As Dante and the poets continue to walk along the stream, the lovely lady on the other side tells them to stop and pay careful attention. Soon, an intense burst of light flashes through the forest – a light that remains. They hear chanting in the distance, and Dante sees what he thinks are seven golden trees. As they move closer, he realizes that they are great candlesticks. And here before Dante begins a great mystical procession, at the center of which is a triumphal chariot drawn by an immense griffin.
(To read a footnote, click the number in the text. To come back from a footnote, click the up arrow at the note number.)
[1]This canto is one of the most unusual in the entire Commedia, and certainly the most amazing to this point in the Poem. It is nothing less than a spectacular ceremonial drama filled with allegory in … Continue reading
When that lady, moved by love, finished her explanations, she sang Beati quorum tecta sunt peccata! from Psalm thirty-two. As she continued walking upstream, I was reminded of those nymphs who frolicked with the sunlight in the shade of the forests, and I followed her with matching steps on my side of the stream.[2]Having answered all of Dante’s questions in the previous canto, Matelda sings the first verse from Psalm 32: “Blessed is the one whose fault is removed, whose sin is forgiven.” Starting with … Continue reading
We hadn’t taken a hundred steps when the stream between us curved and I faced the east again. Moving just a bit further on, the lovely lady stopped and turned to me, saying: “My brother, look now and listen.”[3]After a short walk along the banks of the Lethe (Matelda on her side and Dante, Virgil, and Statius on the opposite side) the stream curves and the group find themselves facing east and the … Continue reading
Suddenly, an intense burst of light like lightning flashed through the woods–except that, while lightning vanishes as quickly as it comes, this light remained and its brilliance increased. “What is this?” I asked myself, and then through that radiant air there came the strains of a gentle melody. Listening to such heavenly music roused up within me an anger at what Eve had done. To think that while everything on earth and in Heaven obeyed the will of God, she–freshly created–would so quickly disobey! If she had submitted to the simple rule of that Garden, I might have enjoyed, long before this, what now pleased me so deeply.[4]In spite of the fact that he’s been told there is no “weather” above the Gate below, Dante mistakes this burst of light for lightning until he realizes that its light is still there–and … Continue reading
While I continued walking along, entranced by this foretaste of heavenly joy, yearning for even more, the air in that forest seemed to catch on fire, and the pleasing song we heard now became a chant. O most holy Muses, grant me my reward for the toil and pain I have endured because of you: now let the streams of Helicon burst forth, and let Urania and her choir enable me to put such wondrous splendors into verse.[5]Dante is moving along the stream again, enchanted by the brilliant light which seems to have caught the air on fire, and the singing which has turned into a chant. Straining to comprehend what he … Continue reading
Not too much farther on, I saw what I thought were seven golden trees–but that was due to their distance. When I got close enough to make out their details, I realized that what I mistook for trees were actually great candlesticks. And the voices we heard were chanting Hosanna.[6]The great mystical pageant now begins. It is an allegory of the Church Triumphant, a theological term referring to all the Saints and all who have died and are in heaven. Up to this point in the Poem … Continue reading
Above this golden splendor there shone a light more brilliant than the light of a full moon at midnight in a cloudless sky. Filled with wonder, I turned around to my dear Virgil, but his face showed even more amazement than mine.[7]As Dante continues to observe the candelabra the light above them fills the dark forest more than a full moon on a clear night. It would seem that each candlestick on these candelabra has a light at … Continue reading
I turned back, then, to watch those great candlesticks which, very slowly, moved in our direction. “Why do you stare only at these living lights?” the lady asked from across the stream. “Don’t you want to see what follows them?”
