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Authors: Dante

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The language of
Paradiso
is exceptional, in every sense of that word.
There are words here that literally were never before used in a poem (or sometimes anywhere else, as far as we know), some simply transferred from one linguistic field to a new one, others made up by our poet. For Dante’s versification, his wide-ranging lexicon (e.g., Latinisms, dialectical speech, Gallicisms, neologisms), his rhymes, and his stylistic traits, see the admirably clear and complete summary produced by John A. Scott (pp. 261–80) in his helpful introduction to the study of Dante (Scot.2004.2).

(5)  
Politics in
Paradiso.

In attempting to come to grips with
Purgatorio
, some readers experience difficulty because they take Dante’s views as being more “human” than they in fact are (e.g., the episode involving Matelda in Canto XXVIII may seem to some to valorize sensual love, while in fact it shows the need to transcend it). Others, dealing with
Paradiso
, make the mistake of considering the interests found in this
cantica
to be only “divine” (one oft-repeated view is that after we leave
Purgatorio
behind, the poem reveals no further interest in the political affairs of the world below—which is simply untrue). There is small need to insist on the political nature of so much of Dante’s interest in the first two canticles. (For a fairly recent bibliography, see Di Scipio [Disc.1983.1], p. 282, n. 1.)
Paradiso
, however, is frequently portrayed either as having left such worldly concerns behind or as, if they are seen as present, downplaying their importance. Such a view is countered by even casual attention to the text. The reader may want to consider Canto VI, in which Justinian narrates the history of the eagle of imperial Rome; Cantos XV–XVII, in the course of which Cacciaguida describes, in detail, the political life of Florence in the “good old days” and the city’s decline, as well as the future, political and personal, of its most famous exile, Dante Alighieri (see Davis [Davi.1968.1]); Canto XXVII (vv. 136–148), in which the poet offers the final political prophecy in the poem; and Canto XXX (vv. 133–148), where Beatrice shows Dante the vacant throne of the emperor Henry VII and savages the sitting pope (much to the dismay of some commentators, who think the poem should be more pacific at a point so near its vision of God). This is not to exhaust the passages showing a pronounced political concern in the final
cantica
, but does give a rapid sense of the importance of politics in it. Dante’s political views are less surprisingly found in
Paradiso
than one at first may think. From their very first presence in the poem (e.g., the prophecy of the
veltro
in
Inf
. I, Ciacco’s discussion of better times in Florence’s earlier history in
Inf
. VI), they are not mere political views, but reveal themselves as having a religious, even a providential, component.

Endword.

“This commentary, as demanding of our labor as it was of our publisher’s support, represents, published in these times, an act of faith in our schools and even more in the values found in our culture and in our history that some, shamefully and foolishly, attempt to make matters of debate. In order to preserve our humanity, we believe that it is indispensable to continue to practice philology, criticism, and literary history, that is, to make every effort to understand as precisely as possible the messages passed along to us by our common culture, which we in turn bear the responsibility of passing along to those to come. To be witnesses to and actors in a civilizational moment that reaches toward the future does not in any way deny the value of the past, the very source of our nourishment.” These words (here translated from the Italian), dated Easter 1978, were written by Umberto Bosco, coauthor (along with Giovanni Reggio) of, in the opinion of the author of these notes, one of the finest commentaries to
Paradiso
available. Bosco’s remarks, found on p. x of his
Premessa
, reflect the distress felt by many in Italy during one of the most difficult times of the postwar era, when Italian universities were besieged (often literally) by enemies, both external and internal, as the undersigned, a member of a commission of foreign scholars preparing a report on that situation, had opportunity to observe less than a year after Bosco wrote these words. A quarter of a century later, one hardly senses that the forces of civilization are winning the “culture wars” that seem almost embedded in university life and in the culture that lies outside the gates. On the other hand, one may take some comfort in the fact that Homer, Dante, Shakespeare, and other geniuses in the human arts, in whatever form they are appreciated, are still vital presences if only they are read or seen or heard. Whenever they cease their posthumous vitality, their extinction, like that of the dead canary in its cage within the confines of the coal mine, will tell those still breathing among us that it is time to get back to the surface or else, perhaps, to abandon hope.

Robert Hollander
           
Tortola, 21 January 2005

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The Paradiso: English
OUTLINE: PARADISO I
1–12
   
proem: looking back at the completed journey and the promise to narrate the rest of its course
13–36
   
invocation (fifth in the poem): the aid of
“Apollo”
13–21
   
invocation proper
22–36
   
result of such inspiration; justification for it
37–60
   
the narrative begins: Dante still in earthly paradise
37–42
   
the constellation Aries
43–48
   
noon: Dante looking as Beatrice looks into the sun
49–54
   
simile: the sun in her eyes and reflecting rays
55–60
   
Dante can look directly at the sun
61–81
   
the ascent toward the Moon
61–63
   
rising, Dante seems to see a second sun above him
64–66
   
he looks back to see the stars reflected in her eyes
67–72
   
simile:
Glaucus
and Dante’s own “transhumanation”
73–75
   
the poet cannot say whether he ascended in body
76–81
   
reaching the sublunary ring of fire:
son et lumière
82–141
   
Dante’s questions and Beatrice’s responses
82–93
   
the first question: where is he? and the response
94–99
   
the second: how can he pass through air and fire?
100–126
     
response: the upward inclination of all things
127–135
     
response: how things diverge from their true goal
136–141
     
response: but not Dante, now freed from sin
142
   
coda: Beatrice looks back up.
PARADISO I

               
The glory of Him who moves all things   

   

               
pervades the universe and shines   

3
             
in one part more and in another less.

               
I was in that heaven which receives   

   

   

               
more of His light. He who comes down from there   

6
             
can neither know nor tell what he has seen,

               
for, drawing near to its desire,   

               
so deeply is our intellect immersed

9
             
that memory cannot follow after it.   

               
Nevertheless, as much of the holy kingdom   

   

               
as I could store as treasure in my mind   

12
           
shall now become the subject of my song.   

               
O good Apollo, for this last labor   

   

   

               
make me a vessel worthy

15
           
of the gift of your belovèd laurel.

               
Up to this point, one peak of Mount Parnassus   

               
has been enough, but now I need them both

18
           
in order to confront the struggle that awaits.   

               
Enter my breast and breathe in me   

               
as when you drew out Marsyas,   

21
           
out from the sheathing of his limbs.

               
O holy Power, if you but lend me of yourself   

               
enough that I may show the merest shadow

24
           
of the blessèd kingdom stamped within my mind,

               
you shall find me at the foot of your belovèd tree,   

               
crowning myself with the very leaves

27
           
of which my theme and you will make me worthy.

               
So rarely, father, are they gathered   

               
to mark the triumph of a Caesar or a poet—   

30
           
fault and shame of human wishes—

               
that anyone’s even longing for them,

               
those leaves on the Peneian bough, should make

33
           
the joyous Delphic god give birth to joy.

               
Great fire leaps from the smallest spark.   

               
Perhaps, in my wake, prayer will be shaped   

36
           
with better words that Cyrrha may respond.

               
The lamp of the world rises on us mortals   

               
at different points. But, by the one that joins

39
           
four circles with three crossings, it comes forth

               
on a better course and in conjunction

               
with a better sign. Then it tempers and imprints

42
           
the wax of the world more to its own fashion.

               
Its rising near that point had brought out morning there

               
and evening here, and that hemisphere

45
           
was arrayed in light, this one in darkness,

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