ma mia suora Rachel mai non si smaga

105 sitting before it all day long.
dal suo miraglio, e siede tutto giorno.

106 'She is as eager to gaze into her own fair eyes
Ell' è d'i suoi belli occhi veder vaga

107 as I to adorn myself with my own hands.
com' io de l'addornarmi con le mani;

108 She in seeing, I in doing, find our satisfaction.'
lei lo vedere, e me l'ovrare appaga."

This seems to be a lovely way of being present in this world, regardless of which type one seems to be. It is an acceptance that to see one’s self and one’s world clearly and honestly, is to find satisfaction. This of course includes all that which we are called to do to bring justice to this world, but to truly SEE and appreciate seems to be a holy act for Dante the Poet. Helen Luke writes that there is a gravestone in Cumberland, England that has this inscription on it: “The wonder of the world, the beauty, and the power, the shape of things, their colors, lights and shades, these I saw. Look ye also while life lasts.” This is the dream of Dante the Pilgrim.

MENTORS
Dante the Pilgrim is now, unknowingly, moving beyond his mentor Virgil. Virgil is going to tell him that he is beyond needing the guidance of reason and classical wisdom any longer. This is a beautiful section and even if he doesn’t realize it, this is the last time Dante the Pilgrim will hear his mentor speak to him. 

126 Virgil fixed his eyes on me
in me ficcò Virgilio li occhi suoi,

127 and said: 'The temporal fire and the eternal
e disse: "Il temporal foco e l'etterno

128 you have seen, my son, and now have come to a place
veduto hai, figlio; e se' venuto in parte

129 in which, unaided, I can see no farther.
dov' io per me più oltre non discerno.

In this final passage, Virgil gives us a fuller explanation of what we saw in the dream of Leah and Rachel, that one should LOOK, one should BE, one should realize that the wholeness and integrity within leads to a celebration and appreciation of that which is all around.

130 'I have brought you here with intellect and skill.
Tratto t'ho qui con ingegno e con arte;

131 From now on take your pleasure as your guide.
lo tuo piacere omai prendi per duce;

132 You are free of the steep way, free of the narrow.
fuor se' de l'erte vie, fuor se' de l'arte.

133 'Look at the sun shining before you,
Vedi lo sol che 'n fronte ti riluce;

134 look at the fresh grasses, flowers, and trees
vedi l'erbette, i fiori e li arbuscelli

135 which here the earth produces of itself.
che qui la terra sol da sé produce.

The beauty of this Garden, the original Garden of Eden, is to be enjoyed and celebrated only because of the interiority of the observer, of the pilgrim who is now able to set foot on this green and pleasant land with a true knowledge of the Creator and the source of Love that is all around. Truth to tell, I have found that when I am most miserable with the world around me it is due to the sourness and stunted reality within me.

Finally, a brief note on Virgil’s wisdom in helping Dante the Pilgrim move beyond Virgil as guide and mentor. Dante the Poet shows Virgil trying to let Dante the Pilgrim know that he is, perhaps, far more wise than he knows. There is a wholeness in the Pilgrim now that is to be trusted.

140 Your will is free, upright, and sound.
libero, dritto e sano è tuo arbitrio,

141 Not to act as it chooses is unworthy:
e fallo fora non fare a suo senno:

142 over yourself I crown and miter you.'
per ch'io te sovra te corono e mitrio."

Comes a time when a mentor of wisdom should know that he or she is no longer needed. I have experienced this myself, both being guided by wise mentors, and also being encouraged to move beyond and to trust my own wisdom. I have also seen mentors who are reticent to lose students and mentoree. There are those “mentors” who continue to feed the need in their charges in order for themselves to feel needed and appreciated. In that case, mentoring becomes dysfunctional and the mentor can, in fact, become a parasite. I’ve seen it. Dante the Poet, however, shows us that Virgil does a magnificent job of letting go and casting his protégé out on his own. Good Form!

​In this Canto, we are coming to the end of the great gathering of poets in the last four cantos, meeting several more in 26 as well. It is also the last level of Mt. Purgatory before the threshold of heaven is revealed at the very top of the mountain. And yet we cannot rush on ahead for this 26th Canto is so rich in meaning, simile and imagery that I hardly know where to start. Dante the Poet should shock and delight any reader who lingers over this canto with an open and discerning mind. I encourage all, once again, to find one or two translations with commentaries to compare the different reflections on the Commedia. I’ve read four translations with their commentaries along with three other studies of this Canto, and ALL of them focus on different aspects. I will share just a bit of what has impressed me from all I’ve read, but please be assured I will only scratch the surface of what’s here. 

LOVE ME DO
Our three poets are now walking carefully around this last level, keeping away from the cliff on one side and skirting the wall of flame on the other. On this last level of Lust we run into even more poets. What a surprise. In fact, it should not be a surprise at all due to the conversations we have had over the last several cantos about the ‘sweet new style’ of poetry, and the intent behind all poetics. Great art and poetry can lead one to the Truth as Virgil’s poetry did for Statius or Augustine reading the epistles of St. Paul, both being led to faith. And yet, it was also reading poetry that led Paolo and Francesca [Inferno V] to commit adultery. They read the poem of Lancelot and Guinevere together, and it led them astray:

127 'One day, to pass the time in pleasure,
Noi leggiavamo un giorno per diletto

128 we read of Lancelot, how love enthralled him.
di Lancialotto come amor lo strinse;

129 We were alone, without the least misgiving.
soli eravamo e sanza alcun sospetto.

As they continued to read, they ‘incarnated’ the actions of Lancelot and Guinevere’s betrayal, moving from beautiful love poetry to ugly lustful completion of the act about which they were reading. Francesca blames the book for their downfall, of course, but in reality Francesca is merely deflecting where the real responsibility is to be found for their adultery and their subsequent murder by Paolo’s brother, her husband: in their own hearts. It is important that we realize not simply the power of poetry, but what Dante the Poet is creating and claiming for himself and for all who use language to a particular end. 

For those who are able, reading the Commedia in the original Italian is a remarkable insight into the talent of Dante the Poet. The Inferno reeks with raw, coarse vocabulary and syntax, from bodily sounds to cursing and blunt cruelty. The Italian in the Purgatorio shifts and changes, morphing into a more intentional and balanced expression. The dialogue extends over several cantos, such as XXIV to XXVI, with an assumption of give and take, growth and learning. The vocabulary and syntax reflects that change. In the Paradiso, the Italian shifts yet again, becoming regal, what might be called High Italian. It is distinctly different to the preceding two books. Yet in all, we find created words [neologisms] and structured rhymes and rhythms that fit the need for each situation. Dante the Poet is not only showing how he has grown as an artist, but as a moral being and a true theologian; using his craft and poetry to lead his readers to a higher realm, and not just to entice another to bed and sex. We also tend to forget that he is doing this with the vernacular Italian as opposed to Latin or Greek. He created the craft that used common language as a vehicle for great art that has integrity and moral gravitas; paving the way for Shakespeare, Goethe and Pushkin, James Baldwin, Maya Angelou and Flannery O’Connor. And this is done within the narrow confines of his own created poetic structure and rhyme scheme. This supposed ‘strait jacket’ of poetic structure yielded a surprising bounty of beauty and innovativeness. Proust’s statement applies to Dante the Poet’s art: “The tyranny of rhyme forces the poet to the discovery of his finest lines.”

​SHAME ON US
Reading Dante the Poet also highlights Shame as a relevant restorative in formation and redemption. The very word “shame” has been co-opted in the last twenty years as something to be stricken from all social and personal interactions. On Facebook, the “shaming” of individuals has led to suicide and despair. This, of course, is a reductionist definition that is peculiar to this age of social media and deflected responsibility. Shame is disappearing from the social discourse, as seems to be personal accountability. This is a reality that can be found in Dante’s Hell. Francesca and all other residents of the Inferno eschew any personal responsibility. It’s not their fault. For Paolo and Francesca, it is the book’s fault! All of them feel many things: hate, anger, fear and pain. But there is no Shame in Hell, for they are eminently not ashamed of their actions. It was another’s fault. It was God’s uncaring justice. Conscience has gone AWOL and never returns. 