It was only then that I saw people dressed in the whitest garments following those glowing lights, walking slowly like a new bride. To my left, the water in the stream reflected these lights, and I could see my left side there, as well. When I came to a point on my side of the stream where only the water separated us, I stopped to get a better view.[8]Though Matelda, reminiscent of Virgil, chides him here, it will become clear that Dante intends to focus on one part of the mystical pageant at a time. This way both he and his readers have time to … Continue reading
As those great candlesticks passed slowly in front of me, the air above them was filled with colors that gave the impression of banners or pennants. Those seven streams of light looked like a rainbow or the halo around the sun. Not only that, those streamers flowed back as far as one could see and measured about twenty feet wide.[9]As we have seen, it appears that the seven huge candlesticks do not have candles on them, but they do have lights. And now as they pass along the other side of the stream from Dante, he sees … Continue reading
In stately procession behind this colored splendor came twenty-four elders, two by two, all wearing crowns of fleur-de-lis. As they walked by, they sang “Benedicta, blessed are you among all the daughters of Adam, blessèd your beauty forever!”[10]As the stately procession moves slowly past Dante, we learn that the people dressed in white (symbolizing the illumination of faith) following the candlesticks are twenty-four elders crowned with … Continue reading
When that holy band of God’s elect had moved past, and the flowers and grass could be seen again, there followed four creatures wearing crowns of green leaves. Each of them had six feathered wings that were covered with eyes, reminding me of ancient Argus. It would take me too long to describe them in full detail because there was so much else to explain, but you can read about these creatures in Ezekiel’s prophecy. He saw them coming from the north with wind and clouds and fire. They appeared here almost exactly as he described them, except that my description of their wings follows that of St. John rather than him.[11]Now that the seven great candlesticks and the twenty-four elders have moved on, Dante’s attention is drawn to the next group in the mystical procession-the four winged creatures. … Continue reading
Now, those four creatures actually set the corners for an area that contained a triumphal two-wheeled chariot that was harnessed to a great griffin. Rising higher than I could see, both of his huge wings pierced either side of the middle stream of the seven banners of light overhead. All gold were the parts of it that were an eagle, and the rest were white with spots of vermilion. Neither Africanus nor Augustus ever had such a gorgeous chariot. For that matter, even the chariot of the sun couldn’t compare–the chariot that Phaëthon drove astray and had to be destroyed by Jove.[12]At this point we learn that the four creatures aren’t walking together in the mystical parade. Instead, they form the four corners of a large space within which glides an awesome chariot drawn by … Continue reading
Near the right wheel of the chariot, three ladies were dancing. One was such a gorgeous red that it would be hard to see in fire; a second seemed as if her flesh and bones were made completely of emerald; and the whiteness of the third looked like fresh snow. Sometimes the white dancer led and at other times the red would lead; and from the song of the red one the others would take up the tempo of the dance.[13]These three ladies dancing alongside the right wheel of the chariot represent the three Theological Virtues of Faith, Hope, and Love. They are traditionally associated with the colors white (Faith), … Continue reading
Alongside the left wheel, dancing happily, were four other ladies, dressed in purple gowns. They were led by the one with three eyes. Behind these seven dancing women came two elders, dressed differently, but grave and stately in their bearing. One elder was dressed as a disciple of Hippocrates, and the other carried a great sword–so sharp and bright that even on the other side of the stream I feared it! Behind these two came four others of humble bearing, and lastly an old man whose face was radiant, walking as if he were in a dream. Like the group in front, these seven elders were dressed in white garments; and instead of lilies, these were crowned with roses and other red flowers that looked like crowns of flames.[14]Along the left side of the chariot Dante sees four dancing ladies dressed in purple, led by one with three eyes. These ladies represent the Cardinal Virtues of Prudence, Justice, Fortitude, and … Continue reading
Finally, as the chariot came into position directly opposite me, there was a great clap of thunder, and the entire glorious procession came to a full stop.[15]With the entire mystical procession directly across the stream from him it now stops to the sound of a great clap of thunder–the thunder following the flash of light that introduced the procession. … Continue reading
[16]All in all, there are 9 sections to the Mystical Pageant, 43 characters, and 3 props: Section 1: The great gold candlesticks (prop 1). These represent the sevenfold Spirit of God symbolized in the … Continue reading
Notes & Commentary
| ↑1 | This canto is one of the most unusual in the entire Commedia, and certainly the most amazing to this point in the Poem. It is nothing less than a spectacular ceremonial drama filled with allegory in the form of a grand mystical procession or pageant. It stretches the reader’s imagination and leaves Dante and his companions stunned in awe. It’s purpose is to draw together all of sacred and secular history, in a sense the entire cosmos–earth and heaven, time and eternity–in preparation for the arrival of Beatrice and her long-awaited reunion with Dante. The Poet fills this canto with images that are inspired by similar images in the Book of the Prophet Ezekiel in the Hebrew Bible and the Book of Revelation at the end of the New Testament.
