Inferno: Canto 2 -- The Descent
As we begin our descent into the pit of hell, it's very easy for us to look at the road ahead as part of an eschatological system in which the purpose of life is to find fulfillment or disenfranchisement in the world beyond. That was one of the defining features of the medieval period, "which saw the earthly life as a 'vale of tears,' a period of trial and suffering, an unpleasant but necessary preparation for the after-life where alone man could expect to enjoy happiness" (Ciardi 6). The medieval period was also defined by scholasticism, mysticism, a dichotomy between Christianity and Islam, a resurgence of the learning of Aristotle (ironically brought about in part by translations from Arabic), and the like. It is for this reason that the poem is medieval (and the last great tribute to medieval thought), but Ciardi argues that it is not a "celebration and glorication" of the times in the same way as Dante's guide Virgil hailed the greatness of Rome in the Aeneid. "The Comedy," Ciardi writes, "is a glorification of the ways of God, but it is also a sharp and great-minded protest at the ways in which men have thwarted the divine plan. This plan, as Dante conceived it, was very different from the typically medieval view. To Dante such an idea was totally repugnant" (6). As a result, we are able to find in Dante the idea not only of his having been the greatest writer of the medieval period, but also that of his having been a great transitional figure from the medieval period into the Renaissance (though he'll get no credit for it). "He gloried in his God-given talent, his well-disciplined faculties," Ciardi continues, "and it seemed inconceivable to him that he and mankind in general should not have been intended to develop to the fullest their specifically human potential. The whole Comedy is pervaded by his conviction that man should seek earthly immortality by his worthy actions here, as well as prepare to merit the life everlasting" (6-7). While this is an appropriate testament to human endeavor and accomplishment, it also happens to be one of Dante's visions that will later land him on pride's cornice for some time in Purgatory. Dante doesn't seem to mind, though, for he believes that we ought to live to our fullest potential on this earth; otherwise, why would God have given us so many gifts (and the free will to abuse them in so many ways as we're about to discover) in his establishing us as communal beings responsible to ourselves, our neighbors, and our God? The road to heaven is not just narrow and steep; it's a much longer journey, a process of growing in the realization that our having been created in the image of God means something on this planet.
At the end of this canto, Dante steps into hell with a joyous heart. Is it possible that when we understand our purpose and that God is ultimately the one who gave it to us that hell really has no power over us? How might that realization help us live better lives, more fully in accord with the God's purpose for us on earth?
*Take note, there's a new map on the left that provides a good set of footnotes for the various cantos. Also, the Cardinal Dulles video is pretty solid theology for us at this point in our journey -- it's also quite witty -- a good listen as it'll prepare you for what you're about to endure.
posted by Sebastian Mahfood at 9:06 PM
13 Comments:
The road to heaven is not just narrow and steep; it's a much longer journey, a process of growing in the realization that our having been created in the image of God means something on this planet. At the end of this canto, Dante steps into hell with a joyous heart. Is it possible that when we understand our purpose and that God is ultimately the one who gave it to us that hell really has no power over us? Sebastian, I would agree with you about understanding our purpose and thus hell really not having power over us but one also I think has to take a look at what is said in line 90. Beatrice tells Virgil “that is to fear which has the power to harm, and nothing else is fearful even in hell”. Dante can joyfully enter through the gates of hell because he has nothing really to fear. Who could fear anything after hearing that our Blessed Mother, has sent Love by way of Divine Light to help you come to salvation. He had nothing to fear so hell could not cause him any harm.
How might that realization help us live better lives, more fully in accord with the God's purpose for us on earth? I think if we were to realize now here on earth our purpose and that God is ultimately the one who gave it to us and that hell really has no power over us we would understand that no matter how rocky the road or how steep the mountain, God has sent to us His only Son and the love that He and the Son share for each other send forth to us the Spirit this on top of the reassurance of the intersection of the Blessed Mother, we know we can get through any struggle or “hell” here on earth, mainly because we have nothing to fear.
At this point on his journey, the descent, Dante is presented as being in the realm of human reason, which can supposedly avoid the fires of hell and pains of purgatory, but not entrance to the glory of heaven. Yet at his entry into hell the detrmining factor in his effort to continue is not so much by the human reasoning of Virgil, but by the grace of Beatrice, Lucy, and Mary. I assume that these three women of virtue (a feminine Trinity?) are channels of God's grace and not simply more subtle human wisdom. Do we have here the foundation for the Hound of Heaven?