In Purgatorio, however, there is accepted responsibility for their sins. They “own” it. That is why here, on the seventh level, it is appropriate the Whip of Lust comes from the sinners own mouths, not from a tree or an angel or the ground itself. The homosexuality of Caesar and the bestial lust of Psaiphaë are the examples shouted out to remind themselves of their sins. But they cry out what is needed to be known, not to shame them for no reason, but to purge, heal and transform. It is not just the flames that are healing them, but the acceptance of the consequences of their own actions, for which they feel shame: “with their shame they fan the flames.”

79 'Thus they move on crying "Sodom,"
però si parton 'Soddoma' gridando,

80 as you heard, in self-reproach.
rimproverando a sé com' hai udito,

81 And with their shame they fan the flames.
e aiutan l'arsura vergognando.

This is a game-changing acknowledgement for 21st century society. We see here two groups coming at one another from different directions, homosexual and heterosexual. They are on level ground, in the same wall of flame, and greet one another with a holy kiss, as Paul recommends in Romans 16. The actions of lust, whether sodomy or bestiality or excessive fornication matter not, for all have accepted responsibility for their own sins and the need for redemption. They are ashamed, all of them, and are being healed and made whole, every single one of them. The ground is level, the flames burn all [even Dante the Pilgrim in the next Canto]. 

31 There I can see that every shade of either group
Lì veggio d'ogne parte farsi presta

32 makes haste to kiss another, without stopping,
ciascun' ombra e basciarsi una con una

33 and is content with such brief salutation,
sanza restar, contente a brieve festa;

Robert Hollander notes in his commentary that Dante the Poet’s description of them greeting each other with a kiss is a rare medieval portrayal of friendship between homosexuals and heterosexuals. That is true, but it is far more than that in my opinion. It is a beautiful expression of John 8:7 “Let anyone among you who is without sin be the first to throw a stone at her.” [NRSV] The ground is indeed level at the foot of the Cross.

UNFATHOMABLE MINES
While one can, and many have, take the time to read each of the poets mentioned by Dante the Poet in these Cantos, and admire their craft and the growth of the art itself, it is still important to step way back and review the wonders of Grace that shine through this work. Dante Alighieri may or may not have been part of the inspiration for William Cowper’s poem, but the Commedia certainly reflects it:

God moves in a mysterious way
His wonders to perform;
He plants His footsteps in the sea
And rides upon the storm.

Deep in unfathomable mines
Of never failing skill
He treasures up His bright designs
And works His sov’reign will.

This Canto and this entire work has ‘unfathomable mines’ of hidden treasure throughout that reward patient study and repeated readings. The celebration of poets, both classical [Virgil, Statius] and vernacular [Guinizzelli, Arnaut Daniel] shows a capacity on the part of Dante the Poet to appreciate a wide spectrum of art. The wideness of Dante’s reach is staggering, for we see classical figures throughout the universe of the Commedia, as well as pagan and Moslem historical figures. We will find pagans who are in Paradise and we see Muslim sages in Limbo. There are popes in Hell and popes in Heaven. Cato, who opposed Julius Caesar, is guardian of ante-Purgatory. I could go on and on, for there is an acceptance here that God’s ways truly are mysterious and hidden. In today’s society, which is tragically polarized and hate filled, this wideness of welcome and acknowledgement of shared responsibility found in this Canto and the entire Commedia, is sorely needed.

EVER-CURIOUS
The desire of Dante the Pilgrim to learn, know and grow continues apace, as we’ve noted in the last few cantos. While Statius and Forese have provided opportunities to speak of and celebrate art and poetry, it ultimately comes down to the creative impulse and Dante the Pilgrim’s desire to know more about it all, the reality in which he lives and moves and has his being on this seven story mountain. This is shown in a lively and lovely little simile where Dante the Pilgrim wants to ask questions, but is hesitant, continually opening and shutting his mouth without speaking a word.

10 And as a baby stork may raise a wing,
E quale il cicognin che leva l'ala

11 longing to fly, but does not dare
per voglia di volare, e non s'attenta

12 to leave its nest and lowers it again,
d'abbandonar lo nido, e giù la cala;

13 such was I, my desire to question kindled
tal era io con voglia accesa e spenta

14 and then put out, moving my mouth
di dimandar, venendo infino a l'atto

15 as does a man who sets himself to speak.
che fa colui ch'a dicer s'argomenta.

Virgil finally says, dude, go ahead and ask away, what is on your mind and heart? Indeed, after all, the very reason for this journey through the medieval universe is to learn and grow in one’s own spiritual formation. Unlike Paolo and Francesca or Ulysses in the Inferno, this is the right way and the appropriate reason to be ever-curious: how does one follow love, why do the penitent shades actually change their being as they grow more repentant and loving, can poetry and art contribute to this redemption of the soul?

EVER-CREATIVE
Dante the Pilgrim wants to know why these shades, who don’t have physical bodies, change so radically in their appearance as in the hollow eyes and emaciated appearance of Forese, who is recognizable only by his voice. Virgil mentions briefly the parallel reality of the life of Meleager with the length of time it takes to burn a log or the copied actions of in a mirror. These may or may not help the modern mind to understand the simile, but the extended explanation by Statius about medieval embryology needs to be read in the context of these three cantos on poetry and creativity: 24, 25, and 26. My three main sources: Dorothy Sayer, John Ciardi and John Hollander all move in different directions to explain this odd excursus on the creation of life. The discourse of Statius is divided up into three parts:

1. The Nature of the Generative Principle [31-51]
2. The Birth of the Human Soul [52-78]
3. The Nature of Aerial Bodies [79-106]

We cannot go fully into the science of medieval biology, but we need to remember that blood was the active vital force in all bodily actions. It was thought that a mother’s milk from the breast contained blood, along with the assumption that blood formed part of the male ejaculation during intercourse. [“it descends where silence is more fit than speech and from there later drops into the natural vessel on another's blood.”] It was there that blood from the male joined with blood from the female to create life. There are many commentaries that will help you understand this medieval embryology in better detail. At the end of line 51, we have a nascent human being, an embryo, but, as yet, without a soul. As the fetus develops in nature, God celebrates and instills a rational, yet eternal soul in the body that has grown in the womb through the stages of plant [feeling], animal [sensual], finally to the image of God [spiritual]. 

Ultimately, like Aquinas, Dante the Poet uses Aristotelian terms and science to help medieval Christians understand their world. Prue Shaw does a wonderful job in explaining this in her book Reading Dante; “Aristotle’s account of the great chain of being places human beings above plants and animals in the natural order. Yet human existence presupposes and includes the qualities and capacities of plants [plants are alive] and of animals [animals have sensation…].” Humans have a third quality, given by God, to reflect on one’s self, to be rational. It all is summed up succinctly by Dante:

74 all it there finds active and becomes a single soul
in sua sustanzia, e fassi un'alma sola,

75 that lives, and feels, and reflects upon itself.
che vive e sente e sé in sé rigira.

Unlike many today, Dante has the capacity to celebrate and utilize secular science, classical poetry and theological reflection, all in the same canto. And ALL of this is to emphasize and explore the creative process, not only in nature, but in art as well. God, the Creator celebrates creativity in us as well, at every level.

EVER-ONE
There is a recognition in Dante the Poet that once we have the image of God impressed upon us, it never leaves us, and brings all the different parts of our being together.  When our life runs out, the incarnational unity “both human and divine” that is a child of God, does not diminish.

