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.

The Center of the Universe
We come now to the exact center of the Commedia, and it is momentous. Dante the Poet and Dante the Pilgrim seem to fuse at this point, addressing each individual who has ever journeyed with both to this Canto XVII: “Remember, O Reader…” The two most crucial qualities in the Commedia are lifted up in this Canto: Imagination and Love… and Imagination is addressed first. 
    As Virgil and Dante the Pilgrim move toward the steps that will lift them to the next level of Purgatory, we are ushered into a world of fantasy and imagination. Lines 13 – 18 give us insight into the creation of the entire Commedia with a realization that the imagination can be a gift of sacred creation that may have little to do with our current reality. It may come from within or it may be sent by the Holy Spirit, but it is that which can set our entire lives into motion and toward unexpected futures.

13    O imagination, which at times so rob us
    O imaginativa che ne rube    
                             
14    of outward things we pay no heed,
    talvolta sì di fuor, ch'om non s'accorge    
                             
15    though a thousand trumpets sound around us,
    perché dintorno suonin mille tube,    
                             
16    who sets you into motion if the senses offer
    chi move te, se 'l senso non ti porge?    
                             
17    nothing? A light, formed in the heavens, moves you
    Moveti lume che nel ciel s'informa,    
                             
18    either of itself or by a will that sends it down.
    per sé o per voler che giù lo scorge.    
                             

Dante the Pilgrim is ushered into the three visions that are the Scourge of Wrath: the Biblical, mythological and historical examples when wrath led to destruction and despair. These visions are so vivid that he is completely entranced by each one to the extent that he is completely unaware of what is happening about him in the “real world,” even if there were “a thousand trumpets” that were sounding in his ear.

But there is also a parallel lesson from this opening in Canto 17 that applies to the writing of this entire creation of the Commedia. We have in the Commedia that which acts as those soap bubbles of visions which “moves [us] either of itself or by a will that sends it down.” This entire work is a creation of the imagination, and indeed, there are certainly questions as to its origin; whether from God, or the muses or from within Dante the Poet himself only, it sets us into motion and changes our lives. We may be removed from our current reality during the time we are reading this great poem, just as Dante the Pilgrim is removed from his present surroundings during the time of each vision, and yet the lessons learned and the experience of each ‘fantasia’ will and should have a vital impact on our lived reality once we put the book down or the vision is complete. Lessons can be learned from this “lofty phantasy” that is the Commedia, and in fact, from any great work of imagination. My fear is that many of us allow our present reality to dictate our emotional state of despair and cynicism and we refuse anything that might lift us out of our current reality. There are visions / lessons from great and creative works of imagination that can lift us and help us continue the journey of growth and transformation into wholeness and holiness if we would read them with a sympathetic and open spirit. If the only thing we believe in or trust is the daily news, we among all peoples, are the most to be pitied. It is no wonder depression, fear and cynicism rules our current culture and worldview.

You Are Here
We journey now, after the removal of the “P” of Wrath from Dante the Pilgrim’s forehead, toward the next level of Purgatory. Yet once the sun sets, there is no more movement on the entire mountain: rest and contemplation are enforced, being just as important as movement and achievement. However, Dante the Pilgrim is eager to grow and learn more to such an extent that he yearns to journey in knowledge even if he can no longer journey further up Mount Purgatory. 

81    Then I turned to my master and I said:
    poi mi volsi al maestro mio, e dissi:    
                             
82    'Sweet father, tell me, what is the offense
    "Dolce mio padre, dì, quale offensione    
                            
83    made clean here in this circle that we've reached?
    si purga qui nel giro dove semo?    
                            
84    If our feet must rest, do not arrest your words.'
    Se i piè si stanno, non stea tuo sermone."    

Virgil explains that they are now at the level of Sloth and agrees to teach Dante the Pilgrim by explaining the second of the two themes. The first was Imagination and now we look at Love, which is the very foundation of the Commedia and the entire Medieval Worldview. There are two types of Love in God’s created order. The first is “natural” love which is to be found among all creation. An example of this is found in St. Francis of Assisi. His Canticle of the Sun celebrates the fact that all creation sings praise to the Creator, and can’t help but do so. There is, however, another type of Love which is measured by rationality and intention. In different translations of the Commedia, this Love is called “rational,” “elective,” or “mental.” The crucial point is that this type of Love defines the Seven Deadly Sins and helps form the Seven Storey Mountain as a result. 