At the same time, the next three cantos stand at a kind of center point of the Poem as it harkens all the way back to Canto 2 of the Inferno where Beatrice commissioned Virgil to bring Dante to her by way of Hell and then Purgatory, and as it looks to the Paradiso and the final vision of God. |
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| ↑2 | Having answered all of Dante’s questions in the previous canto, Matelda sings the first verse from Psalm 32: “Blessed is the one whose fault is removed, whose sin is forgiven.” Starting with Dante’s first encounter with Matelda in the previous canto, commentators remark on the tender and gentle nature of Matelda and raise the question of whether or not Dante feels himself to be “in love” with her, particularly since she represents the kind of woman often the subject of love poems in the “sweet new style,” of which he is its greatest exponent. We read here that she is “moved by love.” But as Robert Hollander notes in his commentary: “She does indeed love the protagonist, but she is not in love with him, as he at first believed.” She has a great affection for him as indicated by the Italian word Dante uses to describe her here: innamorata. If we consider the Psalm verse she sang we can understand that her love is a reflection of the love and mercy of God who forgives (Dante’s) sins.
Following her step for step as she moves upstream, Dante’s imagination turns Matelda into a nymph at play in the forest speckled with sunlight. Earlier, recall, he envisioned her as another Proserpine. She is definitely a resource for the workings of his poetic imagination, which continues the theme of the poets of the Golden Age noted toward the end of the previous canto. |
| ↑3 | After a short walk along the banks of the Lethe (Matelda on her side and Dante, Virgil, and Statius on the opposite side) the stream curves and the group find themselves facing east and the still-rising sun. The east is an ancient Christian symbol for the rising of Christ, and in countless churches, the altar toward which we pray, is at the east end.
Keeping this symbolism in mind, Matelda’s words carry a heightened sense of expectation as she stops and tells Dante (“my brother”) to look and listen. At this moment, as some commentators suggest, Matelda raises the curtain on a drama of profound proportions, and nothing will be the same after this. |
| ↑4 | In spite of the fact that he’s been told there is no “weather” above the Gate below, Dante mistakes this burst of light for lightning until he realizes that its light is still there–and increasing in brightness. Added to this mysterious light is beautiful (“heavenly”) music, which causes him to vent his anger at Eve who, by her sin, lost the whole of this heavenly place for the rest of humankind, including himself. |
| ↑5 | Dante is moving along the stream again, enchanted by the brilliant light which seems to have caught the air on fire, and the singing which has turned into a chant. Straining to comprehend what he sees and hears, and yearning for even more, he invokes the Muses to come to his aid by enabling him to write it all down. This holy invocation was common among the ancients who sought the Muses’ inspiration. Recall that Dante invoked Caliope, the chief of the Muses and Muse of epic poetry, in the first canto of the Purgatorio. Now he invokes Urania, the muse of astronomy and all things celestial–another foretaste of what is to come. The Poem he writes (and which we read) will be their reward to him for his perseverance. His asking the Muses to “let the streams of Helicon burst forth” is a reference to their home on the mountain sacred to Apollo (god of poetry). On this mountain there were two fountains, Aganippe and Hippocrene, sacred to the Muses. This invocation of the pagan deities is also a way of bringing both the sacred and the profane into the ceremonial action of the great drama that is about to take place. Note how Dante is slowly building the tension and suspense that will soon be released. |
| ↑6 | The great mystical pageant now begins. It is an allegory of the Church Triumphant, a theological term referring to all the Saints and all who have died and are in heaven. Up to this point in the Poem there hasn’t been anything like this but, as the reader will see, it fits perfectly here as Dante moves from the level of reason to revelation. Only on this level will he understand the meaning of his experiences here at the top of the Mountain and as they lead him into Paradise.
