In The Confessional
Make no mistake, there is needed a full confession from this pilgrim and Beatrice is well aware of this. Let us not forget that it was she who saw Dante the Pilgrim lost in the dark wood due to his sins and wrong choices. His life to this point has been self-referent to the nth degree. In political life he excelled to a dangerous point of exile, due to the reality in Florence. In his poetical life he knew he was the best around, creating luscious poetry and competing with other poets in order to write some of the most erotic poetry ever read in Italian. He followed other women, and then in his Vita Nuova he admits that perhaps, he had gone overboard, that perhaps what was needed in his life was balance and less self-reference but more integrity and constancy. Beatrice, as a symbol of the divine, provides what is needed: brutal honesty and she demands from him a verbal confession. Dante the Pilgrim utters at first a strangled “yes” that can barely be heard. 

13 Confusion and fear, mixed together,
Confusione e paura insieme miste

14 drove from my mouth a yes--
mi pinsero un tal "sì" fuor de la bocca,

15 but one had need of eyes to hear it.
al quale intender fuor mestier le viste.

She doesn’t let it rest there, but requires an honest look by Dante the Pilgrim, honesty at deep levels. Indeed, she knows we have an unlimited capacity for self-deception. But Dante must no longer pretend that all is well, but rather admit, as in the dark wood, that his sins are preventing him from going further in the spiritual life, just as in the Inferno, Canto I, the three beasts prevented him from directly climbing the mountain immediately. [In fact, he says as much in vs.35 “they turned back my steps.”] Deep cleaning is required for spiritual growth and integrity in our walk of faith; indeed in our very core. So in the lines 34 to 36 he opens up completely. He knows in his heart of hearts that he has chosen the lesser part.

34 In tears, I said: 'Things set in front of me,
Piangendo dissi: "Le presenti cose

35 with their false delights, turned back my steps
col falso lor piacer volser miei passi,

36 the moment that Your countenance was hidden.'
tosto che 'l vostro viso si nascose."

And now, says Beatrice, now that you have not stayed silent or tried to fool me, God and yourself, we can move forward. It has all be dredged up and is out into the light of day, into the light of God.

Follow the Leader
Within many religious cultures it is not unusual for pilgrims to continue to be guided by past guides and staretzy [personal spiritual guides in the Russian Orthodox tradition] even after their death. St. Seraphim of Sarov informed his disciples to continue to follow him and visit his grave and he would continue to teach them all they needed. In a sense, this is what Beatrice is doing with Dante the Pilgrim. She began her chastisement in the last Canto and continues it in Canto XXXI, stating that he had been in “errore” by following others [Sirens’ call]. 

43 'Nonetheless, so that you now may bear
Tuttavia, perché mo vergogna porte

44 the shame of your straying and, the next time
del tuo errore, e perché altra volta,

45 that you hear the Sirens' call, be stronger,
udendo le serene, sie più forte,

Do not miss the insight and truth which Beatrice gives Dante the Pilgrim: the danger to choose poorly, to be lured away from God’s beauty and the life of true integrity will always be there. It will happen again and again. Dante the Poet does not believe in a point conversion, but an ongoing journey of discovery and recovery. She tells him his “errore” can easily be repeated and he must ever be mindful that this journey of discovery is not ever finished: “and the NEXT TIME [altra volta] that you hear the Sirens’ call, be stronger…” Dante the Poet is telling us that perfection in Paradiso is not static, but there will be ever more discoveries and growth and challenges for Dante the Pilgrim. She died, but he could have stayed with the true beauty that was hers, a beauty not rooted in physical reality. This is a kind of “Compare and Contrast:” To settle for less love than God offers, even though it still be beauty, is the real tragedy. One sees it clearly as Beatrice tells Dante the Pilgrim that he chose poorly, following the “mortal thing” as opposed to the “highest beauty.”

52 'And if the highest beauty failed you
e se 'l sommo piacer sì ti fallio

53 in my death, what mortal thing
per la mia morte, qual cosa mortale

54 should then have drawn you to desire it?
dovea poi trarre te nel suo disio?