79 'When Lachesis runs short of thread, the soul
Quando Làchesis non ha più del lino,

80 unfastens from the flesh, carrying with it
solvesi da la carne, e in virtute

81 potential faculties, both human and divine.
ne porta seco e l'umano e 'l divino:

And the creative impulse that was in the Creator, passed on to us, remains as well, needing to be fulfilled, redeemed and celebrated.

82 'The lower faculties now inert,
l'altre potenze tutte quante mute;

83 memory, intellect, and the will remain
memoria, intelligenza e volontade

84 in action, and are far keener than before.
in atto molto più che prima agute.

Hence, our grief at betraying others is keener on Mt. Purgatory than it was while we were still alive, and our joy at being in the divine Presence is more profound than any experienced in worship ‘on earth.’ But it all comes back to being ONE; body, mind and spirit/soul. I find this profoundly parallel to my own experience, not only within my own life, but also within the 40 years of pastoral presence, teaching at the graduate level and spiritual direction. What one does with the body affects the soul. How one views and experiences the growth of depth of spiritual maturity and integrity dictates the choices one makes as to bodily choices. This is not just about choices of sexual partners, it is far deeper than that: where and with whom one chooses to travel through life, what one decides to take on as a vital realm of activity and sacrifice, the choice of response to suffering within one’s own self as well as injustice within society. It seems to me that these choices and responses may indeed continue on in and through this life, as well as into eternity. Indeed, John Donne got it right: “No man is an island…”

EYES FRONT!
Moving on, we come to the final level, where Lust is cleansed from the shades by a raging fire. The path is indeed a narrow one, between a wall of flame and the precipice. 


112 There the bank discharges surging flames
Quivi la ripa fiamma in fuor balestra,

113 and, where the terrace ends, a blast of wind shoots up
e la cornice spira fiato in suso

114 which makes the flames recoil and clear the edge,
che la reflette e via da lei sequestra;

115 so that we had to pass along the open side,
ond' ir ne convenia dal lato schiuso

116 one by one, and here I feared the fire
ad uno ad uno; e io temëa 'l foco

117 but also was afraid I'd fall below.
quinci, e quindi temeva cader giuso.

118 My leader said: 'Along this path
Lo duca mio dicea: "Per questo loco

119 a tight rein must be kept upon the eyes,
si vuol tenere a li occhi stretto il freno,

120 for here it would be easy to misstep.'
però ch'errar potrebbesi per poco."

Here they cannot gawk and gaze as they meander along. But of course, at deeper levels we find this to be true as well. Matthew mentions it: Matthew 7:13-14  “Enter by the narrow gate; for wide is the gate and broad is the way that leads to destruction, and there are many who go in by it. 14 Because narrow is the gate and difficult is the way which leads to life, and there are few who find it.”

This is true in the overall life of faith, for Dante the Pilgrim obviously lost his way on the narrow path in Inferno 1, line 1 “Midway in our life’s journey, I went astray…” But it also applies to this level specifically, the level of Lust. The sin of lust obviously enters first through the eyes. We see that immediately in the Petrarchan style of poetry and Dante the Poet recognizes that himself, for it was this simplest and most immature level of attraction that first drew him to Beatrice. And we return, yet again, to the fact that what we do, at almost any level of being, matters not only to ourselves and others, but also to the integrity of our spiritual being and the wholeness of society and God’s creation. What we do in Vegas does NOT stay in Vegas.

HUMBLE HEART
While in Canto XXIII we spoke of a “Hungry Heart” and how that applied to curiosity at every level of the Commedia, here we have a glimpse of what I call the ‘Humble-Heart’ of those on this level. Their emaciated countenances are so severe that loved ones would no longer recognize them. Indeed, Dante only knew Forese by the sound of his voice. Each and every person noted by Forese accepted the fact that their faces are unrecognizable and yet, they are willing to be identified. They know their names would be known, not so much for reasons of fame, but infamy due to their gluttony. It is out of humility and acceptance of their need to be redeemed on this level in this particular way that they accept this act of recognition and acknowledgement by Forese.

16 This he said first and then:
Sì disse prima; e poi: "Qui non si vieta

17 'Here it's not forbidden to call us by our names,
di nominar ciascun, da ch'è sì munta

18 since our features are sucked dry by fasting.
nostra sembianza via per la dïeta.

19 'He there'--and he pointed with his finger--'is
"Questi," e mostrò col dito, "è Bonagiunta,

20 Bonagiunta, Bonagiunta of Lucca, and that one
Bonagiunta da Lucca; e quella faccia

21 just beyond him, the face more cracked and scaly
di là da lui più che l'altre trapunta

22 'than the rest, held Holy Church within his arms.
ebbe la Santa Chiesa in le sue braccia:

And he continues by explaining their particular penchant for gluttony and yet there is no self-justification or angry reaction from each soul so identified, as we found in the Inferno. There is a wise, gentle acknowledgement of the facts of a ravaged life that is now, thank God, behind them. One finds a similar wisdom and humble heart in the truly recovered addict who does not deny the damage done to family and loved ones, but is now living each day in thankfulness and one’s own acknowledged need of Grace to make it through this life.

25 He named many another, one by one,
Molti altri mi nomò ad uno ad uno;

26 and each seemed happy to be named--
e del nomar parean tutti contenti,

TAKING DICTATION
There is a need to mention briefly the parallel progression of poetry in Dante’s time and the maturing wisdom of Dante the Poet. In his early days his writing focused either on the joys of physical beauty and sexual love, or the bawdy celebration of something along the lines of limericks [“there once was a woman from Nantucket…]. This was a result of the popularity of Petrarch and his celebration of feminine beauty. Beatrice was viewed by Dante at first in this way: adoration from afar due to her beauty. Now, however, due to his growth and maturity not only as an artist, but as a Christian and theologian, he sees Love as part of the fullness of God’s plan and very Being. Dante the Poet is shallow about love at first. One can see that in his fainting reaction to Francesca da Rimini in Inferno Canto V. Now, he is learning to listen to the lessons of Love, from on high, and to write them down.

52 And I to him: 'I am one who, when Love
E io a lui: "I' mi son un che, quando

53 inspires me, take note and, as he dictates
Amor mi spira, noto, e a quel modo

54 deep within me, so I set it forth.'
ch'e' ditta dentro vo significando."

Hollander, Sayers and others believe that this is a statement by Dante the Poet that he is following the guidance of the Holy Spirit, third person of the Trinity, in all that he is writing at this time in the Commedia. That does not mean he doesn’t craft and create profoundly beautiful poetry, but that he is trusting and being guided by his true muse: not Beatrice, but God. [It is significant that Virgil the Poet gives full recognition of this, his true muse, while Virgil and Statius do not even speak in this Canto.]

THE GIVING TREE
There are other lovely images and touches of humanity in this Canto, such as the plaintive question by Forese to his dear friend, Dante the Pilgrim “when will I see you again?” or the wheeling of the souls up and away as the cranes do in Egypt. I encourage one and all to find a translation and read each Canto before and after these odd reflections of mine. Toward the end of Canto XIV, we come across yet another tree. The crowd of souls under the branches, which are “weighted down with fruit” raise their hands like little foolish children…

109 who beg, but he from whom they beg does not reply
che pregano, e 'l pregato non risponde,

110 and, to make their longing even stronger,
ma, per fare esser ben la voglia acuta,
 
111 holds the thing they want aloft and does not hide it.
tien alto lor disio e nol nasconde.

But there is a fine sense of subtlety here, in that the tree, which denies them the fruit they so desire, in fact GIVES them that which they most need: Grace and Redemption. Hence, the souls move on, sated and wiser, having denied their own desires and embraced God’s wishes.


112 Then they went away as if enlightened,
Poi si partì sì come ricreduta;

113 and it was our turn to approach the lofty tree
e noi venimmo al grande arbore adesso,
 
114 that turns away so many prayers and tears.
che tanti prieghi e lagrime rifiuta.


