Part 16 (1/2)
_Canto XXVI._ As the poets move along the rim, Dante's shadow, cast upon the roaring flames, causes such wonder to the victims undergoing purification that one of them inquires who he may be. Just as Dante is about to answer, his attention is attracted by hosts of shadows, who, after exchanging hasty kisses, dash on, mentioning such famous examples of dissoluteness as Pasiphae, and the men who caused the destruction of Sodom and Gomorrah. Turning to his interlocutor, Dante then explains how he came hither and expresses a hope he may soon be received in bliss. The grateful spirit then gives his name, admits he sang too freely of carnal love, and adds that Dante would surely recognize many of his fellow-sufferers were he to point them out.
Then, bespeaking Dante's prayers, he plunges back into the fiery element which is to make him fit for Paradise.
_Canto XXVII._ Just as the sun is about to set, an angel approaches them, chanting ”Blessed are the pure in heart,” and bids them fearlessly pa.s.s through the wall of fire which alone stands between them and Paradise. Seeing Dante hang back timorously, Virgil reminds him he will find Beatrice on the other side, whereupon our poet plunges recklessly into the glowing furnace, where both his companions precede him, and whence all three issue on an upward path. There they make their couch on separate steps, and Dante gazes up at the stars until he falls asleep and dreams of a lovely lady, culling flowers in a meadow, singing she is Lea (the mediaeval type of active life), and stating that her sister Rachel (the emblem of contemplative life) spends the day gazing at herself in a mirror.
At dawn the pilgrims awake, and Virgil a.s.sures Dante before this day ends his hunger for a sight of Beatrice will be appeased. This prospect so lightens Dante's heart that he almost soars to the top of the stairway. There Virgil, who has led him through temporal and eternal fires, bids him follow his pleasure, until he meets the fair lady who bade him undertake this journey.
”Till those bright eyes With gladness come, which, weeping, made me haste To succor thee, thou mayst or seat thee down Or wander where thou wilt. Expect no more Sanction of warning voice or sign from me, Free of thine own arbitrament to choose.
Discreet, judicious. To distrust thy sense Were henceforth error. I invest thee then With crown and mitre, sovereign o'er thyself.”
_Canto XXVIII._ Through the Garden of Eden Dante now strolls with Statius and Virgil, until he beholds, on the other side of a pellucid stream (whose waters have the ”power to take away remembrance of offence”), a beautiful lady (the countess Matilda), who smiles upon him. Then she informs Dante she has come to ”answer every doubt” he cherishes, and, as they wander along on opposite sides of the stream, she expounds for his benefit the creation of man, the fall and its consequences, and informs him how all the plants that grow on earth originate here. The water at his feet issues from an unquenchable fountain, and divides into two streams, the first of which, Lethe, ”chases from the mind the memory of sin,” while the waters of the second, Eunoe, have the power to recall ”good deeds to one's mind.”
_Canto XXIX._ Suddenly the lady bids Dante pause, look, and hearken.
Then he sees a great light on the opposite sh.o.r.e, hears a wonderful music, and soon beholds a procession of spirits, so bright that they leave behind them a trail of rainbow-colored light. First among them march the four and twenty elders of the Book of Revelations; they are followed by four beasts (the Evangelists), and a gryphon, drawing a chariot (the Christian Church or Papal chair), far grander than any that ever graced imperial triumph at Rome. Personifications of the three evangelical virtues (Charity, Faith, and Hope) and of the four moral virtues (Prudence, etc.), together with St. Luke and St. Paul, the four great Doctors of the Church, and the apostle St. John, serve as body-guard for this chariot, which comes to a stop opposite Dante with a noise like thunder.
_Canto x.x.x._ The wonderful light, our poet now perceives, emanates from a seven-branched candlestick, and illuminates all the heavens like an aurora borealis. Then, amid the chanting, and while angels shower flowers down upon her, he beholds in the chariot a lady veiled in white, in whom, although transfigured, he instinctively recognizes Beatrice (a personification of Heavenly Wisdom). In his surprise Dante impulsively turns toward Virgil, only to discover that he has vanished!
Beatrice comforts him, however, by promising to be his guide hereafter, and gently reproaches him for the past until he casts shamefaced glances at his feet. There, in the stream (which serves as nature's mirror), he catches a reflection of his utter loathsomeness, and becomes so penitent, that Beatrice explains she purposely brought him hither by the awful road he has travelled to induce him to lead a changed life hereafter.
_Canto x.x.xI._ Beatrice then accuses him of yielding to the world's deceitful pleasures after she left him, and explains how he should, on the contrary, have striven to be virtuous so as to rejoin her. When she finally forgives him and bids him gaze into her face once more, he sees she surpa.s.ses her former self in loveliness as greatly as on earth she outshone all other women. Dante is so overcome by a sense of his utter unworthiness that he falls down unconscious, and on recovering his senses finds himself in the stream, upheld by the hand of a nymph (Matilda), who sweeps him along, ”swift as a shuttle bounding o'er the wave,” while angels chant ”Thou shalt wash me” and ”I shall be whiter than snow.”