He can now, being fully honest and mature with his failings and false followings, look upon her and, through her, Christ himself and begin to see the powerful reality into which he will be led by Beatrice in the Paradiso. This is the core of Incarnational Love, and Dante the Pilgrim is almost fully prepared to experience the two in one nature of reality, reflected in her eyes as she gazes upon the Griffin / Christ. Dante the Pilgrim is overcome by that loving reality and collapses.

The Cleansing Flood
We see clearly here that Matelda has been John the Baptist as well as showing Dante the Pilgrim around the Garden. She paves the way for Beatrice in the same way John paved the way for Jesus. While she represents the ‘active’ life of faith and Beatrice the ‘contemplative’ side of faith, Matelda also takes charge of the cleansing baptism that is now required, since Dante the Pilgrim has confessed fully, repentant and enlightened. Indeed, the depth of his remorse is an existential recognition in the face of the beauty reflected in Beatrice’s eyes, and later, her smile. He is overcome and then finds himself in Matelda’s arms, but now she is drawing him to the river Lethe. She is now not only John the Baptist in baptizing mode, but she acts as Priest as well, absolving him of all sins as the waters are swallowed and he is released from his past. 

94 She drew me into the river up to my throat
Tratto m'avea nel fiume infin la gola,

95 and, pulling me along behind her, moved
e tirandosi me dietro sen giva

96 upon the water as lightly as a skiff.
sovresso l'acqua lieve come scola.

97 When I had come close to the blessèd shore
Quando fui presso a la beata riva,

98 I heard 'Asperges me' [Purge me] so sweetly sung
"Asperges me" sì dolcemente udissi,

99 that I cannot recall nor write it down.
che nol so rimembrar, non ch'io lo scriva.

100 The lovely lady spread her arms,
La bella donna ne le braccia aprissi;

101 then clasped my head, and plunged me under,
abbracciommi la testa e mi sommerse

102 where I was forced to swallow water.
ove convenne ch'io l'acqua inghiottissi.

“Asperges me” comes from Psalm 51:7, (Purge me [with hyssop, that I may be purified; wash me, and I shall be whiter than snow]). Matelda is the agent of absolution here, and she willingly moves Dante to the shore on the other side and then recedes into the background, as did John the Baptist when Christ came on the scene. Dante the Pilgrim is passed on to the four ladies who represent the Cardinal Virtues, who then give him to the three theological virtues. There are reasons for this, for the vision he will now receive is a theological one and the philosophical / cardinal virtues will only take you so far. Yet it is also remarkable to find here the willingness to NOT be center stage, but to gladly and humbly move off the center stage and allow others to take the light. [Luke 9:48 Then he said to them, "Whoever welcomes this little child in my name welcomes me; and whoever welcomes me welcomes the one who sent me. For it is the one who is least among you all who is the greatest."] 

Learning To See Aslant
Dante the Pilgrim now receives two visions of the Incarnational Reality of God, both of them as reflected by and through Beatrice. He is encouraged by the Theological Virtues to look at the emerald eyes of her as she gazes on the Griffin. 

118 A thousand desires hotter than any flame
Mille disiri più che fiamma caldi

119 bound my eyes to those shining eyes,
strinsermi li occhi a li occhi rilucenti,

120 which still remained fixed on the griffin.
che pur sopra 'l grifone stavan saldi.

Once again, there is far more in this Canto than I can ever unpack in this blog. I’d encourage you to find other online blogs and commentaries that unpack ALL these insights, of which there are many, such as how the Two-In-One Incarnational Reality can ever only be viewed aslant, through another reality, hence reflected in Beatrice’s eyes and later in her smile. Dante the Poet admits, TWICE, that it is impossible to explain it all completely. At seeing the wonder of Christ / Griffin as Two-in-One he tells us Dante the Pilgrim is overjoyed, yet still stupefied:

127 While my soul, filled with wonder and with joy,
Mentre che piena di stupore e lieta

He tells us that even the greatest of all poets in the past could not begin to describe the power and revelatory reality of the smile of Beatrice as she views the Incarnational Reality of Christ. 