Apparently this is a shoot from the original tree from which Eve first plucked the fruit, obeying her human desires and denying God’s wishes. Ultimately, Dante the Pilgrim learns the same lesson from this tree as do the souls on this level, that one’s will must be aligned with God’s rather than allowing one’s own self-referent wishes to control one’s life. They leave the tree, hearing the examples of past gluttony, reflective and repentant; “each of us silent, deep in his thoughts,” and they come upon the Angel of Temperance, fiery and beautiful. He tells them which path to take, and combined with these recent examples, not only from the tree and the souls he’s met, but the blinding beauty of the angel, Dante the Pilgrim is fully guided by them alone, and not his own will: 

142 His shining face had blinded me,
L'aspetto suo m'avea la vista tolta;

143 so that I turned and walked behind my teachers
per ch'io mi volsi dietro a' miei dottori,

144 like someone led by only what he hears.
com' om che va secondo ch'elli ascolta.


As a result the next ‘P’ is erased from Dante the Pilgrim’s forehead. 

TIME OUT / TIME IN
In these last few Cantos we have slowed down to a crawl, or at least a stroll, what with interactions with poets, friends and the resulting fellowship. Virgil and Statius have been embracing, hobnobbing and catching up on the status of past poets, and soon, Dante will be discovered by his own dear friend, Forese. We have come to a complete halt, almost like during a walk in the park and stopping to view the trees or birds or flowers: a leisurely and, well, lazy interlude. Dante the Pilgrim admits to it with his recognition that he is stopped, gazing for the source of voices, in a “wasteful way…”

1 While I was peering through green boughs,
Mentre che li occhi per la fronda verde

2 even as do men who waste their lives
ficcava ïo sì come far suole

3 in hunting after birds,
chi dietro a li uccellin sua vita perde,

Virgil, in fact, seems to realize that they indeed have been remiss in these last few Cantos and urges him to better use of time. In doing so, he admits that perhaps he too has not made the best use of time.

4 my more than father said to me: 'My son,
lo più che padre mi dicea: "Figliuole,

5 come along, for the time we are allowed
vienne oramai, ché 'l tempo che n'è imposto

6 should be apportioned to a better use.'
più utilmente compartir si vuole."

And yet, we are reminded in Sayers’ commentary that there is wasteful time, and there is useful time, noting that now Dante the Pilgrim follows close behind the two poets, but still doing nothing other than listening and learning. This is time well spent. “every step I took paid double wages.” L. 9 [Sayers]

The differences in the SPAN of years or time is highlighted here too, as can be seen in the principal actors and friends in this Canto. Statius has just been released from the Seven-Storey Mountain after hundreds of years while Forese is close to the top after only four years since his death. Of course, Forese is aided by the prayers of his holy wife, Nella. Books have been written about the role played by Time here on Mt. Purgatory. It is only at this intermediate, transitional stage of Dante’s version of the medieval worldview that sleep is experienced and dreams interpreted. That requires time. And we see that it is not just action that matters, but presence, intention, patience and a hungry heart. While eternity is the paradigm for the Inferno and Paradiso, however here on this mountain, Time is the necessary vehicle, the currency, by which each soul is not only measured, but redeemed. 

HUNGRY, HUNGRY HEARTS
On this level of the Penitent Gluttons, we find examples of the proper and improper use of one’s mouth which reflects one’s proper and improper desires/hungers. The best thing for these Penitent Gluttons is to open their lips and sing God’s praise.

11 'Labïa mëa, Domine' in tones
"Labïa mëa, Domine" per modo

12 that brought at once delight and grief.
tal, che diletto e doglia parturìe.

The opening hymn of Lauds rings out as the active repentance of the penitent Gluttons: 'O Lord, open my lips, and my mouth shall proclaim your praise.'  Psalm 50:17 has as its context the repentance of David for his excessive lust, a type of gluttony one might say, but the true point is that our mouths and bodies should not be focused on self-referent hungers and pleasure only. We are then given the negative examples of the WRONG ways to use one’s mouth and hungers, as in devouring one’s own flesh [Erysichthon] and one’s own children [Mary of Jerusalem]. In all these cases, the mouth opens, but for far different reasons. We are even given the opening of Christ’s lips to cry out “Eli! Eli!” from the Cross, but the point is not the openness of the lips, but the hunger of the heart, yet again. Christ is hungry for redemption. The penitents are hungry for repentance. We see, in fact, the praise of Nella’s prayers as she opens her lips to pray for Forese and her broken and hungry heart on the behalf of her beloved. 

This hunger of the heart is the reason that suffering is embraced and seen as a gift and grace.

72 I speak of pain but should say solace,
io dico pena, e dovria dir sollazzo,

73 'for the same desire leads us to the trees
ché quella voglia a li alberi ci mena

74 that led Christ to utter Elì with such bliss
che menò Cristo lieto a dire 'Elì,'

75 when with the blood from His own veins He made us free.'
quando ne liberò con la sua vena."

The willingness to suffer is weighed against the redemption which results from that willing acceptance of it. Christ’s hunger for our redemption and salvation is seen as an act of love and joy, ultimately heard in His cry from the Cross: “It Is Finished.” The penitents true and appropriate hunger is the hunger for holiness and for God, and is seen by their willingness to suffer. This is truly a counter-cultural lesson for the 21st century.

CURIOSITY KILLS NOT
Throughout the various levels of Dante the Poet’s universe, we have seen a kaleidoscope of emotions, justifications and reactions.  Depending on the level in which one finds oneself, these can change, from anger and self-righteousness in the Inferno to sorrow and repentance in the Purgatorio to praise and wonder in the Paradiso. However, having read The Commedia several times over the span of 30 years, I have found one reality that seems to be a constant on every level of reality for Dante the Poet: Curiosity. Whether one is in the depths of Hell or on the slopes of Purgatory or at the heart of Paradise, Curiosity is present. Dante’s characters want to discover and discuss and discern, regardless of their state in the afterlife. Why is Dante the Pilgrim here? What has happened to my loved ones on earth? How does this help your passage through eternity? How did my writings lead you to salvation? Why did I dream that specific dream?

Curiosity may have killed the cat, but in Dante’s universe, curiosity defines the human condition. Therapists and counselors know that the presence of depression is authentic when curiosity dies. The heart of scientific discovery is based on curiosity. As we climb further we have seen that this curiosity needs to be directed toward a greater good and more mature soul. Dante the Pilgrim peering into the branches of the tree is “wasting” time, and his curiosity needs to be “apportioned to a better use.” So it is, by following and listening yet again to his two guides. As I said above: this is time well spent. “every step I took paid double wages.” L. 9 [Sayers] My fear, at times, is that in our present culture today, whether in higher education or spiritual formation or political discourse, curiosity is crushed. Doctrine, dogma, lack of dialogue and lack of discovery rule the day. Open respect and curiosity about another’s point of view or daily struggle are hard to find any longer. I am impressed that Dante the Pilgrim is willing to talk with and listen every single character he finds on his journey: caring curiosity incarnate. 

Unforeseen Influence
The conversation between the poets continues and will continue in the remaining Cantos. Some commentators have spilled much ink on the importance of poetry and philosophy that is shared in these conversations. We will surely get to that at some point. One of the central themes I wish to lift up here, however, is the issue of unexpected influence and unknown guidance / mentoring. Virgil and Dante the Pilgrim learn that Statius was, in fact, profoundly influenced by Virgil. First and foremost, of course, was impetus to become a poet himself, set by the power and beauty of the Aeneid of Virgil. 

64 And the other answered him: 'It was you who first
Ed elli a lui: "Tu prima m'invïasti
 
65 set me toward Parnassus to drink in its grottoes,
verso Parnaso a ber ne le sue grotte,
 

This is a classical reference which states that it was Virgil’s Aeneid that led him to drink of the water of inspiration given by the muses on Mt. Parnassus to classical poets. This is to be expected and was, in fact, assumed in Dante’s time that Virgil and Statius were the two great classical poets of Rome. 