94    'The natural is always without error,
    Lo naturale è sempre sanza errore,    
                            
95    but the other may err in its chosen goal
    ma l'altro puote errar per malo obietto    
                            
96    or through excessive or deficient vigor.
    o per troppo o per poco di vigore.    
                            

Love, surprisingly, is at the heart of every action, whether good or bad and this clarifies the map of the entire Purgatorio… hence this Canto has an arrow pointing to the terrace of Sloth with the words “You Are Here.” Elective or Rational Love defines the sins and consequences of these choices and actions. In line 95 we read that choosing the wrong goal to love can lead to sin. Misdirected love can lead to Pride or Envy or Wrath, the first three levels of the Purgatory. Line 96 completes the map; deficient vigor in Love is Sloth [their current level]. Avarice, Gluttony, Lust are the sins that result from excessive vigor in loving the wrong things which gives us the last three levels. The rest of the Canto expands on this insight, that how we choose and use Love forms the morality and integrity of our lives. As opposed to the Inferno, where actions are punished, intentions are primary in the Purgatorio. Virgil expands his statements further in the rest of this Canto.

97    'While it is directed to the primal good,
    Mentre ch'elli è nel primo ben diretto,    
                            
98    knowing moderation in its lesser goals,
    e ne' secondi sé stesso misura,    
                            
99    it cannot be the cause of wrongful pleasure.
    esser non può cagion di mal diletto;    
                            
100    'But when it bends to evil, or pursues the good
    ma quando al mal si torce, o con più cura    
                            
101    with more or less concern than needed,
    o con men che non dee corre nel bene,    
                            
102    then the creature works against his Maker.
    contra 'l fattore adovra sua fattura.    

It was Augustine of Hippo in the ‘City of God’ who helped describe this Christian understanding of Love: 

City of God: 14:7
…a right will is good love and a wrong will is bad love.
…recta itaque voluntas est bonus amor et voluntas perversa malus amor.

Aquinas expanded this definition of ‘bonus amor’ and ‘malus amor’ in helpful and important ways in his treatise on the passions:

…every agent whatsoever, therefore, performs every action out of love of some kind. 
…Unde manifestum est quod omne agens, quodcumque sit, agit quamcumque actionem ex aliquo amore.

This is remarkably helpful to find at the exact center of the Commedia in that we can look back, for instance, at the different relationships in the Inferno that were justified in the name of “Love,” but they were, in fact, Love used incorrectly. This is what Augustine would call “malus amor” forgetting that, as Virgil reminds us, Love “cannot be the cause of wrongful pleasure.” This clarifies much when we read of the supposed love of Francesca da Rimini for her lover Paolo in Inferno 5, or comparing the love of Cavalcanti for his son with the love of Farinata for Florence in Inferno 10. Even Ulysses’ doomed love for learning and discovery is set in its proper context in Inferno 26, for according to this paradigm, he had no proper love he was without proper moderation and had even less discernment. This, of course, leads us all the way back to the Golden Mean of Aristotle too…

​All You Need Is Love… NOT!
The Beatles obviously had not read this Canto! Love misused and misdirected or even misplaced will not lead to a whole and holy life. Indeed, the misuse of love will more often than not lead to the abuse and misuse of other human beings, those beloved ones made in the image of God and for whom Christ died. We will be looking at these concepts further in the Commedia, but let me stay a moment more on the level of Sloth before signing off. Let’s remember that there is a priority of place in Dante’s universe. Sloth is where it is due to its placement between the lower and greater sins Pride, Envy and Wrath and the ‘lesser’ sins further up the mountain, Avarice, Gluttony and Lust. The sins below Sloth destroy others and community. The sins above Sloth represent the immoderate love of good things which should be secondary in one’s life, basically destroy oneself. Food or sex or material wealth are not evil in and of themselves. It is only when they take the place of God the Lover and Creator that they become sinful.  Robert Hollander notes, “By failing to respond to God’s offered love more energetically, the slothful are more rebellious to Him than are the avaricious, gluttonous, and lustful… .” Indeed. Here is where Aristotle’s golden mean becomes a bit jaded and stale. God is looking for more than just those who won’t make mistakes or don’t act fiercely and lovingly, even if in the wrong direction. None of the commentaries I read had this Biblical quote, but it belongs here:

Revelation 3:16: “I know your deeds, that you are neither cold nor hot; I wish that you were cold or hot. So because you are lukewarm, and neither hot nor cold, I will spit you out of My mouth.”