142 would not even he appear to have his mind confounded,
che non paresse aver la mente ingombra,

143 attempting to describe you as you looked,
tentando a render te qual tu paresti

Dante the Pilgrim will be enlightened and encouraged to discover more and more as he moves, like the unicorn in C. S. Lewis’ The Last Battle: “I have come home at last! This is my real country! I belong here. This is the land I have been looking for all my life, though I never knew it till now...Come further up, come further in!” I am deeply appreciative that Dante the Poet seems to confirm what I have found in my own journey; that God’s presence and grace can be discovered in many ways, and divine reality shines forth, aslant, reflected, in the most unexpected of places: in Beethoven’s piano sonatas and string quartets, in the photography of Wm. Terry Gipson and the paintings of Rothko, in the poetry of Emily Dickinson and the mind of Einstein, in the Icons of Russian Orthodoxy and the power of the Sistine Chapel, and so much more. Be it intentionally spiritual or not, God has been revealed to me in a myriad of ways. Like Dante the Poet, I am often stupefied and confounded by unexpected revelations. 

We come now to the appearance of the one for whom Dante has yearned and the one, as we shall see, from whom Dante the Pilgrim has strayed: Beatrice. All of the Commedia has been building to this point. It is here that we lose Virgil. It is here that we find her. And yet, she is far more than just a past flame or person of lustful adoration by the immature Dante. I shall walk with you through some of the highlights of this Canto. We are on the cusp of entering Paradise, and yet, Dante the Pilgrim has much to uncover and discover and discard before that can take place. I must admit I feel overwhelmed in trying to share all that is here, while still bringing in some of my own studies in Boethius and Augustine, both of whom also influenced Dante the Poet. Regardless, let us dive into some of the insights and revelations of Canto 30. 

PRELUDE
Verses 1 to 21 give us the joyous preparation for the appearance of Beatrice. One of the figures in the parade of the history of the church sings out from the Song of Songs “Come, Bride of Lebanon!” and everyone echoes that call. It is done three times, followed by a chorus of Hallelujahs. 

19 All were chanting: 'Benedictus qui venis' and,
Tutti dicean: "Benedictus qui venis!"

20 tossing flowers up into the air and all around them,
e fior gittando e di sopra e dintorno,

21 'Manibus, oh, date lilïa plenis!'
"Manibus, oh, date lilïa plenis!"

We have here preparation with scripture, psalter and sung prayers of the church. There is a sense of energetic joy and excitement that includes such a fury of the tossing of flowers up into the air that it becomes a “cloud of blossoms” from which Beatrice will appear. Surely your commentary will tell you that verse 21 is from the Aeneid, meaning “Give lilies with full hands” and it occurs at a funeral. And yet, here, we have a little “OH” tucked in the middle of the phrase that gives it an emotional twist. The lilies here can be applied to the Bride of Lebanon who will be the “Lily of the Valley,” so there is anticipation and celebration in its meaning. While we will soon find that this may be the very time when Virgil leaves the scene, unbeknownst to Dante the Pilgrim, and so the quote from Virgil’s Aeneid featuring the loss of a loved one is completely fitting as well. That one verse, that one little “OH” carries a world of anticipation and grief and hope!

THE APPEARANCE AND DISAPPEARANCE
Please note some remarkable examples of Dante’s symmetry in the Commedia: in the same canto that Beatrice appears, Virgil disappears. We are in Purgatorio 30, but then in Paradiso 30, Beatrice disappears. She will have been in the Commedia for 33 cantos. Comes a time to move from one mentor to the next. Do not weep over the last one, but rejoice in the next. We also have a variety of emotions in this canto: singing, praising, full-on weeping at the loss of Virgil, full-on disapproval by Beatrice with subsequent scorn and lecture. In fact, we have here in Purgatorio 30, more terms used for tears and weeping than any other canto in the Commedia. Indeed, there is even a shift in the gender of his mentors and guides. He turns toward Virgil as “a child running to his mamma” only to find empty air, while Beatrice appears out of empty air with a masculine “Blessed is HE who comes” in vs. 19. This is the quote from the Gospel of Mark for Christ. Virgil disappears as the loving maternal presence and Beatrice flashes onto the scene as the Christ figure Himself. 

