Paradiso: Canto XXXII -- The Thrones
We've spoken a lot about love in these past 99 cantos, but the concept has always been nebulously defined. What is love, we must ask, that we would invest so much energy in its pursuit? Love is nothing more than the orientation of the will to God, and God's love is an invitation for us to come home, or, in the words of Fr. Edward James Richard, "Divine love is, by definition, friendship with God." This friendship, this orientation toward the good, is what we've gone through hell and climbed purgatory to discover, and if the road to perdition is paved with the rejection of virtue, in the focus on one part of the senses here and on another part of the senses there, then the road to salvation is a total orientation to the good, the totus tuus embraced by St. Louis Mary de Montfort and Karol Wojtila, where the whole being rejoices not in the chimera of piecemeal pleasures but in the sweetness and light of God's love. Our move toward God has been an evolutionary one as we have changed by subtle degrees in our orienting ourselves to the beatific vision, in our exercising the capacity each of us has to perceive and engage the good.

While we've experienced this evolution on a microcosmic level, St. Bernard explains it diachronically on a macrocosmic level. "In the first centuries of man's creation" (76), he writes, the innocence of children born into this world and "the true faith of their parents" in their orientation toward God, "was all they needed to achieve salvation" (77-8). This first age was followed by a second, which required of man his circumcision to mark himself as a child of God. The third age, though, inaugurated by Christ and preached by his disciples, gave us to understand that "unless perfectly baptized in Christ,/ such innocents went down among the blind" (83-4). In these three tercets, then, St. Bernard explains the evolution of God's covenant, not because God changed, but because man was evolving in his capacity to receive the good in the same way that Dante has been evolving from the moment he entered the Gate of Woe.
Even at the footsteps of God, in fact, Dante still cannot look upon Christ without first looking "on her who most resembles Christ,/ for only the great glory of her shining/ can purify your eyes to look on Christ" (85-7). No one, then, can come before God except through Christ, and no one can come to Christ except through Mary.
S.

While we've experienced this evolution on a microcosmic level, St. Bernard explains it diachronically on a macrocosmic level. "In the first centuries of man's creation" (76), he writes, the innocence of children born into this world and "the true faith of their parents" in their orientation toward God, "was all they needed to achieve salvation" (77-8). This first age was followed by a second, which required of man his circumcision to mark himself as a child of God. The third age, though, inaugurated by Christ and preached by his disciples, gave us to understand that "unless perfectly baptized in Christ,/ such innocents went down among the blind" (83-4). In these three tercets, then, St. Bernard explains the evolution of God's covenant, not because God changed, but because man was evolving in his capacity to receive the good in the same way that Dante has been evolving from the moment he entered the Gate of Woe.
Even at the footsteps of God, in fact, Dante still cannot look upon Christ without first looking "on her who most resembles Christ,/ for only the great glory of her shining/ can purify your eyes to look on Christ" (85-7). No one, then, can come before God except through Christ, and no one can come to Christ except through Mary.
S.