At the head of the great procession Dante sees what he thinks are seven golden trees. Given the mystical environment of the Earthly Paradise this sight doesn’t seem too out of the ordinary to him, and he probably connects them to the flash of light and the heavenly singing. However, as he keeps walking along the bank of the Lethe, he gets closer to the “trees” and realizes that they are immense candlesticks–a minor example of moving from reason to revelation. In English, though this is a mistake, we tend to think of candles and candlesticks as synonymous. A candlestick is basically a candle holder. A candle sits atop a candlestick, and a candelabra is a device that holds several candlesticks. The Italian word Dante uses here is candelabri. This is sometimes translated as candlesticks. So, what Dante most likely saw from a distance were seven gold trees and their branches. Closer up he realized these were seven huge candelabra. But, it’s not clear in the text at this point how many candles these candelabra held. Now from the singing he makes out the word “Hosanna,” in Hebrew a plea meaning “save us!” In the Christian tradition, the word is used in the ritual of the Mass as an acclamation of praise just before the consecration of the bread and the wine. It recalls the joyful shouts of the crowds when Jesus came into Jerusalem shortly before he was killed. St. Matthew quotes this acclamation in his Gospel (21:9): “Hosanna to the son of David! Blessed is he that comes in the name of the Lord.”Note how this single word here imparts both a scriptural and a liturgical significance to what is about to happen. |
| ↑7 | As Dante continues to observe the candelabra the light above them fills the dark forest more than a full moon on a clear night. It would seem that each candlestick on these candelabra has a light at the top (but we’re not told it is a lighted candle). Although there might be several candelabra and candlesticks with lights, Dante uses the word arnese to describe it–in other words a kind of “device.” One suspects that the lack of specificity here is intended to focus our attention on the supernatural glory of the scene rather than the various stage props. We’re intended to see the candelabra–as Dante sees them–as an ensemble making up a single unit. And as he has done at other amazing experiences, he turns around, awestruck, to see Virgil’s reaction to this revelatory manifestation. For once, Virgil, who represents human Reason as far as it can go, appears to be more amazed than Dante. Recall that when he consecrated and crowned Dante earlier, Virgil told him that he had reached the limits of Reason. Perhaps “mystified” is a better word to describe his reaction here because he has not been initiated into the Christian faith as Dante has, and doesn’t “see” this revelation as his pupil does. |
| ↑8 | Though Matelda, reminiscent of Virgil, chides him here, it will become clear that Dante intends to focus on one part of the mystical pageant at a time. This way both he and his readers have time to enrich themselves on the meaning of what they see until the whole procession is on stage across the stream and right in front of him/us. At this point, he is facing east with the stream to his left, which acts as a kind of mirror for the action on the other side. In this “mirror” he also sees his left side. And soon enough, as he tells us, he stopped in order to take in the whole scene. Now, there gradually comes into view a group of people dressed in dazzlingly white garments. That they walk slowly, like modest brides, adds to the ceremonial nature of the procession. More importantly, a nuptial theme is introduced here which brings with it sub-themes of love, purity, joy, union, and the joining of things heavenly and earthly in this forest cathedral. |
| ↑9 | As we have seen, it appears that the seven huge candlesticks do not have candles on them, but they do have lights. And now as they pass along the other side of the stream from Dante, he sees something amazing: the lights atop the candlesticks give off great banner-like streams of rainbow colors like flares. The sky above the forest seems covered with these as far back as Dante can see, and he estimates each stream of colored light is about 20 feet wide. And by now, as we shall soon see, we have a sense that there are seven separate candlesticks and lights; though, by their association with the Spirit of God there is also a sense of unity here. A possible image of this is from the Jewish tradition where we find the famous seven-branched candlestick, the menorah, that God had Moses fashion out of pure gold (see Exodus 25:31-40). It seems doubtful that Dante has this particular image in mind, but since this vision or revelation is slowly drawn out, at one point in time Dante might well think what he saw was an immense menorah.