And not only that, Beatrice continues this strong, male presence, telling Dante the Pilgrim not to weep… YET. And definitely not to weep for the loss of his ‘mamma’ Virgil. There is still a battle to be won and work to be done!

55 'Dante, because Virgil has departed,
"Dante, perché Virgilio se ne vada,

56 do not weep, do not weep yet--
non pianger anco, non piangere ancora;

57 there is another sword to make you weep.'
ché pianger ti conven per altra spada."

58 Just like an admiral who moves from stern to prow
Quasi ammiraglio che in poppa e in prora

59 to see the men that serve the other ships
viene a veder la gente che ministra

60 and urge them on to better work,
per li altri legni, e a ben far l'incora;

Beatrice speaks his name for the one and only time in the entire Commedia, “Dante… do not weep...” YET. We are now moving out of the Rational faith and guidance of Virgil to the realm of Repentant faith and surrender of Beatrice, through whom Christ guides Dante the Pilgrim. She uses his name but once, but that shocks him enough that the tears stop, even though his cheeks remain moist from them. 

THE LESSON LEARNED
As with the Confessions of Augustine and the Consolation by Boethius, reflection and meditation upon one’s past life can reveal deep and profound truths. Beatrice helps him discover these truths, and what must be purged. Dante the Pilgrim discovers now that his heart has, in fact, been packed with ice and snow all around. Beatrice’s fierce gaze and stern countenance upsets not only Dante, but the angels as well. 

94 but, when their lovely harmonies revealed
ma poi che 'ntesi ne le dolci tempre

95 their sympathy for me, more than if they'd said:
lor compartire a me, par che se detto

96 'Lady, why do you torment him so?'
avesser: "Donna, perché sì lo stempre?"

97 the ice that had confined my heart
lo gel che m'era intorno al cor ristretto,

98 was turned to breath and water and in anguish
spirito e acqua fessi, e con angoscia

99 flowed from my breast through eyes and mouth.
de la bocca e de li occhi uscì del petto.

There will be no progress or healing, there will be little revelation in Paradise until Dante the Pilgrim surrenders completely, repents fully, and is remade, is born again. In a recent Bible study I attended, I was reminded of a Jewish rabbi, (was it Hillel?) who was approached by a student who asked the question; “Rabbi, why does the Torah tell us that the Almighty, Blessed be He, places His Word upon people’s hearts and not within them?” The rabbi responded “The Word of God can only be placed upon the heart. It is when the heart breaks that the holy words fall inside and we discover God’s truth.” Dante is now having his heart broken so that the truth can enter in. We read of his failings, his forgetfulness and his wandering in this incredible canto. He must be broken before he can be made anew.

142 'Broken would be the high decree of God
Alto fato di Dio sarebbe rotto,

143 should Lethe be crossed and its sustenance
se Letè si passasse e tal vivanda

144 be tasted without payment of some fee:
fosse gustata sanza alcuno scotto

145 his penitence that shows itself in tears.'
di pentimento che lagrime spanda."

Dante the Pilgrim is learning that his secular good that was embraced in Virgil’s writings and guidance must all now bring him to the place where everything is surrendered to the eternal good. He begins to see now, that God’s hand has been in all that brought him here, and he, Dante the Pilgrim, but fully release all his desires and pride, he must take full part in this purgation. We will see in the rest of the Purgatorio where that will lead him and how that will create the New Man in him. This is the deep logic of true faith.

LOVE TRAIN
Dante the Pilgrim seems to pick up where he left off in Canto XXVIII; being enamored by this lovely lady and presuming that she too, is enticing him with looks of love and songs to match. Well, yes, and no. She indeed is described in the first two lines of Canto XXIX as though she were a shepherdess excited to see a young man out here in the woods. The Italian word for being filled with love [inamorata] is even used to seem to support that assumption.