And yet, we never know the extent to which our actions and statements affect and influence others who are watching, who are listening, who are the recipients of our love or anger or dismissive rejection. Statius tells them that, in fact, Virgil was also a spiritual guide, saving him in two different ways.  The first was slipped in on us in lines 37-39. 

37 'And had I not reformed my inclination
E se non fosse ch'io drizzai mia cura,
 
38 when I came to understand the lines in which,
quand'io intesi là dove tu chiame,
 
39 as if enraged at human nature, you cried out:
crucciato quasi a l'umana natura:
 
40 '"To what end, O cursèd hunger for gold,
'Per che non reggi tu, o sacra fame
 
41 do you not govern the appetite of mortals?"
de l'oro, l'appetito de' mortali?',
 
42 I would know the rolling weights and dismal jousts.
voltando sentirei le giostre grame.

​If Statius had not read in one of Virgil’s other works of poetry concerning the governance of the appetites, he might have ended up in Hell, not in Limbo with the other classical poets, but Hell. That may cause some to wonder. It should. In Dante the Poet’s creation, Statius was also saved by Virgil in helping him to take seriously the Christians of his day, the promise of Jesus and the consequences of Christian martyrdom brought on by Domitian’s persecution. This is seen initially in the lovely metaphor found in lines 67-69.

66 and you who first lit my way toward God.
e prima appresso Dio m'alluminasti.

67 'You were as one who goes by night, carrying
Facesti come quei che va di notte,
 
68 the light behind him--it is no help to him,
che porta il lume dietro e sé non giova,
 
69 but instructs all those who follow--
ma dopo sé fa le persone dotte,

We find the gift of Virgil’s Aeneid as well as the limitations of Virgil as guide. Dante surely acknowledges that he, like Statius, was guided by the light of Virgil’s creativity and power. And yet, the light guides those who come after him while he walks in the dark toward Limbo. Dante the Pilgrim will need a new guide soon and Statius is the precursor of the one to come: Beatrice.

No Secular vs. Sacred
Dante the Poet continues to surprise and shock modern sensibilities by refusing to condemn along doctrinal party lines.  In essence, Dante the Poet creates a scenario where the text of secular poetry is the lure and link into sacred life and reality. There is a true sense that wherever there is beauty, integrity and truth then God is to be found within that context, regardless of the origins of the text or the age in which it has been written. Augustine of Hippo, Thomas Aquinas and others embraced this approach to the classical poetry and philosophy of former ages. Hence the appreciation of both Plato and Aristotle by Christian Fathers and Mothers. Some of the secular and classical scholars attempt to state that Dante was not really a Christian at all due to his usage of classical themes, mythology and Aristotelian philosophy. Dante, however, will not be classified in such a simplistic manner. His embrace of the mystery of God’s love and acceptance is expansive and surprising. 
   Dante the Poet is in good company here, and has learned his lesson well. Augustine of Hippo in Book II recognizes this in the title of Chp. 18: “No Help Is To Be Despised Even Though It Come From A Profane Source.” In the chapter he states specifically “we ought not to refuse to learn letters because they say that Mercury discovered them; nor because they have dedicated temples to Justice and Virtue, and prefer to worship in the form of stones things that ought to have their place in the heart, ought we on that account to forsake justice and virtue. Nay, but let every good and true Christian understand that wherever truth may be found, it belongs to his Master…” Thomas Aquinas embraced this, bringing the truths and insights of Aristotle into his work. It has been said that all truth is God’s truth, but that embrace presupposes, of course, the presupposition that there is a loving God who creates and cares about our finding and embracing truth. 
    John Calvin recognized this and in Book II of his Institutes he speaks of accepting the gift of the sciences even though the insights may come from pagan and secular writers. “Whenever we come upon these matters in secular writers, let that admirable light of truth shining in them teach us that the mind of man, though fallen and perverted from its wholeness, is nevertheless clothed and ornamented with God’s excellent gifts. If we regard the Spirit of God as the sole fountain of truth, we shall neither reject the truth itself, nor despise it wherever it shall appear, unless we wish to dishonor the Spirit of God.” In our own time, C. S. Lewis and his beautiful “Till We Have Faces” and the Four Quartets of T. S. Eliot embrace the powerful presence of God’s truth in the greatest of the classical worldview and mythology. So too for Dante.

FIGURA CHRISTI
We come now to the last few cantos before Dante the Pilgrim enters Paradise. There is a need on the part of Dante the Poet to celebrate his guide and to also show Virgil’s inability to continue as his guide into the higher spiritual realms. To do this, we have one of the other great “pagan” poets, Statius, whom Dante the Poet brings onto the stage as a “figura Christi,” the Christ figure in this final approach. Indeed, this is made quite clear in the opening lines of Canto XXI. Dante the Pilgrim remarks that he continues to thirst for spiritual insight, just as the Samaritan woman thirsted in the 4th chapter of the Gospel of John. Indeed, she and Dante the Pilgrim may have felt the THIRST, but were not, as yet, aware of the depth of the need or the Grace in the Gift. The Samaritan woman only wanted magic water that would not necessitate her constantly going back to the well in the heat of midday. Yet, there is a deeper thirst as seen in her wandering eye, her numerous husbands and lovers, her lack of self-respect and acceptance in the wider community. Jesus brings her the greatest gift which is completely unexpected by her. 
   Indeed, Statius does the same for Dante the Pilgrim and his guide. He comes upon them as that figura Christi, just as found in the post resurrection appearance by Christ to the two disciples on the road to Emmaus. There are obvious parallels which Dante the Poet does not want us to miss.

7 And lo, as Luke sets down for us that Christ,
Ed ecco, sì come ne scrive Luca
 
8 just risen from the cave that was his sepulcher,
che Cristo apparve a' due ch'erano in via,
 
9 revealed himself to two He walked with on the road,
già surto fuor de la sepulcral buca,
 
10 there appeared a shade who had come up behind us
ci apparve un'ombra, e dietro a noi venìa,

Just as Christ walked with them, gradually opening their eyes, revealing more and more to them through his teaching and talk and at table, so too are there revelations and eyes opened as these three poets walk and talk together. Unlike the Christ in Luke 24, however, all three poets will be surprised and find new revelations from one another. Over the next few Cantos, Statius will reveal but also then learn, much himself.  For instance, he explains the reason for earthquake, which was his own acceptance that now was the time for he to move to higher ground; it is his own admission that his time in Purgatory is done. When that happens, all of Mt. Purgatory erupts in one great Gloria In Excelsis Deo. 

67 'And I, who have been prostrate in this pain
E io, che son giaciuto a questa doglia
 
68 five hundred years and more, just now felt
cinquecent' anni e più, pur mo sentii
 
69 my freed will seek a better threshold.
libera volontà di miglior soglia:
 
70 'That is why you felt the earth shake
però sentisti il tremoto e li pii
 
71 and heard the pious spirits of this mountain
spiriti per lo monte render lode
 
72 praise the Lord--may He soon raise them!'
a quel Segnor, che tosto sù li 'nvii."

This is taking Paul’s statement about the Body of Christ being one quite seriously and literally:
“If one member suffers, all suffer together with it; if one member is honored, all rejoice together with it.”
[1 Corinthians 12:26 NRSV]

Like, Yet Unlike
We are reminded yet again that one cannot put Dante the Poet into a stereotypical position of simply being a Medieval Catholic, or simply wanting to share secular philosophy and poetry, or wanting to justify Florentine political maneuvers. He connects at all these levels and does far more, surprising anyone willing to study and journey with him with an open mind and heart. Here we have, like Cato at the beginning of the Purgatorio, an unexpected revelation as to who God chooses and accepts. Like Cato, Statius was not a known follower of Christ. And yet, in Dante’s religious and poetic imagination, he describes his ‘calling’ as a poet and his coming to faith in a most remarkable way. It was not through personally witnessing Jesus, since he was born after the Crucifixion, and it was not through seeing and hearing the followers of Christ. Rather it was in the reading of a secular ode: the Aeneid. 