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As I reflect upon this canto, I was pondering why a virtuous pagan was commissioned to take Dante on the journey instead of a glorified soul? Rather striking, especially seeing how the virtuous pagan can only go so far and the glorified soul has entire access to all. It seems that the role of the virtuous pagan serves as a tour guide in heaven. The glorified soul, on the other hand, is so endowed with the beatific vision that it remains with God and commissions others to do its bidding. This seems to make some logical sense, since the virtuous pagans are neutral about the whole “big shebang,” and the glorified souls wants nothing more than perfect union with the divine for all eternity. But as we will discover, it makes sense that Virgil was commissioned. This not only fostered great ease for Dante, in awe of one of his lifelong personal superheroes, but also a longing in Dante to keep pushing onward through his journey, knowing that his beloved Beatrice waits just in anticipation of his arrival. If Beatrice was Dante’s guide from the beginning, it seems that he would be too infatuated with his beloved, rather than face what the cosmos has destined for him to witness. Dante rightly calls upon Mary, Lucia, and Rachel for their intercession of compassion, divine light, and contemplation. This way his chances of surviving the perilous journey that lies ahead will be bountiful and redemptive.
This is right on the target, Adam -- your interpretation of Beatrice's explanation to Virgil of how she came to lower herself to hell is quite appropriate. She says, “that is to fear which has the power to harm, and nothing else is fearful even in hell” (89-90). She goes further to write, "I am so made by God's all-seeing mercy your anguish does not touch me, and the flame of this great burning has no power upon me" (91-3). Now, Virgil tells all this to Dante for a reason -- Dante's lost his nerve when he comes to the edge of the pit, and he's not certain that he wants to go in. If Beatrice can stand the flames from her state of grace, then perhaps Dante can at least avoid being singed as long as he has human reason as a guide. You'll find, though, that Dante, like St. Peter throughout the Gospels, isn't always constant in his resolve. There are several places in hell of which he's mortally afraid, and even Virgil shows fear and frustration on some occasions. Like the Hobbits in Lord of the Rings, though, they persevere because they, like you, "know we can get through any struggle or 'hell' here on earth, mainly because we have nothing to fear" through God's grace. It brings to mind one of my favorite quotes, drawn from FDR's first inaugural address in 1933: "let me assert my firm belief that the only thing we have to fear is fear itself—nameless, unreasoning, unjustified terror which paralyzes needed efforts to convert retreat into advance." This is not to say that there aren't times when it would be wiser to show caution than courage; rather, it is to say that we should let no obstacle stand in our way as we move through our journey to God.
S.
Indeed, Fr. Earl, human reason is not enough to get us to the beatific vision, which is why Virgil will eventually have to turn back with no hope of stepping into the promised land. To enter heaven, we need grace, which Virgil doesn't have. Dante, on the other hand, since he is still within his living flesh, has it within him to ascend to God, and this is likely why he responds so well to the story of its being divine grace that has prompted his journey and divine grace that will see him through it.
I like your observation that Dante's "determining factor in his effort to continue is not so much by the human reasoning of Virgil, but . . . the grace of Beatrice, Lucy, and Mary." Even after Virgil summons him to the journey, his human reason isn't strong enough not to falter at the edge of the pit, and Dante asks, "But I?--How should I dare? By whose permission? I am not Aeneas. I am not Paul" (31-33). In this doubt, he links Aeneas's trip to the underworld to see his father (Aeneid, Book VI) with Paul's trip to the third heaven (2 Corinthians 12: 2-4), another opportunity for him to knit together the pagan and Christian cosmologies into a single Catholic cosmos.
Virgil, sensing Dante's real question -- by whose authority? -- with the same telepathic powers he'll demonstrate throughout their time together, responds quite simply that a woman Dante loves came to him after being prompted to do so by Lucy, the patron saint of light, who herself had been prompted by Mary, Queen of Heaven. So, your assumption that here these three women represent "channels of God's grace and not simply more subtle human wisdom" is quite on the mark. Each of them lie within and beyond the Mystical Rose, at the heart of God's bosom and therefore enjoy the greatest fill of Grace in the cosmos. It is only natural that this grace would be what taught [Dante's] heart to fear,
And grace [his] fears relieved;" for "How precious did that grace appear The hour [he] first believed." Were it not inappropriate as we step into hell to utter up the prayer, I'd post the entire song for you right here.
So, how would you answer your final question -- "Do we have here the foundation for the Hound of Heaven?"
S.