1 After she had finished speaking
Cantando come donna innamorata,

2 like a lady touched by love she sang:
continüò col fin di sue parole:

However this is not the type of ‘Love Train’ of the lustful poets like Petrarch or Cavalcanti or the youthful Dante Aligheri eagerly described in earlier times. Her ‘love song’ is right out of the Psalter, used by St. Paul in Romans 4:3-8 to describe repentance and moral responsibility. “Blessed are they whose transgressions are forgiven, whose sins are covered.” Yes, indeed she loves Dante the Pilgrim. Yes, indeed the Italian word for being filled with love is appropriate here. In fact, ‘inamorata’ will be used time and again in the Paradiso to describe love: Love that is straight from the heart of divine Love seen in the sacrificial Love of Jesus Christ. From this point forward, this type of Love will now be mentioned more than ever before in The Commedia. When next Matelda speaks with Dante the Pilgrim, she will address him in that vein, as a brother in Christ [Frate mio].

13 And we had not gone far in that direction
Né ancor fu così nostra via molta,

14 when the lady turned and faced me,
quando la donna tutta a me si torse,

15 saying: 'My brother, look and listen.'
dicendo: "Frate mio, guarda e ascolta."

Dante the Pilgrim seems to get the general idea. He is no longer in a hurry, unlike the loping stride as he sought to keep up with Virgil and Statius as they dashed up the slope in Canto XXV: 1-7. He moderates his pace to match hers, even to the point of taking small, mincing steps just like Matelda as she strolls along on the other side of the river. 

LET THERE BE LIGHT
Like Genesis 1:3, light starts the whole shebang:

16 Suddenly a shining brightness
Ed ecco un lustro sùbito trascorse

17 flared through all the forest
da tutte parti per la gran foresta,

And it continues to grow until the very air itself is luminous, and Dante the Pilgrim asks himself “Now what is this?” Good question. The air is filled now not only with light, but melody so sweet it breaks his heart. In verses 23-33 he thinks that if Eve had not sinned at first, then he could have experienced this light and melody his entire life. There is no sense of “felix culpa,” the ‘Blessed Fall’ which brought us into Redemption and Salvation. Dante the Pilgrim reacts as if humankind would never have known evil without Eve’s mistake. But of course, that would have negated any need for the Commedia at all: No Inferno, No Purgatorio, only Paradiso. Dorothy Sayers in her commentary responds to this reaction by Dante the Pilgrim with the observation that humanity would have come to know of evil the same way God does; by understanding and not participation. However, this all is swept aside as the true reason for the light and music becomes apparent. The reaction of blame becomes a moot-point. I find Dante the Poet’s inclusion of this rather petty reaction of Dante the Pilgrim toward Eve to be, well, a recognition that we all are still very human, petty and even spiteful regardless of our apparent spiritual growth. Hence the need for new mentors, guides, repentance and revelation. We should never stop learning, growing, discovering Grace and God in this brief time we’ve been given.

THE PAGEANT
Dante the Poet tries to prepare the reader for a revelation unlike any other so far. I am reminded of the Medieval Mystery Plays whose actors travelled the countryside putting on allegories of Biblical truths, events and doctrines. They also included humorous skits and historical tales in their tableaus. We have here an allegory; a parade or pageant where figures represent truths and traditions of sacred history, of the Christian Church in its fullness. There will be a kind of genealogy on parade, starting with the Holy Spirit as guide and all of historical revelation unfurling behind with stages of revealed history marching into view. I will briefly outline the parade, but your version and commentary can do far more than me simply repeating who shows up. I am a bit like Dante and Virgil, who are both stunned and amazed by this pageant. 

55 Full of wonder, I turned to my good Virgil
Io mi rivolsi d'ammirazion pieno

56 and he answered with a look
al buon Virgilio, ed esso mi rispuose

57 no less charged with amazement.
con vista carca di stupor non meno.