The number seven has a long history and significance in the Judeo-Christian tradition, indicating fullness, completion, and perfection. One can trace this back to the seven days in the first chapter of the Book of Genesis. Other uses of this number are found throughout the Hebrew Bible. In the New Testament two notable examples can be found: one in the Gospel of St. John, and a great many in the Book of Revelation, both said to have been written by the same author. Seven times in St. John’s Gospel, Jesus uses the phrase, “I AM,” a self-reference to the divinity, first used when God identified himself to Moses in the Book of Exodus (3:14). Jesus tells his hearers: I AM the bread of life, I AM the light of the world, I AM the door, I AM the good shepherd, I AM the resurrection and the life; I AM the way, the truth, and the life, and I AM the vine. In Revelation 4:5 we read: “Seven flaming torches burned in front of the throne, which are the seven spirits of God.” Traditionally, these seven spirits of God have been understood as the seven Gifts of the Holy Spirit: wisdom, understanding, counsel, might, knowledge, piety, and respect for the Lord. Note also that the rainbow has seven colors. The Poet probably borrows from the prophet Ezekiel (1:28) who like the author of the Book of Revelation, has a vision of God enthroned in heaven: “Just like the appearance of the rainbow in the clouds on a rainy day so was the appearance of brilliance that surrounded him. Such was the appearance of the likeness of the glory of the Lord.” Finally, the liturgical dimension of this mystical procession will be clear to both Dante and the reader when the entire procession ensemble comes to a stop in front of Dante. At the same time, though, Dante’s Poem unfolds this scene as though it were an ongoing revelation that takes place outside of time–a divine ritual, a heavenly ceremony. Interestingly, in the year 1264, the year before Dante was born, Pope Urban IV instituted the feast of Corpus Christi, honoring the Body of Christ–the Blessed Sacrament. On this day, the consecrated bread (Body of Christ) is carried in a procession under a great white canopy led by seven great candles. The procession moves around the inside of the church and outside as well. Dante certainly has this is mind as he creates this scene. |
| ↑10 | As the stately procession moves slowly past Dante, we learn that the people dressed in white (symbolizing the illumination of faith) following the candlesticks are twenty-four elders crowned with flowers. This image is directly from the Book of Revelation (4:4): “Surrounding the throne I saw twenty-four other thrones on which twenty-four elders sat, dressed in white garments and with gold crowns on their heads.” Note how Dante likens himself to St. John who records his heavenly vision in this last book of the New Testament.
These twenty-four white-robed elders, crowned with flowers, represent the books of the Hebrew Bible/Old Testament. The fleur de lis is not actually a lily but a yellow iris. It often appears in a stylized form on emblems and banners, particularly in France. Here in the poem the flower is probably white, and it symbolizes faith. Over the centuries and to this day there have been various lists of the books of the Hebrew Bible/Old Testament. Dante used the list created in 391 AD by St. Jerome in his Prologus Galaetus, the introduction to his Latin translation of the Book of Kings (which, in his time, included 1 & 2 Kings and 1 & 2 Samuel). In his Prologus St. Jerome lists 24 books in three groupings: The Law included five books (Genesis, Exodus, Leviticus, Numbers, and Deuteronomy). The Prophets included eight books (Joshua, Judges, 1-2 Samuel, 1-2 Kings, Isaiah, Jeremiah, Ezekiel, and the twelve Minor Prophets as one book). The Writings included eleven books (Job, Psalms, Proverbs, Ecclesiastes, Song of Songs, Daniel, 1-2 Chronicles, Ezra/Nehemiah, Esther, Ruth, and Lamentations. Together these Books of the Hebrew Bible symbolize all revelation before Christ. Finally, as the elders slowly pass Dante they sing an adaptation of verses similar to two greetings to Mary in the Gospel of St. Luke (1:28 and 42). The first is by the angel Gabriel who announces to her that she is to be the mother of Jesus. And the second is by Mary’s cousin, Elizabeth, when the pregnant Mary goes to visit her. Though Mary is not a part of the pageant, her son, Jesus, is at the mystical center of it. A Christian interpretation will note that the entire Hebrew Bible looks forward to him as its prophetic fulfillment. Thus, the mention of Mary as the most beautiful of Adam’s daughters takes us all the way back to the beginning of time and creation, as it were. |
| ↑11 | Now that the seven great candlesticks and the twenty-four elders have moved on, Dante’s attention is drawn to the next group in the mystical procession-the four winged creatures.
