Dante’s Paradiso, the final canticle of The Divine Comedy, presents a formidable challenge to readers. Its intricate tapestry of theology, philosophy, and poetic virtuosity requires careful navigation. This article delves into the opening canto of Paradiso, exploring its core themes and highlighting the poetic strategies Dante employs to convey the inexpressible. We’ll focus specifically on the paradox of “più e meno” – the coexistence of the One and the Many – a central concept within this celestial realm.
Dante and Beatrice ascend through the celestial spheres, embarking on a journey that transcends human understanding. Illustration from an early printed edition of the Divine Comedy.
The very first tercet of Paradiso establishes this paradox: “La gloria di colui che tutto move per l’universo penetra, e risplende in una parte più e meno altrove” (Par. 1.1-3). Translated, this reads, “The glory of the One who moves all things permeates the universe and glows in one part more and in another less.” While the first two lines emphasize the all-encompassing unity of God, the third line introduces the crucial element of difference. God’s light, while pervading all, is received in varying degrees, creating a multiplicity within the overarching unity. This dynamic, the interplay between oneness and difference, forms the very heart of Paradiso.
Diagram depicting the hierarchical structure of the heavens in Dante’s cosmological vision. Each sphere represents a different level of divine influence.
Dante’s narrative in Paradiso is less a linear progression of events and more a series of interwoven reflections, prayers, and moments of profound, often indescribable, experience. The poet himself acknowledges the difficulty of recounting his journey, stating, “e vidi cose che ridire / né sa né può chi di là sù discende” (Par. 1.5-6) – “and I saw things that he who from that height descends, forgets or cannot speak.” This “ineffability topos” is a recurring theme throughout Paradiso, underscoring the limitations of human language in capturing divine realities.
The journey through Paradiso is driven by the pilgrim’s intellectual desire. As Dante approaches the ultimate object of his desire, his intellect is overwhelmed, and memory falters: “perché appressando sé al suo disire, nostro intelletto si profonda tanto, che dietro la memoria non può ire” (Par. 1.7-9) – “for nearing its desired end, our intellect sinks into an abyss so deep that memory fails to follow it.” This intimate connection between intellect and desire propels the narrative forward, prompting questions and inspiring Beatrice’s illuminating explanations.
Dante and Beatrice encounter the souls of the just in the celestial spheres. The visual representation highlights the ethereal nature of Paradiso.
The narrative “plot” of Paradiso 1 begins with Beatrice gazing at the sun, an act mirrored by Dante, leading to a transformative experience. He describes this as “trasumanar” (Par. 1.70) – a neologism meaning “to transcend the human.” This linguistic invention reflects Dante’s struggle to articulate the ineffable, pushing the boundaries of language to express his otherworldly experience. He likens his transformation to that of Glaucus, the fisherman from Ovid’s Metamorphoses who, upon consuming a magical herb, becomes a sea god. This Ovidian allusion underscores the theme of metamorphosis and the pilgrim’s journey beyond the human.
One of the remarkable aspects of Paradiso is the way Dante seamlessly blends narrative with philosophical and theological discourse. When Dante questions how he has ascended above the spheres of air and fire, Beatrice doesn’t simply answer his question. Instead, she expands the scope, explaining the order of the universe and how all created beings return to their rightful place in the “gran mar de l’essere” – the “great sea of being” (Par. 1.113). This metaphor, reminiscent of Glaucus becoming “consort in the sea with the other gods,” encapsulates the unifying principle of creation, where diverse beings find their place within the all-encompassing oneness of existence.
Medieval cosmological diagram illustrating the geocentric view of the universe. This visual representation provides context for Dante’s celestial journey.
Paradiso demands a deep engagement with both its poetic intricacies and its philosophical depth. By exploring the paradox of unity and difference, Dante invites us to contemplate the nature of existence and the relationship between the created and the Creator. The opening canto, with its evocative imagery and profound reflections, lays the foundation for this challenging yet rewarding journey through the celestial spheres. This exploration of Paradiso within The Divine Comedy provides a deeper understanding of Dante’s poetic vision and his masterful depiction of the ultimate union with the divine.