I suppose if I had my ‘druthers’ I’d rather be guilty of being to passionate and foolhardy in my loves than to never have loved fiercely at all. 

Showing Off
Even though I have read this Canto at least seven times over the span of 30 years, I am still flummoxed, and truthfully, bored by two thirds of it. In my opinion, the academic [read PEDANTIC] descriptions of the state of the soul, which in reality is Plato vs. Aristotle and Aquinas, add almost nothing to the Commedia and the current journey up the side of Mount Purgatory. Add to that the convoluted scientific / mythic [read EVEN MORE PEDANTIC] descriptions of the sun’s position and the angle of the equator and we have, in one sense, Dante the Poet showing off his incredible knowledge. I find it almost as mind – numbing as reading the poetry of Ezra Pound or Joyce’s Finnegan’s Wake. [Read here ZZZZZZZZZZZZZZZZZZ…]
    And yet, hidden within this Canto are a few jewels of discernment as well as a marvelous admission at the end of Dante the Poet’s own pride and a puncturing of that in the final, delightful conversation with Belacqua. 

Upward Bound
One such jewel which we will encounter time and again, especially as Dante the Pilgrim journeys through Purgatory, is the necessity of striving and single minded dedication. He tells us that he is in need of flight because the way up Mount Purgatory, is worse than any trail on earth. Indeed, it looks impossible. 

25 One may go up to San Leo or descend to Noli
26 or mount to the summits of Bismàntova or Cacùme
27 on foot, but here one had to fly--

But then, almost with unnecessary oversimplification, we are told that flight is really just a metaphor describing the desire to live and walk in the spiritual way.

28 I mean with the swift wings and plumage
29 of great desire, following that guidance
30 which gave me hope and showed me light.

And in truth, I have discovered this in my own spiritual journey. My Indian Orthodox spiritual father and director has led me for 35 years, and at times, he too has remarked that we must continue on this path, in faith, even though at times we know not where it leads. That is the walk of faith. “Just keep climbing … until some guide who knows the way appears…” Indeed. We have done that. Even though I have wanted to stop, and it seemed as if I could go no further.

43 Exhausted, I complained:
44 'Belovèd father, turn around and see
45 how I'll be left alone unless you pause.'
46 'My son,' he said, 'drag yourself up there,'
47 pointing to a ledge a little higher,
48 which from that place encircles all the hill.
49 His words so spurred me on
50 I forced myself to clamber up
51 until I stood upon the ledge.

There were times in my three plus decades of pastoral ministry and fifteen years of teaching at the graduate level where it felt as though I were dragging myself, following the call, and believing that this was God’s work, even though it felt at times like crucifixion. Dante the Poet, and I also, have little patience with the Pollyanna view of an ever-smiling pilgrim doing God’s good work with no pain, no doubts, no tears, no cross. 

To Sit, Perchance To Rest
And here we have Dante the Poet relieving the pedantic descriptions and the fierce striving and sacrifice with a bit of self – critique and humor. The great desire for Dante the Pilgrim to sit and rest is remarked upon by his old friend Belacqua, who not only chides him about resting but also comments on the extended commentary about the sun’s journey [I imagine him doing so with a yawn and a wry smile…]:

98 a voice close by called out: 'Perhaps
99 you'll feel the need to sit before then…'

119 to say: 'Have you marked how the sun
120 drives his car past your left shoulder?'

The dear dialogue between the two is fresh, authentic and comes from their actual shared friendship. Yes, there is a sense of urgency still in Dante the Pilgrim’s journey but there is time too, for shared celebration in Belacqua’s salvation, however muted by subtle humor and repartee. It is a lovely, knowing end to a Canto that began with self-referent showing off of philosophy and scientific theories. 
    Still and all, Virgil knows the true priorities what this journey is all about; saving Dante the Pilgrim’s soul. He brooks no more delay: time to move on.

136 And now, not waiting for me, the poet began
137 to climb the path, saying: 'Come along.
138 Look, now the sun is touching the meridian,
139 and on Morocco's shore night sets her foot.'

Only in Purgatory are we guided by time: it is crucial to keep moving while it is day. We will find soon enough, that the quotidian perspective rules this realm.