Before examining them, however, the Poet mentions that these winged creatures were crowned with green leaves (symbolizing hope). Recall that the elders were crowned with white flowers (symbolizing faith). And, moving ahead, we will see that the figures at the end of the procession are crowned with red flowers (symbolizing love). Faced with an embarrassment of riches, as it were, Dante must choose his description of the four winged creatures from classical mythology or from Scripture. Not only that, he’s got his hands so full with trying to describe everything else he’s seeing that he tells us he doesn’t have time to describe things in detail. This is unfortunate in one sense, but it works to build tension and keep the reader’s attention. Each of the four creatures has six wings that are covered with eyes–a symbol of omniscience. Focusing on the eyes for a moment (no pun intended), Dante tells us that they remind him of Argus, the giant with a hundred eyes who guarded Io in Ovid’s Metamorphoses (I:622ff). More to the point, however, he sends us to the prophecy of Ezekiel (1:4f) who has a vision in which he sees four living creatures, each with four wings and four heads (but no mention of eyes). Then he tells us that his creatures across the stream resemble Ezekiel’s except for the wings. These resemble those in the vision of St. John in the Book of Revelation (4:6-8): “In the center and around the throne, there were four living creatures covered with eyes in front and in back. The first creature resembled a lion, the second was like a calf, the third had a face like that of a human being, and the fourth looked like an eagle in flight. The four living creatures, each of them with six wings, were covered with eyes inside and out.” A natural question here is why Dante seems to choose one part of his imagery from Ezekiel and another part from Revelation, actually inserting himself into the Scriptures. Dorothy Sayers offers a useful explanation in her commentary: “It is not clear why he should insist on this detail; but I think he is trying to emphasize, by conflating the two descriptions into one, that the Old Testament and the New Testament are in fact one and the same Revelation.” Following on this, Robert Hollander remarks in his commentary: “Dante’s claim here mirrors the pretext of the entire poem; his experience of the other world is to be treated as actual and not as imagined. As a result, his authority as teller of the tale is absolute, and even biblical testimony is secondary to his own.” Both Ezekiel and Isaiah will identify these creatures as seraphim, the highest order of the angels. In the Christian tradition, the creatures from the Book of Revelation represent the four Evangelists (lion=St. Mark, calf=St. Luke, human=St. Matthew, eagle=St. John). Together, they represent what is noblest, strongest, wisest, and swiftest in creation. |
| ↑12 | At this point we learn that the four creatures aren’t walking together in the mystical parade. Instead, they form the four corners of a large space within which glides an awesome chariot drawn by an even more spectacular creature–a griffin.
Dante’s attention is drawn first to the griffin. This is a mythical creature that has the head and neck of a great eagle and the body of a lion. This griffin is special because it also has wings, wings that rise so high they pierce the veil of light over the forest and beyond on either side of the central streamer of colored light. All the eagle parts of the griffin are gold, while the lion parts are white with red spots. As for the chariot, not only is it more beautiful than those driven by Scipio Africanus or the Emperor Augustus in their Roman triumphs. In fact, it is more gorgeous than the mythical chariot of the sun! (By the way, it is not clear which Scipio Africanus Dante is referring to here. The Elder (235-183 BC) was famed for his defeat of Hannibal, and the Younger (185-129 BC) was famed for his defeat of Carthage.) As the reader can see, Dante’s descriptions become more amazing as the mystical procession moves along in front of him. Not only do they have elements that represent the sacred (the elders representing the Hebrew Bible), they have creatures that populate both myth and revelatory visions. That the griffin’s wings seem to pierce the heavens is another image of the union of the divine and the earthly in this Earthly Paradise–the only place where this pageant can take place. And there is much symbolism to see in what Dante sees. As we saw, the four creatures with six wings covered with eyes represent the four Evangelists who wrote the New Testament Gospels. The eyes represent not only omniscience, but also the movement of the Word of God throughout the world, when both sees and is seen. It will soon become evident that the chariot represents the Church Triumphant (all those in Paradise). The wheels of the chariot represent the Hebrew Bible and the New