When trying to embrace all of this at once, one’s ‘amazement’ truly is aptly described in the Italian of v. 57 as ‘stupor.’ We must not forget, however, that this is pure allegory. The figure and creatures represent ideals, truths and doctrines.

37-63 Seven Candelabra: Leading the parade are the seven candles which represent the seven Gifts of the Holy Spirit and the seven churches of Revelation. Their seven different colors stream across the sky and show that the Holy Church always is under the guidance of the Holy Spirit throughout history.

64-92 Twenty-four Elders: Each of these robed elders represent a book of the Old Testament as described by Jerome. This is suggestive that Jesus Christ is prophesied by the Hebrew Scriptures and also under the guidance of the Holy Spirit light and guidance. 

93-105 Four Beasts: These represent the four Gospels and the description is a conflation of the two apocalyptic visions of Ezekiel in the Old Testament and the Revelation of John in the New Testament. Yet again, please remember all is allegory, hence the eyes represent omniscience, the wreaths represent Hope, etc. 

106-120 Chariot and Griffin: The Chariot is the Church and is pulled by a Griffin which represents Christ since the Griffin is half lion and half eagle. This, of course, is an allegory of the divinity and humanity of Christ. 

121-129 Three Ladies: This is an allegory of the three Theological Virtues [Faith, Hope and Love] placed at the right wheel of the chariot. 

130-133 Four Nymphs: Here we have the four Cardinal or Natural Virtues [Prudence, Justice, Fortitude and Temperance] placed at the left wheel of the chariot.

134ff. Seven Elders: The rest of the New Testament follow up at the end. We have two which represent the Acts of the Apostles and the Epistles of the Apostle Paul. Then come four each of whom represent one of the Catholic Epistles [Peter, James, John and Jude]. Finally we have John the Evangelist who wrote Book of Revelation who “walked as though he slept” yet was still keen in insight. 

A thunderclap booms forth and the Chariot of the Church stops right in front of Dante the Pilgrim. Waiting; for what? For Dante to catch his breath and try to embrace the tableau in front of him? Is something else supposed to happen? The Canto ends in mid-breath, and ours is stopped as well. What is to come?

151 And when the chariot stood across the stream from me
E quando il carro a me fu a rimpetto,

152 a thunder-clap was heard and all that worthy throng,
un tuon s'udì, e quelle genti degne

153 as though forbidden to go farther, stopped
parvero aver l'andar più interdetto,

154 behind the banners that had come before them.
fermandosi ivi con le prime insegne.

THE WOOD
It must be immediately apparent that here in this Canto XXVIII we have a parallel wood that presages a new stage in Dante the Pilgrim’s journey toward wholeness and holiness. The first wood, of course was in the very first Canto of the Commedia. He was lost in the dark wood and his way out was barred by three fierce animals. Here however he is not in a rush, and indeed, is casually confident. Unlike the last few levels of Mt. Purgatory, there is no need to hurry here. There is a lovely contrast between his inner eagerness with his casual walk. Yes, he is eager to move forward, but does so at a measured pace: slowly, slowly [lento, lento].

4 I left the bank without delay
sanza più aspettar, lasciai la riva,

5 and wandered oh so slowly through the countryside
prendendo la campagna lento lento,

Here in this wood as in the first wood at the beginning of Inferno, we find it is also verdant and ancient and it shades the sun. Indeed, after but a few steps into this wood, he can’t even see where he had entered. 

22 Already my slow steps had carried me
Già m'avean trasportato i lenti passi

23 so deep into the ancient forest
dentro a la selva antica tanto, ch'io

24 I could not see where I had entered,
non potea rivedere ond' io mi 'ntrassi;

But here there is no confusion, no fear, no threat either from within or without. He has been proclaimed by Virgil as master of himself and indeed one has the sense that what is different is not the wood or the location, but rather the Pilgrim himself. Take a person who is untrue to him or herself, who is running from threats within along with dishonesty and lack of integrity, and place that person anywhere on this green earth and the reality may indeed seem threatening and frightening, regardless of the context. 