94 'The sparks that kindled the fire in me
Al mio ardor fuor seme le faville,
 
95 came from the holy flame
che mi scaldar, de la divina fiamma
 
96 from which more than a thousand have been lit--
onde sono allumati più di mille;
 
97 'I mean the Aeneid. When I wrote poetry
de l'Eneïda dico, la qual mamma
 
98 it was my mamma and my nurse.
fummi, e fummi nutrice, poetando:

Like Statius, I too was one who was set on the path to faith in God by a secular road. For me, it was the study of Quantum Field Theory in my fourth year of a Physics / Mathematics major in college. I was so captivated by it all, it led me to new discoveries in many areas. Here, Statius tells them that poetry set him on fire and fed him on his way. The sparks from that ‘holy flame’ lit him up too, but the Aeneid also nurtured him in unexpected and unimagined ways, much like a loving mother who nourishes a child and then sets her free to move into realms unimagined by the mother. Augustine of Hippo, Thomas Aquinas and many others have found that poetry, knowledge and truth found in secular and scientific writings can lead us into the areas of higher learning and spiritual wisdom. Dante the Poet uses the science of his day, the great poets and philosophers of the past and the Biblical insights of his church to create a work of exquisite power and beauty.

Thanks for the Memories
Dante the Poet creates a marvelous meeting between the two great poets of antiquity as a way of expressing his own gratitude for the Aeneid and its author. While we have no idea of whether Statius actually WAS a Christian, we do know that he was profoundly grateful for the Aeneid and Virgil. At the end of his own ode to Thebes, the Thebaid, he writes this:
   So thrive, I pray, but do not envy the divine Aeneid.
Follow well back. Always adore her traces.
If any envy clouds you, it will fade;
  When I am gone, due honor will be paid.
(Thebaid 12.816-819, Charles Stanley Ross, trans.)
When Statius discovers who the guide actual is for Dante the Pilgrim, he desires to embrace his feet, but of course, that is impossible, not only for the pair of shades, but also because at this level of spiritual maturity, one must kneel and embrace only for the holiest of reasons. While Statius wrote that he would “always adore” the Aeneid, Virgil helps him to remember that there is only One worthy of all adoration. 

130 Already he was stooping to embrace my teacher's feet,
Già s'inchinava ad abbracciar li piedi
 
131 but Virgil said: 'Brother, do not do so,
al mio dottor, ma el li disse: "Frate,
 
132 for you are a shade and you behold a shade.'
non far, ché tu se' ombra e ombra vedi."
 
133 And the other, rising: 'Now you can understand
Ed ei surgendo: "Or puoi la quantitate
 
134 the measure of the love for you that warms me,
comprender de l'amor ch'a te mi scalda,
 
135 when I forget our emptiness
quand' io dismento nostra vanitate,
 
136 and treat our shades as bodied things.'
trattando l'ombre come cosa salda."

Statius and Virgil will create a tight bond in the coming Cantos, including Dante the Pilgrim as they go along. We have a real sense of Friendship as a noble classical goal as seen in Aristotle’s “On Friendship” in his Ethics, but also as a Christian gift, as revealed in Jesus statement:

12 “This is my commandment, that you love one another as I have loved you. 13 No one has greater love than this, to lay down one’s life for one’s friends. 14 You are my friends if you do what I command you. 15 I do not call you servants any longer, because the servant does not know what the master is doing; but I have called you friends, because I have made known to you everything that I have heard from my Father.”
John 15:12–15 (NRSV)

This focus on the binding of friendship between Statius and Virgil is lovely to follow. I am reminded of another medieval writing on friendship by the Cistercian Monk Aelred of Rievaulx: “Spiritual Friendship.”

…those who have no friends are to be compared to beasts for they have no one with whom to rejoice, no one to whom they can unburden their hearts, or with whom to share their inspirations and illuminations…. A friend is another self to whom you can speak on equal terms, to whom you can confess your failings, to whom you can make known your progress, or lack of it, without blushing, one to whom you can entrust all the secrets of your heart.

We have here an opportunity for Virgil to experience true Christian fellowship at its best; the only time he will have a chance to do so, since we know he is relegated to his plain in limbo. It is a gift which Dante the Poet creates for his ‘mentor’ before they must separate from each other on this journey.

WOLF TERRACE
As we continue along the Terrace of Avarice, we come across a familiar figure. Just as we returned to Ulysses in Canto XIX, we now go even further back, returning to the beginning of this entire journey, Inferno Canto I and the she-wolf of greed blocking the way of Dante the Pilgrim. Avarice and Greed must be feared at every level of human experience; be it ecclesiastical ladder-climbing as with Pope Adrian V, or the overwhelming desire for knowledge as with Ulysses, or the addiction for secular political power as with the descendants of Hugh Capet in this Canto XX [11 kings in all]. Dante the Poet seems keenly aware that he is walking the razor’s edge in this, his magnum opus, attempting to embrace the entirety of the known universe, secular and sacred, and the reason for life itself. The wolf of Greed can lead one astray in all manner of ways, unless discernment, humility and wisdom continually intercede.

THE ROOT OF HUGH
The medieval church celebrated the birth of Jesus Christ by remembering his lineage, focusing on “the root of Jesse” passage from Isaiah. 

“There shall come forth a shoot from the stump of Jesse, and a branch shall grow out of his roots.” (Is 11:1)

The icon we see here is just one of many dating from the 12th to the 16th centuries, showing the family tree sprouting from Jesse’s loins, with the family of Christ including David, Solomon, many others and, of course, Mary the Theotokos and infant Jesus on her lap. Dante the Poet shows that Hugh Capet is profoundly aware of his “root” and the legacy that comes from this lineage: 

43 'I was the root of the evil tree
Io fui radice de la mala pianta
 
44 that casts its shadow over all the Christian lands
che la terra cristiana tutta aduggia,
 
45 so that good fruit is rarely gathered there.
sì che buon frutto rado se ne schianta.

While the Root of Jesse brought salvation and hope, the Root of Hugh cast dark shadow over all Europe of death and despair. We then have a litany of offspring who ruled France, “Of me were born the Philips and the Louis,” a litany of avarice, greed, murder and betrayal. The poetry is powerful; terrible in its beauty and cadence. I believe this is the longest such soliloquy on Mt. Purgatory. Read through the list of fraud, rape, sin and shame and one has a sense of the dysfunctional political landscape that led to Dante the Poet’s exile and the wars of power politics that ravaged Europe for centuries.

And yet, in the midst of this litany we have three lines that should shock and stun us. Remember that Dante the Poet was abashed at the meddling of the Church in politics, and Boniface VIII was the epitome of such sin. Indeed, he was directly responsible for Dante’s exile from Florence, and we read in the Inferno that he will soon be joining the other popes there. And yet, in the Root of Hugh, we read that one of the actions of his lineage was to storm the castle of the 87 year old Pope Boniface VIII. They ransacked the castle, tied the old pope up and threatened to torture and kill him. In the end, they released him, but Boniface, who had reacted, surprisingly, with grace and humility to these actions, died shortly after his release as a direct result of the abuses. 

Dante the Poet shows that Hugh Capet now views all these actions in a far different light from the Terrace of Avarice. And while Dante the Poet may not be blamed if he had applauded the abuse of the old pope, rather he abhorred it all. Through Hugh’s words he likened the attack to the Crucifixion of Christ all over again. The Vicar of Christ on earth was being tortured on earth and it was as if Christ Himself were suffering yet again, save now the thieves on either side did not die, but still lived and shouted their abuse at that Crucified One. 

86 I see the fleur-de-lis [French politics] proceed into Anagni
veggio in Alagna intrar lo fiordaliso,
 
87 and, in His vicar, make a prisoner of Christ.
e nel vicario suo Cristo esser catto.
 
