It’s true. Paradiso is not as interesting as the rest of Dante’s Divine Comedy. Compared to Inferno (and even Purgatorio), Paradiso is a slow, dreary slog. Like Milton’s Satan, Dante’s Inferno is yet another embarrassing example of the curious literary axiom that the wicked make better stories than the pious. For some reason, damnation will always be a hot seller. And yet, I couldn’t help but notice the sizable entrance of the Trinity into Paradiso. While it is almost nonexistent in Inferno and Purgatorio, the Trinity is a key “character” in Paradiso. I wonder how differently the three parts of the Divine Comedy would be if the Trinity was allowed a little more economic wiggle room across the three-tiered universe? The vision of the Trinity in Paradiso is so geometric. It is a celestial mobile with everything in its right place, a little too much like the forced symmetry of the Athanasian Creed for my taste. (I know, the creeds aren’t really cooked to taste. I will gulp down the Athanasian Creed, even though it burns a little. But it does seem like Dante poured too many Euclidian axioms into his pot.) I wonder if Paradiso would have a better reputation if we saw something in heaven of the mystery of the cross and the unpredictability of the Spirit?
Speaking of the Spirit, throughout the Divine Comedy the Holy Spirit is almost non-existent. The Spirit’s work is supplanted, replaced largely by the benevolent influence of the stars, the angels, and the saints. And the Holy Spirit is not the only person who is obscured. Throughout the entire work, Jesus Christ’s humanity is downplayed to the point of near invisibility. The Son fills out the Trinity, but the incarnation of that Son occupies a woefully small place in Dante’s cosmology. As a result (and following much late Medieval theology), Mary comes to completely occupy the place of human mediator. When Christ is rarified to a cosmic principle, someone else has to step in to fill the mediating void. Or, as Athanasius put it: “What has not been assumed has not been redeemed.” If Jesus didn’t really become human, he didn’t really save humanity.
This elimination of Christ’s human nature shows up in Dante’s religious epistemology, too. If the Word was not fully incarnated, then there is a curious gap between our natural and our supernatural knowledge. For Dante, Virgil comes before Beatrice; reason comes before revelation. Then, at the end of the poem, Bernard comes after Beatrice, so that contemplation comes last after revelation. There is a fairly strict order to knowledge: first reason, then revelation, then contemplation. To borrow Hans Boersma’s striking image, in the late scholastic period, the beautiful tapestry of heaven and earth, revelation and reason began to come apart at the seams. The universe was already rivening into Kant’s chasmic bifurcation. Reason happens first, then revelation, and never the two shall meet.
Here, Augustine and Anselm are a good corrective, with their definition of “faith seeking understanding.” Reason doesn’t precede revelation. Revelation precedes reason, and indeed continually sanctifies it. On this, contemporary theologian Sarah Coakley is especially helpful. For Coakley, contemplation is not the end of theology. It punctuates our theological work as the beginning, the middle, and the end. As such, it is an essential practice of theology. Contemplative prayer continually sanctifies our reasoning about the revelation that we have received. I wonder if Coakley’s non-hierarchical model of knowledge is a more integrated and faithful way of receiving the grace of God daily in our acts of knowing.
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At the very end of the Divine Comedy, at the highest heights of heaven, St. Bernard prays to the Virgin Mary that she would “keep [Dante’s] affections pure after so great a vision.” Dante does have room for life after contemplation, but that life is one of precarious purity, not one of emboldened action. Compare St. Bernard’s prayer for pristine preservation with the actions of Jesus coming down from the mountain of the Transfiguration. Where Dante tries to keep his elevated contemplative superiority over against his Florentine rivals, Jesus re-enters the active life with vigor, by healing, casting out demons, and hanging out with dirty sinners. And he does all this in the power of the Spirit, a power which, as I mentioned earlier, is ominously lacking in Dante’s work.
Yes, it is also true that the vision of the Trinity at the end of the poem is intensely moving and aesthetically powerful. And it is true that at the end of the poem, all of the saints are gathered around the throne, forming a recap of the history of salvation. But it’s not enough. Where is the economic Trinity? Where is the action of God, known as Father, Son, and Holy Spirit, in the world of embodiment and history?
I am reminded of Wendell Berry’s sly mashup of the Divine Comedy in Jayber Crow. Berry, ever the modern, refuses to grant Heaven, Hell, and Purgatory their borders, preferring instead to blend them up inside one man’s soul. What if, cautiously following Berry, we let the Trinitarian cat out of the celestial bag and let it play in the theater of the world a little more, even into the depths of our condition? As Sarah Coakley would put it, the Holy Spirit dismantles our vision of God and puts it back together, in a daily process of being joined to Christ and so growing closer and closer to God. This practice of contemplation does not simply withdraw us into interiority. It also thrusts us out anew into passionate engagement with the world. This is the way the Trinity truly crafts our lives, not in a geometric model of the universe, not just within the caverns of our souls, but within the drama of the Triune God.