Piccarda may have vanished, but the pilgrim still has his questions. Or are they doubts? He can’t voice them, so Beatrice steps up and articulates them, makes one very personal, and muddied the notion of a rational free will. He’s paralyzed . . . and maybe as frustrated as old King Nebuchadnezzar.
Read MorePiccarda Donati turns from the cryptic ending of her personal story to introduce a second woman in the lunar landscape: Constance I of Sicily, mother of the Holy Roman Emperor Frederick II and grandmother of Manfred (PURGATORIO, Canto III). The canto then ends with as many questions as it answers.
Read MorePiccarda Donati finally comes around to answering the question of who she is. She tells her personal story in four stanzas, ending it with a violent and elliptical tercet that connects her to two other women in COMEDY: Francesca in INFERNO and Pia in PURGATORIO.
Read MorePiccarda Donati has confessed her more humble position in the rotating heavens. Dante then wants to know why she doesn’t want more. Her answer leads her to the larger workings of the universe and an apotheosis of the will, as hers dissolves into the larger will that guides the universe.
Read MoreDante meets his first soul in Paradise, the former nun Piccarda Donati. We’ve already encountered her in COMEDY through her brother, Forese, among the gluttons on Mount Purgatory. And she is also a refraction of an infamous figure, Francesca in INFERNO V. Piccarda’s speech is like the moon itself: mottled with dark and light.
Read MoreDante is about to meet the first souls in heaven, the redeemed in the lush, sensual sphere of the moon. He sees what he believes is a reflection, then finds that he’s looking into the void, the same place his own thoughts are taking him. It’s not as bright as we might expect in the first rung of the heavens.
Read MoreBeatrice concludes her explanation for moon spots (or comes close to concluding it) by positing a vision of the rotating universe that involves blessed movers who may be the souls of the spheres they control (or impress with their minds), thereby moving her discourse close to heresy and close to a vision of a living universe.
Read MoreBeatrice continues her discussion of moon spots by voicing (and fabricating) an objection Dante might have to her argument against rare and dense material: maybe the dense material is farther back in the moon and reflects dimmer light. To disprove this notion, she proposes an experiment . . . which just happens to support both the incarnation and the trinity from orthodox Christian theology.
Read MoreBeatrice begins her explanation for moon spots (and her destruction of Dante’s explanation) by lofting her vision to the top of the visible universe, then bringing it down to experimental (and experiential) knowledge and the dizzying vertigo of mixed metaphors, all to bring Dante toward the ultimate inexpressible nature of the heavens.
Read MoreOur smartypants pilgrim Dante thinks he has the answer to why the moon has spots. It’s not that shoddy folklore. It’s all about natural philosophy. Problem is, Virgil was all about the folkloric explanation. And Beatrice is having none of it since he’s clearly “submerged” in fallacy, about the way Virgil was.
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