Dante in Paradise
The End of Allegorical Interpretation
Bibliographic Data
| ID | 4270922 |
|---|---|
| Authors | Magnus Ullen (0000-0001-5104-1716, corresponding author) |
| Year | 2001 |
| Volume | 32 |
| Issue | 1 |
| Pages | 177-197 |
| Publication date | 2001-12-01 |
| Open Access | No |
| Type | ARTICLE |
| Venue | New Literary History (JOURNAL) |
| Journal identifiers | ISSN: 0028-6087 • E-ISSN: 1080-661X |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.1353/nlh.2001.0010 |
| OpenAlex | W2016579651 |
| Language | EN |
| Citations received | 2 |
| References cited | 6 |
In the very last canto of The Divine Comedy, Dante finally comes to unite his gaze with that of God. God is an eternally moving circle of light, and as Dante looks into it he finds at its center the image of Christ--or, literally, "la nostra effige," our image. 1 This is a decisive moment: what Dante, and the reader along with him, sees reflected in the revolving circle of God is his own image; God is a circle "with our image within itself," and Christ being man, man is both reflected and contained in God: through the image of Christ we see not only God, but ourselves in God. Dante is unable to find words for this moment of unsurpassed transcendence, "se non che la mia mente fu percossa / da un fulgore in che sua voglia venne" [save that my mind was smitten by a flash wherein its wish came to it] (DC 140-41). There follow merely four lines: "A l'alta fantasia qui mancò possa; / ma già volgeva il mio disio e'l velle, / sì come rota ch'igualmente è mossa, / l'amor che move il sole e l'altre stelle" [Here power failed the lofty phantasy; but already my desire and my will were revolved, like a wheel that is evenly moved, by the Love which moves the sun and the other stars] (DC 142-45). Through this moment of unprecedented translucence, then, the desire of the poet is ultimately brought into harmony with that of the Creator, becoming itself a revolving wheel moving towards its fulfilment in God. Coinciding, as it does, with the end of the Comedy, this moment of transcendent inspiration is itself all times: a reference to a future already accomplished, which has nevertheless still to be begun, as this end in truth marks the moment which enables the beginning of the writing of the Comedy, the greatest of all allegories
Art · Art history · Interpretation (philosophy) · Linguistics · Literature · Paradise · Paradise lost · French Literature and Criticism · History · Philosophy · Renaissance and Early Modern Studies
| Citations per year | 0.09 |
|---|---|
| Citation span | 2003 - 2022 (20) |
| Highly cited | No |