Sean, that Beatrice is his aim and goal, and that she represents for him the divine love of God, is made plain in La Vita Nuova, to which I'll introduce you in Purgatory when it is more proper to speak of things like love. In the meantime, I'll leave you with the last few lines of this penultimate poem:
"After writing this sonetto a miraculous vision appeared to me, in which I saw things which made me decide to write nothing more of this blessed one until such time as I could treat of her more worthily.
"And to achieve this I study as much as I can, as she truly knows. So that, if it pleases Him by whom all things live, that my life lasts a few years, I hope to write of her what has never been written of any woman.
"And then may it be pleasing to Him who is the Lord of courtesy, that my soul might go to see the glory of its lady, that is of that blessed Beatrice, who gloriously gazes on the face of Him qui est per omnia secula benedictus: who is blessed throughout all the ages." (La Vita Nuova, Stanza 42.
S.
Canto II
As Dante looks at his life he realizes that he has offended his God and must reconcile his sins to him. Clearly, he is afraid. It is easier for him to ask for forgiveness from the Almighty than it is for him to forgive himself. The atrocity of his offenses fuels his fear. Taking his first step into Hell Dante waivers, wallows, and wails in his wretchedness, and wickedness, waffling between trusting his poet guide Virgil and self-pity; his heart says yes, his mind waffles, and his feet say no. The Divine calls from deep within and sends his light to rescue Dante from himself; his unworthiness is actually an excuse he simply doesn’t want to face his fears. Virgil realizes he cannot continue unless Dante takes the next important step so he waits patiently as his friends and helpers, messengers from God, angels of light, encourage Dante to take the next step in the multi-step program of redemption. Virgil steps out of the light and allows the three messengers of a brighter light (the light of reason powered by the Divine) to call forth the deep within Dante. Their work is convincing and Dante and Virgil proceed. What Dante doesn’t realize is that the work of redemption is up to God. When God redeems us we simply have to acquiesce no matter what, accept God’s love and his graces and carry on; he loves us so much he doesn’t give up, even in the face of Hell. He sends in a front-runner and when we waffle, he sends in the reinforcements, the backups, the angelettes. In his light we see light itself. Wow.
I am reminded of four scripture passages that speak of the steps in this process. I relate to Dante and think most people would, especially seminarians preparing for ordination someday.
Isaiah 43:1 “Do not fear, for I have redeemed you; I have called you each by name, you are mine”
Romans 3:23 “For all have sinned and fallen short of the glory of God”
Psalm 91:11 “For he will command his angels concerning you to guard you in all thy ways”
Psalm 36:9 “In your light we see light itself”
These scriptures passages have been with me from the beginning of my call to the priesthood. Who would have ever thunk I’d have to go to hell and back to realize this is what the Divine wanted all the time, funny, and then to revisit it from time to time for reassurance. Really funny.
Dante’s descent into hell in this cantor seemed to be a way of reconcilling with God because he realize that the world is corrupt and that the only way of overcoming sin, is to conquer the earth. The idea then is that sin begets fear and once human mind conquers fear of death, they will become one with the divine. Hence, I very much agree with you that “The whole Comedy is pervaded by his [Dante] conviction that man should seek earthly immortality by his worthy actions here, as well as prepare to merit the life everlasting" (6-7). While this is an appropriate testament to human endeavor and accomplishment, it also happens to be one of Dante's visions that will later land him on pride's cornice for some time in Purgatory”. Dante belived that just as Jesus became glorified after his ressurection from the death, we should seek self fulfilment by dying to sin thereby overcoming the greatest enamy to our existence (sin and death).
I like the image, Marioneteer, of there being a multi-step program for our salvation. As in any AA meeting, it likely begins with confession, "Hello, my name is X, and I'm a . . . sinner." The three divine women pulling for Dante (a fourth if you consider that Beatrice was talking to Rachel (the symbol of divine contemplation) when Lucia (the symbol of light) was sent by Mary (the queen of heaven) to ask her to descend to Virgil and ask him to save Dante) are divine graces that pull for all of us -- sometimes, we need human reason to point out to us the need to listen. If you follow the path of Dante's idea of grace, then, it starts with recognition of loss, with reclamation by reason, with a vision of divine grace, and with a visible path to redemption. That's what's up here, as you've pointed out -- and it begins with "Father, forgive me, for I have sinned . . ."
S.
Shalom Leka, what you have written reminds me of Christ's song in Jesus Christ, Superstar, where he sings, ". . . to conquer death, you only have to die." The idea of our death, then, is a death to sin and a resurrection in the light of Christ, which is the purpose for which Dante strives as he enters the pit.
S.
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