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Table of contents
Then brightest Aurora who serves the sun advances and, dawning, the skies, vista by vista, are closed till even the loveliest is gone. If anything, he sounds pathetic when, consumed by thirst, he recalls the brooks that trickle down from the Casentine, and terribly angry because he cannot move an inch when he curses the Romenas and Sinon. Dante the pilgrim would thus appear to be not an active counterfeiter, but as one who deceived himself into believing those images true Purg. The sinners of the tenth bolgia suffer unquenchable thirst, and water is, to one of them at least, a dream.
Master Adam has the icy cold, sweet streams which flow into the Arno from the green hills of Casentine always before his eyes. Water has, in him, turned into the putrid humour that blows up his belly. The contrast could not be starker. In Purgatorio xxx, on the other hand, it is the melting snow of the Apennines that, as we shall see, turns into water when the warm wind from Africa blows on the mountains Purg. Finally, in Paradiso xxx a river of light becomes visible, and the pilgrim bends down to drink from it with his eyes. The river immediately becomes a lake, or an ocean — a circular figure, in any case, greater than the sun — and the image of the brooks falling from the Casentine returns, after sixty cantos, to describe the way in which thousands of blessed souls are mirrored in that light:.
Elsewhere, I have examined this passage as a recognition scene. The passage opens with the astronomical image I mentioned at the beginning, and immediately afterwards it is widened and deepened by three proclamations and two similes. In the second simile, the rising of the sun veiled by mist at dawn is the image by which Dante presents the appearance of the lady herself. Dante compares the rising on the chariot of the ministers and messengers of eternal life, the angels, to the rising of the blessed on Doomsday:. Quali i beati al novissimo bando surgeran presti ognun di sua caverna, la revestita voce alleluiando, cotali in su la divina basterna si levar cento, ad vocem tanti senis, ministri e messagger di vita etterna.
The resurrection of the flesh is a scene neither Dante nor we have ever witnessed. He does not recognize Beatrice, but himself and his old love for her. Before having visual cognition of her, his soul feels the same wonder and trembling it used to feel in adolescence:. In quoting one of his lines to Virgil, Dante is therefore paying him double tribute, acknowledging the divine status of the poetry of the Aeneid.
Hence we must ask what the correspondence and inversion might mean. What Ulysses and Beatrice, the two ancient flames, have in common is the burning desire to apprehend and comprehend — they are two figures of intellectual activity, and hence the two most important characters of the Comedy. God Himself. Before this action, inspired by the Virgin Mary and by Lucy, Beatrice sat on her throne in the Empyrean, absorbed in contemplation.
The simile the poet now uses is a crucial example of supreme purgatorial poetry, that is, of a poetry which still employs earthly, and indeed ponderous, terms of comparison, but at the same time points to the lightness of the Paradiso. But when the southern lands where shadow fails breathe once again, within itself it thaws, then trickles down, as candles melt in flames.
Then the snow drips into itself, i. And a final simile within the simile, the absolutely simple, normal, common flame melting the candle, concludes the passage. In terms of poetry, this is what T.
Shadowy Snow
It announces themes and images which the later canto develops and fulfils in the blazing light of the Empyrean. For instance, the theme of resurrection and Doomsday, which in Purgatorio xxx appears, as we have seen, in a simile, becomes central in the corresponding canto of Paradiso.
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It is a time warp which depends only on the way one looks at it. We have seen how she acquires Biblical and liturgical connotations when she appears in the Garden of Eden, while retaining key features of her earlier Vita nuova incarnation. Se quanto infino a qui di lei si dice fosse conchiuso tutto in una loda, poca sarebbe a fornir questa vice. The beauty I saw, transcending every kind, is far beyond us here — nor only us. Its maker, I think, alone could know its joy.
As sunlight trembles in enfeebled eyes, calling to mind how sweet to me her smile was, itself deprives my mind of memory. Not since the day that I, in our first life, first saw her face until this living sight, has song in me been cut so cleanly short. It is, however, right that I stand down — as every artist, at the utmost, does — and no more trace her beauty, forming verse.
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And so what then she was I now will leave to clarions far greater than my trumpet sounds, and draw my vaunting line towards its end. Later, he says that recalling her smile deprives his mind of its very self and that, although from the first day he saw her he never stopped singing of her, he must now desist pursuing her beauty in poetry, as every artist does when he comes to his limit.
It is a beauty Beatrice herself first predicates on her own figure in Purgatorio xxx, and which she herself says in Paradiso xxi constantly increases as they climb higher up through the Heavens. The sacred writers lift up a hymn of praise to this Good. They call it beautiful, beauty, love dilectio , and beloved diligibile. They give it the names which convey that it is the source of loveliness and is the flowering of grace.
For we recognize the difference in intelligible beings between qualities that are shared and the objects which share them. Supersubstantiale vero pulchrum, pulchritudo quidem dicitur propter traditam ab Ipso omnibus existentibus, iuxta proprietatem uniuscuiusque, pulchritudinem et sicut universorum consonantiae et claritatis causa, ad similitudinem luminis, cum fulgore immittens universis pulchrificas fontani radii ipsius traditiones et sicut omnia ad seipsum vocans unde et callos dicitur et sicut tota in totis congregans.
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It is given this name because it is the cause of harmony and splendour in everything, because like a light it flashes onto everything the beauty-causing impartations of its own well-spring ray. Through you I came to see triumph exalting in the realm of truth. Grant me true strength to say what then I saw!
But the incipit in fact goes back to the conclusion of Purgatorio xxxi:. Who would not seem — though pale from studying deep in Parnassian shade, whose wells he drinks — still to be much encumbered in his mind, endeavouring to draw what you then seemed, where Heavens in harmony alone enshadow you, as you came forth and showed yourself in air?
But Dante cannot have failed to notice that this line returns at the beginning of the Epistle to the Hebrews 1: 3 , where it explicitly refers to Christ. Kirkpatrick London: Penguin, — Getto Florence: Sansoni, , pp. Get it here. To download it locally, get it here. Open image. You've already downloaded this file.
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