88 'I see Him mocked a second time.
Veggiolo un'altra volta esser deriso;
 
89 I see renewed the vinegar and gall--
veggio rinovellar l'aceto e 'l fiele,
 
90 between two living thieves I see Him slain.
e tra vivi ladroni esser anciso.

Dante the Poet has not shied away from expressing his disgust and hatred of Boniface VIII. He felt it was Boniface who made of the Tomb of Peter a sewer running with blood and feces (Paradiso XXVII 23-24). It was he who would be in Hell with the Simoniacs. And yet, and yet, the office of the Vicar of Christ must still be honored and respected, regardless of who sits upon that chair. The fact is that the anointing of each pope, in Dante the Poet’s theology, still is a sacred and holy act and the office should be treated accordingly by one and all. Dorothy Sayers expresses it beautifully:

“Nothing in Dante is more paradoxical or more magnificent than his treatment of Boniface VIII…. Christ’s Vicar is Christ’s Vicar still, identified with Him in the sacrament of his anointing; and to lay hand on him is to crucify Christ afresh. This balance of two equal and opposed indignations, [the sins of Boniface and the abuse of his office-added] both blazing and mutually unmitigated, is a triumph of the passionate intellect unsurpassed in literature and scarcely paralleled.” 

I am reminded of the gleeful denigration of the Office of the President, I am reminded of the proliferation and glorification of revenge motives and movies, I am reminded of the unwillingness to forgive in today’s culture, and I ache for the paradoxical and magnificent heart of Dante today.

STAY TUNED
The Cantos continue to run together more and more as we move nearer to the top of Mt. Purgatory. The earthquake and shouts of glory will be explained and we find Virgil beginning to make his exit as the Gates of Paradise draw ever closer. Things begin to move more quickly now. Don’t go away! 

​This Canto incorporates several recurring themes of Dante’s Commedia. There is the journey of Ulysses and how his desire to explore and go farther than any one has gone before led him to transgression and death. There is the nature of love, and while it can be initiated by experiences of pleasure and beauty, it must be based upon true reality and guided by reason and free will. Finally but no less important, there is the right use of poetry in the journeys, the discoveries and the growing into and learning of God’s truth. I will not unpack all of this, but will merely give a few reflections from my own reading and rereading of the Canto.

THE DREAM
There were no dreams in the Inferno and there will be no dreams in the Paradiso. It is only here, on Mt. Purgatory, that time ticks on and pilgrims are forced to rest, sleep and dream. The first dream, if you remember, was in Canto 9 where Dante dreamt he was carried aloft by a great eagle. The action was fierce and the poetry beautiful, drawing parallels to St. Paul’s being taken up to heaven in a “raptus” or vision. Dante the Pilgrim, however, was taken to the gates of Purgatory proper in the first dream. The last dream will be in Canto 27 as he moves toward the gates of Paradise. Here, the transition is to the top levels of Mt. Purgatory, but the transition is interior, solidifying the lessons on Love. 

We come now to one of the most famous dreams in all of literature. We are prepared for it with a lovely lead-in at the end of the previous Canto XVIII. He is mulling over all he has learned, having been given free rein to question Virgil to his heart’s content about freedom, love and reality. Since one is not allowed to travel at night on Mt. Purgatory, he is forced to sit and meditate, in a sense. But that soon devolves into sleep and dreaming.

Canto XVIII:
139 Then, when these shades were so far parted
Poi quando fuor da noi tanto divise
 
140 from us we could no longer see them,
quell' ombre, che veder più non potiersi,
 
141 a new thought rose within me,
novo pensiero dentro a me si mise,
 
142 from which others, many and diverse, were born.
del qual più altri nacquero e diversi;
 
143 And I rambled so from one thought to another
e tanto d'uno in altro vaneggiai,
 
144 that my eyes closed in drowsy wandering
che li occhi per vaghezza ricopersi,
 
145 and I transformed my musings into dream.
e 'l pensamento in sogno trasmutai.

Canto XIX begins with the setting of the stage, the coldest part of the night just before the dawn which leads to this vivid dream. Some commentaries have labelled this an erotic dream, but I beg to disagree. There is but little here that would lead one into sexual fantasy. Indeed, when the clothes of the siren are ripped open, we see and smell only death and decomposition. The more Dante the Pilgrim gazed on the siren, the more detailed and refined was the transformation away from the truth of her reality and into a faux beauty. There is a metamorphosis that begins not with her siren’s song, but with Dante the Pilgrim’s hungry and curious gaze. It is the intense initial attraction which starts the transformation.

7 there came to me a woman, in a dream,
mi venne in sogno una femmina balba,
 
8 stammering, cross-eyed, splayfooted,
ne li occhi guercia, e sovra i piè distorta,
 
9 with crippled hands and sickly pale complexion.
con le man monche, e di colore scialba.
 
10 I looked at her, and as the sun revives
Io la mirava; e come 'l sol conforta
 
11 cold limbs benumbed by night,
le fredde membra che la notte aggrava,
 
12 so my gaze gave her a ready tongue
così lo sguardo mio le facea scorta
 
13 and then in very little time
la lingua, e poscia tutta la drizzava
 
14 straightened her crooked limbs
in poco d'ora, e lo smarrito volto,
 
15 and tinged her sallow face as love desires.
com' amor vuol, così le colorava.
 
16 And with her speech set free
Poi ch'ell' avea 'l parlar così disciolto,
 
17 she started singing in a way that would
cominciava a cantar sì, che con pena
 
18 have made it hard for me to turn aside.
da lei avrei mio intento rivolto.

Hence, we have an object lesson of one of Virgil’s teachings in Canto XVIII; that pleasure and beauty must be based upon a “true revelation” based on reality and not one’s “phantasia.” Dante the Poet is nothing if not honest in his recognition that we can talk ourselves into almost anything, justifying actions that lead us away from truth, beauty and God. This of course, is what Ulysses did in the leading his sailors to their doom, justifying his own desires and making bad decisions look like bravery and truth. And Dante the Pilgrim admits that the longer he gazes on this fantasy, the more enticing she becomes; her flesh warms, her limbs heal, her mouth opens and the dangerous song begins. But it is only due to Dante the Pilgrim’s interest and attention that this happens.  In point of fact, I find this true in my own journey, and the longer I try to justify certain possible actions, the better and better they sound to me. I can talk myself into almost anything.

TWO WOMEN
One possible interpretation of these two women is the ancient, yet ever-present stereotypical categorization of womanhood and femininity into either the harlot or the Madonna, either the whore or the saint. This is misogynistic and prevents the fullness of appreciation of each person, male or female to enter into relational reality with one another. I don’t believe this is happening here. The dream incarnates the lessons on love which have continued over the last three Cantos, showing us, in fact that love must be reality based, guided by heavenly wisdom. It is hugely important that the heavenly lady, representing the Holy Spirit demands that Virgil, representing human Reason, helps put an end to this false and forced attempt to create attraction and love. Dante the Poet shows this remarkable respect for reason and holiness to be able to work together. Virgil, as reason, keeps his eyes on the Divine Lady as he rips open the false veil of the siren. It is not one or the other in terms of the female form, but rather using wisdom, rationality, prayer and discernment to uncover the truth of the reality in front of us and laying bare the excuses and false hopes we create for ourselves. 

A different spin on this shared approach of the Holy Spirit with the Rational Self occurs to me. They must ever work together. In today’s world of the secular inquisition, people who try to breathe with both lungs of the Holy Spirit and Rational Self are chastised and abused. The over-emphasis on scientific rationality and the lack of emphasis on spirituality, art, music and literature is rampant, not only in the STEM school movement, but throughout our culture. We are losing the holistic balance of nuanced, mature humanity. Desire and emotion alone leads to one being seduced by the siren of false love. Reason alone without transcendence and faith leads to sterility. To work with both reason and faith, to walk with a recognition that we are guided as surely by hidden truth and wonder as we are by scientific datum is to move toward the fullness of life for which we were created.