Freed from all haunting memories of past sins by Lethe's waters, Dante finally lands on the ”blessed sh.o.r.e.” There Beatrice's hand-maidens welcome him, and beseech her to complete her work by revealing her inner beauty to this mortal, so he can portray it for mankind. But, although Dante gazes at her in breathless admiration, words fail him to render what he sees.
”O splendor!
O sacred light eternal! who is he, So pale with musing in Pierian shades, Or with that fount so lavishly imbued, Whose spirit should not fail him in the essay To represent thee such as thou didst seem, When under cope of the still-chiming heaven Thou gavest to open air thy charms reveal'd?”
_Canto x.x.xII._ Dante is still quenching a ”ten-years thirst” by staring at his beloved, when her attendants admonish him to desist.
But, although he obediently turns aside his eyes, like a man who has gazed too long at the sun, he sees her image stamped on all he looks at. He and Statius now humbly follow the glorious procession, which enters a forest and circles gravely round a barren tree-trunk, to which the chariot is tethered. Immediately the dry branches burst into bud and leaf, and, soothed by angelic music, Dante falls asleep, only to be favored by a vision so startling, that on awakening he eagerly looks around for Beatrice. The nymph who bore him safely through the waters then points her out, resting beneath the mystic tree, and Beatrice, rousing too, bids Dante note the fate of her chariot. The poet then sees an eagle (the Empire), swoop down from heaven, tear the tree asunder, and attack the Chariot (the Church), into which a fox (heresy) has sprung as if in quest of prey. Although the fox is soon routed by Beatrice, the eagle makes its nest in the chariot, beneath which arises a seven-headed monster (the seven capital sins), bearing on its back a giant, who alternately caresses and chastises a wh.o.r.e.
_Canto x.x.xIII._ The seven Virtues having chanted a hymn, Beatrice motions to Statius and Dante to follow her, asking the latter why he is so mute? Rejoining she best knows what he needs, Dante receives from her lips an explanation of what he has just seen, which he is bidden reveal to mankind. Conversing thus, they reach the second stream, of whose waters Beatrice bids her friend drink, and after that renovating draught Dante realizes he has now been made pure and ”apt for mounting to the stars.”
PARADISE
_Introduction._ The Paradise of Dante consists of nine crystalline spheres of different sizes, the Moon, Mercury, Venus, the Sun, Mars, Jupiter, Saturn, the Fixed Stars, and the Empyrean, enclosed one within the other, and revolved by the Angels, Archangels, Princedoms, Powers, Virtues, Dominations, Thrones, Cherubim, and Seraphim. Beyond these orbs, whose whirling motions cause ”the music of the spheres,”
lies a tenth circle, the real heaven (a Rose), where ”peace divine inhabits,” and of which the Divine Essence or Trinity forms the very core.
_Canto I._ Paradise opens with Dante's statement that in heaven he was ”witness of things, which to relate again, surpa.s.seth the power of him who comes from thence.” He therefore invokes the help of Apollo to describe that part of the universe upon which is lavished the greatest share of light. Then, while gazing up into Beatrice's eyes, Dante, freed from earth's trammels, suddenly feels himself soar upward, and is transferred with indescribable swiftness into a totally different medium.
_Canto II._ Perceiving his bewilderment, Beatrice rea.s.sures him in a motherly strain, and, gazing around him, Dante realizes they have entered the translucent circle of the moon (revolved by angels). After warning his fellow-men ”the way I pa.s.s ne'er yet was run,” Dante goes on to relate what Beatrice teaches him in regard to the heavenly spheres and spiritual evolution, and how she promises to reveal to him ”the truth thou lovest.”
_Canto III._ In the pearl-hued atmosphere of the moon, Dante beholds, ”as through a gla.s.s, darkly,” shadowy, nun-like forms, and is told by Beatrice to communicate with them. Addressing the form nearest him, Dante learns she is Piccarda (sister of Forese), who was kidnapped by her husband after she had taken the veil. Although she would fain have kept her religious vows, Piccarda proved a faithful wife, and declares she and her fellow-spirits are content to remain in their appointed sphere until called higher by the Almighty.
”She with those other spirits gently smiled; Then answer'd with such gladness, that she seem'd With love's first flame to glow: 'Brother! our will Is, in composure, settled by the power Of charity, who makes us will alone What we possess, and nought beyond desire.'”
All her companions also wished to be brides of Christ, but patiently did their duty, and, knowing that ”in His will is our tranquillity,”
they now spend all their time singing ”Ave Maria.” When these nun-like forms vanish, Dante gazes at Beatrice in hopes of learning more.
_Canto IV._ In reply to Dante's inquiring glance, Beatrice explains that those compelled to sin against their desire are ever held blameless in Heaven. Then, stating: