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Over 200,000 Hollywood insiders. Enhance your IMDb Page. Online - Your source for entertainment news, celebrities, celeb news, and celebrity gossip. Check out the hottest fashion, photos, movies and TV shows! The cause was the failure of the expectation I had over my return home. It had not happened, even though I had done everything in my power to make it so. The disappointment was crushing, especially because I believed that the path to my own inner peace depended on taking the road back to my father. When I was 1. 7, as a restless, anxious teenager, I wandered unawares into the Gothic cathedral at Chartres. The wonder and beauty of that medieval masterpiece made me realize that life was far more filled with joy, with possibility, with adventure and romance than I had imagined. I did not walk out of the cathedral that day a Christian, but I did leave as a pilgrim who was onto something. What I meant was that I needed my vision renewed, my spirit revived, my world re- enchanted by what I perceived there in 1. American teenager who thought he had seen it all, but who in truth had no idea how blind he was until he beheld the most beautiful church in the world. And then, killing time in a Barnes & Noble one hot south Louisiana afternoon, I opened a copy of Dante. Then, to the frightened Dante. I did not know it in that moment, but those were the first steps of a journey that would lead me through this incomparable 1. He had been caught up in the political intrigue and violence of his times, which, given the role of the medieval papacy in worldly politics, meant enmeshment in religious controversy and strife as well. Around 1. 30. 1, Florentine authorities aligned with the corrupt Pope Boniface VIII exiled the poet from his beloved city. He would never return. The trauma of this sentence, and the sins and failings that had brought about such injustice into his world, provoked a personal crisis in the middle- aged poet. He began writing the Commedia, his epic account of an imaginative journey from darkness to the ultimate light: theosis, or unity with God. Steeped in Scholasticism and church- state politics of the High Middle Ages, the Commedia is theologically deep and politically pungent, saturated in historical detail. It is impossible to understand the Commedia without a good set of translator. Undergraduates tend to prefer the cinematic vividness of the Inferno, inmates respond to the Purgatorio. It is a portrait of the cosmos that is at once an adventure story, a moral discourse, an allegory, and a means to stimulate the reader to reflection on higher theological and metaphysical realities. It is also, as the Dante scholar Prue Shaw puts it in her forthcoming book Reading Dante: From Here To Eternity, . For Dante, the worst sins are not those of the appetite. To give oneself over wholly to lust, gluttony, or greed is damnable, but not as damnable as the higher. The purpose of this tour of the infernal regions is to awaken the pilgrim to the reality of sin. Early in the Inferno, Dante has one of the most memorable encounters of the entire Commedia. Dante finds the Lustful punished for eternity by being blown around endlessly, like leaves in a gale. In both Inferno and Purgatorio, the punishments disclose the nature of the sin. The Lustful spent their mortal lives carried uncontrollably on the gusts of passion, so now they must spend eternity in perpetual turmoil. After asking to speak to one of the damned, Dante encounters Paolo and Francesca, who had been real- life lovers caught by Francesca. They are yoked together forever now, but only Francesca speaks. She tells the pilgrim that they read romantic literature together, and allowed themselves to be carried away by the narrative and seduced into playing the parts of the adulterous Lancelot and Guinevere. As the pilgrim and his guide move through Hell, Dante must learn not to fall for the self- justifying stories of the condemned because to do so is to minimize in his own understanding the seriousness of sin. In the previous one, the pilgrim found himself in Limbo, among the company of the Virtuous Pagans, including the great poets of antiquity, who count Dante as one of their own. He leaves feeling good about his status as a writer. Small wonder that he faints dead away as she finishes her story. To create is a sacred gift, and it must not be abused. According to his Catholic understanding, Dante punishes Sodomites in a part of Hell reserved for sins of Violence. That the Sodomites live running forever in a scorched desert discloses the nature of the sin: all that passionate heat, resulting in sterility. By this, almost the midpoint in the Inferno, the discerning reader has learned that Dante is no simple- minded Christian moralist. Here, among the Sodomites, the pilgrim has one of his most moving encounters. He meets his old teacher Brunetto Latini, a contemporary writer of distinction. Dante is shocked to find Brunetto in Hell and treats him with great courtesy, even honor. Instead, they talk of writing. The pilgrim tells his old master, the man who had taught him to write, that he finds himself passing through Hell because in life he had lost his way. Brunetto responds with encouragement, telling Dante that he. In the Commedia, the stars symbolize God. And travelers navigate by the stars. Brunetto, a teacher who was like a father to Dante, misleads him in two crucial ways: by counseling that the purpose of writing is to win worldly fame and by instructing the pilgrim that he should plot his course through life not by following the divine plan but by seeking his own interests. This is what landed Brunetto in Hell and rendered his writing sterile. As the pilgrim will learn by the end of his journey, the only way a true artist can be fruitful is by seeking to set his course by the divine plan and making his art serve truth and virtue, not the almighty self. Notice that in neither canto did Dante the poet set out teachings about art and moral responsibility. Rather, he leads the reader to reflect on each encounter and come to an awareness of higher truths embedded beneath the surface. Scholars call this method anagogical, meaning that it teaches by leading one to arrive at truth on one. Dante does this throughout the Commedia, which helps account for the poem. Early last autumn, my doctor, suspicious that my chronic fatigue had its roots in lingering anxiety after the 2. This I was reluctant to do; therapy is what people who can. When I began seeing the therapist, I expected him to tell me what my problem was and what I needed to do to fix it. But then, after a few of my routine post- session phone calls to my wife, I noticed that the true therapeutic work was happening in those conversations. I was leading myself toward a solution, which made it feel like it was my own; in truth, the therapist knew what he was doing all along. He was teaching and healing me anagogically. So was Dante. I have singled out two of the pilgrim. There was a third: Canto XXVI, Dante. Ulysses in Hell recalls the pitch he made to his men. But Ulysses marshaled it for an ignoble cause. He wanted knowledge for knowledge. The sun into which he led his faithful followers, past the known edge of the world, was a false god of his own ego. For using life- giving truths to mislead those under his command, using them to serve his own insatiable craving for knowledge, Ulysses earned Hell. Again, the reader who is also a writer is compelled to examine the limits of how he uses his own God- given gift. For obvious reasons, these encounters held particular interest for me as a writer in midlife and mid- career, not sure where to turn next. The more subtle and profound truth is that there are few readers who, if they are honest with themselves, will not see a reflection, however hazy, of themselves in virtually every sinner and every canto. And if they do not see themselves, they will undoubtedly see people they know and love, desire, hate, or fear. The Inferno teaches us what sin is, how sin works, how we allow ourselves to be seduced by it, and how we deaden our perception of its working within others. It is an encyclopedia of human failure. The Purgatorio, however, is an atlas showing the way out of the pit. This procession up the seven- story mountain is the pilgrim. This is his wandering in the desert to purge his memory of Egypt and its slavery. This is his journey toward cleansing the heart to will one thing: what God desires. The penitents in Purgatory are assured of salvation, but because their repentance on Earth was imperfect, they must undergo more purification to be made strong enough to bear the intense brilliance of God. Unlike the souls in Hell, who have permanently lost all ability to perceive God and themselves in relation to Him, the penitents of Purgatory know that they are bound for glory. They suffer, but because they know their pain is temporary and a necessary prelude to eternal bliss, they suffer happily. In Dante. For example, the Slothful, whose sin was a failure to love with appropriate zeal, train their deficient consciences through constant motion. Unlike the restless Sodomites, who walk endlessly through the blasted plain, going nowhere, the repentant Slothful are marching toward Paradise. I saw myself in their number. I, who love food and comfort inordinately, also saw myself on the 6th terrace, among the Gluttons, who are emaciated by hunger and thirst. There the pilgrim meets Forese Donati, a friend from back home now turned into a withered husk of himself. As hungry as they are to eat from it, the Gluttonous accept that the time of their release is not yet here. It would abate in God. |
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December 2016
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