THE LADY
We are in different territory here, for in the first wood Dante the Pilgrim’s way was barred by three beasts, here however, he is stopped in his tracks by a lovely lady collecting flowers and singing. She is on the other side of a stream and Dante is thunderstruck by her beauty and presence [“a thing so marvelous it drives away all other thoughts”].

37 and there appeared to me, as suddenly appears
e là m'apparve, sì com' elli appare

38 a thing so marvelous
subitamente cosa che disvia

39 it drives away all other thoughts,
per maraviglia tutto altro pensare,

40 a lady, who went her way alone, singing
una donna soletta che si gia

41 and picking flowers from among the blossoms
e cantando e scegliendo fior da fiore

42 that were painted all along her way.
ond' era pinta tutta la sua via.

Old habits die hard. He has just come from the level of the lustful, being purged in the fire himself, and yet he is so struck by her beauty here in this pastoral scene he immediately draws comparisons from classical poetry to rape and seduction. The three similes can be found in your translation and commentaries, but they are; Prosperina/Pluto [rape], Venus/Adonis [Cupid’s arrow], Hero/Leander [consummation of lust]. Dante the Pilgrim has the temerity to tell this woman some of what he is thinking.

Yet, here we have a woman of wondrous strength and delicate tact who leads his thoughts to the proper meditations for this stage in his journey. She is not insulted or threatened but simply states a fact: “You are new here… You are perplexed and filled with wonder…” She gives him the benefit of the doubt and lets Dante the Pilgrim know she is singing Psalm 92. “It is good to praise the Lord and make music to your name, O Most High, proclaiming your love in the morning and your faithfulness at night,” It is a psalm of a life lived in the joy of praising God in all that one does. Indeed, all that she has been doing, singing, picking flowers, sauntering and waiting, has been honoring God. 

By that one word she realigns Dante the Pilgrim’s expectations and brings him round right. She tells him that she has come to this wood specifically to answer his questions. And he immediately knows this woman is to be honored, respected and listened to. We will learn that this is Matelda, and she will lead him, even drag him, to the place needed, spiritually and in actual location in the earthly paradise, for Beatrice to arrive and guide him further. She is one of my favorite characters in the entire Commedia. 

THE RIVER
While Matelda lectures Dante the Pilgrim about the movement of the spheres and the weather that results, I wish to look just briefly at the river that is before his feet and the other river that is to come, which we will learn is on the other side of Eden. Dante the Poet has created his own geography here, foregoing the traditional four rivers known to classical antiquity or ancient Biblical geography, reducing everything down to two rivers which aid in the process of redemption of sin and restoration of Grace.

The river in front of Dante is Lethe which would be known to all as the classical river of forgetfulness used by Virgil and Ovid. In their worldview, a soul would drink of the waters of Lethe to wipe clean all memories of a past life and prepare the soul for a new life to come. Dante reconfigures its effects so that when a soul drinks from it in this earthly Eden, it “has the power to take from men the memory of sin.” At first blush, that sounds like a total blessing to me. There are still sins that haunt us, coming back to shame or revile us years after the original deed had been done. Would that we could bite our tongue off rather than have said those things to our loved one. Does this sound familiar to anyone else? Drink of Lethe and forget all, all, ALL OF THAT!

Yet, no. That is just the first step of a two-step process. Dante the Pilgrim must also drink of the water from the river on the other side of Eden: Eunoe. This is most likely another neologism of Dante the Poet meaning ‘good mind.’ When one drinks of this water, the past sins are once again brought to mind, but as fully forgiven. Hence, healing is complete. Past mistakes and betrayals now become “felix culpa,” the “Blessed Fall” which led to our Redemption. Originally applied to Adam’s sin, it is seen in spiritual formation and Jungian therapy and 12 step programs as the admission of guilt for the sake of forgiveness and healing. It is a recognizing of the darkness within us all that will lead to end of fault-finding and blaming. For Dante to have created both rivers that need to be drunk from in the correct order which will lead to wholeness and holiness, is a work of great art, deep theological truth and practical lived reality of forgiveness desired and given. 

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.