LATE CONVERSION
One final point about this Canto XIX that I found fascinating and important is to be found in an aside from the dialogue Dante the Pilgrim had with Pope Adrian V. The pope admits, astoundingly, that his true conversion to God came only after he had achieved the highest office in Medieval Europe: the mantle of pope, “when I was made the Roman shepherd.”

106 'My conversion, alas, came late--
La mia conversïone, omè!, fu tarda;
 
107 when I was made the Roman shepherd,
ma, come fatto fui roman pastore,
 

He admits that he climbed the ladder of success, using the church as a ladder toward power and control, using every trick in the book, including lies and intimidation. 

108 I discovered a life of lies.
così scopersi la vita bugiarda.
 
109 'I saw that there the heart was not at peace,
Vidi che lì non s'acquetava il core,
 

However, as is true in any age, that which one strives for and the sacrifices one makes are somehow diminished once one realizes that success and power and riches do not lead to happiness or contentment. In fact, Pope Adrian V only discovered true faith in God after all his earthly goals had been achieved.  

110 nor was preferment possible in that life,
né più salir potiesi in quella vita;
 
111 and for this higher state my love was kindled.
per che di questa in me s'accese amore.
 
112 'Until that moment I was a wretched soul,
Fino a quel punto misera e partita
 
113 cut off from God, and filled with avarice.
da Dio anima fui, del tutto avara;

He was only in office for a month and a half, but he gave his life to God during that time. Dante the Poet certainly did not shy away from recognizing the sinfulness of the Church and her leaders. Indeed, I do believe this is the first Pope we have encountered that is not condemned. Yet, Dante the Poet does not assume that the sinful state of the Church should lead to a lack of belief in God, nor the possibility of holiness and hope within this life. It is never too late to turn toward the Light in the Commedia. Even Cato, the Roman pagan, is found on his way to Paradise. That, indeed, leaves me stunned with wonder at the honesty of Dante’s vision of the Church and open arms with which God seeks to embrace those who seek a life of integrity and faith.

LOVE HURTS
Dante the Poet explores the origins of love and motivation of our actions even further than he did in Cantos XVI and XVII. While this level of Purgatory is to address the sin of Sloth, known in the Medieval World as “Acedia,” in point of fact, the majority of the Canto is taken up with moral and metaphysical meditations on Love and Free Will. This Canto gives us a taste of what will come in Paradiso as well, with imagery and emphases that move into intellectual and metaphysical realms. 

We see modeled in the first thirteen lines how the relationship between Dante the Pilgrim and Virgil has progressed in trust and love throughout the Inferno and up to this point in the Purgatorio. It is a microcosm of trust and growth in love. Virgil goes from being “Professor” [Dottore] to being “True Father” [Padre Verace] to being “Dear Gentle Father” [Dolce Padre Caro] to being called “Master” [Maestro]. In fact, Virgil himself admits that he is nearing the end of his capacity of being able to guide Dante the Pilgrim any further since we are moving out of the realm of reason and into the world of Grace and Redemption the closer they get to the top of the seven story mountain.

73 'That noble power is called free will by Beatrice,
La nobile virtù Beatrice intende
 
74 and so make sure that you remember this
per lo libero arbitrio, e però guarda
 
75 if she should ever speak of it to you.'
che l'abbi a mente, s'a parlar ten prende."

ALL YOU NEED IS LOVE: REDUX
I have to admit to being quite a bit like Dante the Pilgrim in that I need to hear deep and difficult ideas explained to me three different ways, as he asks for yet another explanation of the origins and actions of Love in the life of God’s Creation. Virgil readily agrees and proceeds to lay out yet another way to understand how Love is at the basis of every action, whether good or bad. 

19 'The mind, disposed to love at its creation,
L'animo, ch'è creato ad amar presto,
 
20 is readily moved toward anything that pleases
ad ogne cosa è mobile che piace,
 
21 as soon as by that pleasure it is roused to act.
tosto che dal piacere in atto è desto.

We have within us a mind that is ready and able to receive any and all impressions from reality. Anything that is pleasurable brings forth from us a reaction, just as a signet ring leaves its impression on melted wax as a seal. However, Dante the Poet has Virgil explain that not all impressions and not all actions are moral and good. Here we return to the discussion Dante the Pilgrim had with Guido Cavalcanti and his hedonism. As an Epicurean, he believed all pleasure was good and any action justified if it brought pleasure. Wrong, says Dante the Poet through Virgil. 

34 'Now you see how hidden is the truth
Or ti puote apparer quant' è nascosa
 
35 from those who hold that every love
la veritate a la gente ch'avvera
 
36 is in itself deserving praise,
ciascun amore in sé laudabil cosa;
 
37 'perhaps because such love seems always good.
però che forse appar la sua matera
 
38 But every seal is not a good one,
sempre esser buona, ma non ciascun segno
 
39 even if imprinted in good wax.'
è buono, ancor che buona sia la cera."

So we return also to the topic of Free Will, just as we did when Dante the Pilgrim wondered whether the stars directed our will through the “science” of Astrology. Dante the Poet yet again reminds us all that discernment, judgement and perception of our rational faculties still hold sway over our actions. Just because we have received the possibility of a pleasurable action does not mean that it is an appropriate and righteous action. “If it feels good, do it” and “how can this be wrong if it feels so right” are invalid statements.

61 'So that to this will all others may conform
Or perché a questa ogn' altra si raccoglia,
 
62 there is innate in you the faculty that counsels
innata v'è la virtù che consiglia,
 
63 and ought to guard the threshold of assent.
e de l'assenso de' tener la soglia.
 
64 'This is the principle in which is found
Quest' è 'l principio là onde si piglia
 
65 the measure of your merit, as it welcomes
ragion di meritare in voi, secondo
 
66 and then winnows good from guilty loves.
che buoni e rei amori accoglie e viglia.

Within the worldview of 21st century hedonism, this Canto may seem to be rather like the Puritans’ restrictions on the theater in Shakespeare’s day: anything that may seem too pleasurable surely cannot be good for your soul. In fact however, there is real trust in one’s own discernment and judgement, and these will arise out of one’s own trust in God and the Holy Spirit. One is to be guided not by knee-jerk reactions to pleasure and not by blind obedience to outward restrictions, but through inward spiritual formation and growth in discernment and holiness.

​I’M LATE! I’M LATE! FOR A VERY IMPORTANT DATE!
We are now presented, in a rushed and hurried format, the examples and remedies for the sin of Sloth. Like the White Rabbit in Alice in Wonderland, the unnamed abbot has no time to stay and chat. There are no shared hymns or chants. There is no communal prayer. The examples are given in one-liners and then the abbot fades out of the scene, still talking and running. I am reminded of the saying “God cannot drive a parked car.” These penitents are on the move, almost like the start of the Boston Marathon, jostling and crowded, eager to stay ahead.
 
115     'We are so filled with our desire to keep moving
          Noi siam di voglia a muoverci sì pieni,  
                                                               
116     we cannot rest. Pardon us, then,
          che restar non potem; però perdona,      
                                                               
117     if our just penance seems discourteous.
          se villania nostra giustizia tieni.   
 
This seems rather like Medieval ‘speed-dating.’ All is compressed and completed quickly after such a leisurely and stately dialogue about Love and Free Will. Dante the Pilgrim states that his head is swirling and little wonder with all he has pondered and witnessed. Dante the Poet gives us a marvelous introduction into the next Canto, where the dream-world will be brought front and center.
 
143     And I rambled so from one thought to another
          e tanto d'uno in altro vaneggiai,   
                                                               
144     that my eyes closed in drowsy wandering
          che li occhi per vaghezza ricopersi,       
                                                              
145     and I transformed my musings into dream.
          e 'l pensamento in sogno trasmutai.