11 Comments:
Many and diverse people should be happy with this Canto. Half of the blessed lived before Christ (very ecumenical - anonymous Christians); many women are listed among the prominent Saints; as are many very young children. Mariolgists will be especially delighted that Mary is presentd as an essential part of salvation and the final grace to see God is offered through Mary (148). Such mariology, however, may be a little "over the top" for contemporary theology. Note lines 134-135, that while all the other saints have their eyes on Christ, St. Ann has her gaze fixed on her daughter even while praising God, singing Hosanna.
Speaking for every die-hard Mariologist out there, Fr. Earl, I can assure you that there is no "over the top" devotion to Mary as long as her relation to Christ is kept in perspective. That Anna should be gazing upon Mary instead of upon God could be problematic but that Mary was immaculately conceived, having issued forth from Anna's womb without the stain of original sin, and this alone makes her worthy of a veneration that seeks Christ, the fruit of her holy chalice, through her. I think, though, the concept of human features, of eyes, of ears, etc., has to be metaphoric at this level since we're still envisioning what would have to be geometric shapes and orientations (we lost sight of real human forms by the time we hit the sphere of the Sun). It's not that one gazes in a particular direction, but that one's gaze becomes a 360 panoramic. Our somatic reality that puts eyes facing from the front of our faces limits our ability to perceive that celestial beings might be able to see everything at once regardless of the point on which their attention is fixed. Being a parent myself, moreover, I understand what it is to gaze upon the greatest image of God I've ever known outside my own mother and father. If the sins of a person can be passed down to the seventh generation, then why not the virtues? Christ's grandmother, like all grandmothers, likely also have a sacred dispensation for doting on their young.
S.
It just occurred to me that my first response to you, Fr. Earl, might seem anachronistic in that the Constitution Ineffabilis Deus, in which Pius IX pronounced the doctrine of Immaculate Conception, was not constituted until December 8, 1854, 550 years too late for Dante to make use of it. I provide you with the New Advent.org explanations of this concept as derived from Scripture and Tradition, and you'll find that Dante had a wealth of materials from which to draw in placing Mary so high.
S.
Did Dante come up with the idea of heaven being a rose all on his own? If he did, I think that it is the most brilliant symbol in the comedy. It incorporates everything that we "know" about heaven. That there is order, that there is heirarchy, and that no matter where in this you fall, your vision of God is all consuming and unimpared.
On the topic of Mariology, I also found this image very fitting. Once when I was in Medugorje, Maria, who still receives daily apparations, told us that on that day Mary said that "our hearts are like roses that wither and die without prayer." How appropriate then, that the heavenly cosmos would be an unblemished rose continually nurtured by the light of God and the prayers of the saints and angels.
A professor of both Christology and Mariology would love the idea of having to gaze upon Mary before gazing upon God. Since all Christology only makes sense through Mary, and likewise, Mariology only being understood through the lense fo Christology, it makes sense that here, in the Divine Presence, one must gaze on the Blessed Lady before setting eyes upon God.
Concerning the Rose, Fr. Martin 2B, I found a few interesting articles on the history of its use:
PLAIN THEOSOPHICAL TRACES IN POETRY
The Rosy Cross
You might also see Barbara Seward's article entitled, "Dante's Mystic Rose." In Studies in Philology, LII, 515-523. [1955], which "sudies the symbolism of Dante's rose image and finds that it combines all meanings associated with the flower by tradition: as earthly woman (Beatrice for Dante, and hence the key for reconciling mortal and immortal love); then, on the four levels of interpretation outlined in the Letter to Can Grande, as the literal image of Paradise; as the allegorical representation of Christ's mission to humanity; as Mary's flower, the moral symbol of spiritual love, which brings salvation; and as God's flower, the anagogical symbol of the created universe." I couldn't find a link to it.
I also just sent an email to a Dr. Barbara Allen, who teaches a course on this very thing at Berkeley (and copied Fr. Martin 2B on the email to her), albeit with a DaVinci Code context (see kenrickparish.com/davinci.htm" for more on Kenrick's impression of the Code.
The short answer, though, is that there is a history of the Rose beyond Dante, who used the image in a unique way but didn't invent it. See, finally, the relevant part of the Spring 2004 edition of Discourses in Music.
S.
Fr. Martin 2B,
Here's the response for which we earlier asked:
"Dear Sebastian,
Lovely to hear from you, and your student. My personal opinion is, first, that Dante is the author of the contested "Il fiore," the allegorical-didactic poem he would have written early on. Thus the knight's quest for the flower in that poem undergoes the same sort of transformation Dante's love for Beatrice undergoes when he breaks off writing the Vita Nuova and "gets" that he can produce a text with all four levels of meaning including the anagogical.
As to whether he invents, discovers, the rose as a symbol for the feminine, I would say no. It is so widespread. Your student might want to read the Da Vinci Code just for fun and also for some suggestions (but not historical veracity, perhaps), and then look at Tom Peterson's book about the rose in Italian poetry, though I can't recall the title right now.
With all best wishes,
Beverly Allen
--
Beverly Allen, Ph.D.
Professor, Italian and Comparative Literature,
College of Arts and Sciences;
Faculty Affiliate, Center for European Studies,
Global Affairs Institute,
The Maxwell School;
Syracuse University"
S.
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