Testament. And, most importantly, the griffin represents Christ in his two natures as God and human. Finally, the mention of Phaeton has a subtle symbolism. Once again, Ovid tells the story in his Metamorphoses (II:1-328). Phaeton’s father was the sun god who made a tragic promise, allowing the inexperienced boy to drive the chariot of the sun. Despite his father’s numerous warnings, Phaeton lost control of the chariot and was eventually killed by Jupiter with a thunderbolt before the careening chariot could burn the earth. It is said that on his grave the following epitaph is inscribed: “Here Phaethon lies who in the sun-god’s chariot fared. And though greatly he failed, more greatly he dared.” One can easily see Dante driving his great Poem as Phaeton drove the chariot of the sun. But where the inexperienced young man failed, Dante has succeeded, precisely because he dared. Not only that, Phaeton’s chariot, flying wildly through the heavens, left a great scar there: the Milky Way. Like that great constellation, so is Dante’s Commedia, whose three Canticles each end with the word “stars.” As we know, Dante often excoriated the hypocritical Popes and Cardinals of the Church in his day for not following the path of Jesus laid out in the Gospels. With Phaeton in mind, and in a particularly scathing passage in his tenth Epistle (5) he writes: “But you, who are as it were the centurions of the front rank of the Church militant, neglecting to guide the chariot of the Spouse of the Crucified along the track which lay before you, have gone astray from the track, no otherwise than as the false charioteer Phaeton. And you, whose duty it was to enlighten the flock that follows you through the forest on its pilgrimage here below, have brought it along with yourselves to the verge of the precipice.” |
| ↑13 | These three ladies dancing alongside the right wheel of the chariot represent the three Theological Virtues of Faith, Hope, and Love. They are traditionally associated with the colors white (Faith), green (Hope), and red (Love). Because Love is the greatest of the virtues (see I Cor. 13:13), it is she whose song leads the tempo of the dance. What Dante sees here is not simply three ladies clothed in different colors. Their actual bodies and their clothes are all of one color.
Note that hope moves at the direction of Faith and Love. St. Thomas Aquinas is even more specific, stating that Faith precedes Hope: “Absolutely speaking, faith precedes hope. For the object of hope is a future good, arduous but possible to obtain. In order, therefore, that we may hope, it is necessary for the object of hope to be proposed to us as possible. Now the object of hope is, in one way, eternal happiness, and in another way, the Divine assistance: and both of these are proposed to us by faith, whereby we come to know that we are able to obtain eternal life, and that for this purpose the Divine assistance is ready for us, according to Hebrews 11:6: ‘He that cometh to God, must believe that He is, and is a rewarder to them that seek Him.’ Therefore it is evident that faith precedes hope” (Summa Theologiae II-II, q. 17, a. 7). |
| ↑14 | Along the left side of the chariot Dante sees four dancing ladies dressed in purple, led by one with three eyes. These ladies represent the Cardinal Virtues of Prudence, Justice, Fortitude, and Temperance. They are led by Prudence with the third eye which enables her to see the past, present, and future. In his Convivio, Dante writes: “One should therefore be prudent, that is, wise, and to be wise requires a vivid memory of things past, a sound knowledge of things present, and a clear foresight for things future” (IV, xxvii). Their gowns of imperial purple set them apart as the Classical Virtues, and since the color purple consists mostly of red, they are also grounded in love. Quoting the famous 15th century commentator, Mark Musa notes: “Christoforo Landino states: ‘Dante presents these women dressed in purple to denote charity and the fervor of love, without which no one can have these virtues.’” These two sets of virtues (Cardinal and Theological) stand on either side of the chariot (the Church Triumphant) signifying how they work together in communion with the Church for the development of the soul.
Following the chariot, and comprising the last part of the mystic procession, Dante sees seven more elders, serious in composure, and dressed in the white garments of faith and crowned with red flowers, again symbolizing great love. These seven elders are given symbolic descriptions. The first elder, the disciple of Hippocrates, is St. Luke, author of the Acts of the Apostles and called by St. Paul “the beloved physician.” The second elder, carrying the fearsome sword (symbol of the word of God), is St. Paul. He represents the fourteen Letters attributed to him (Romans, 1 Corinthians, 2 Corinthians, Galatians, Ephesians, Philippians, Colossians, 1 Thessalonians, 2 Thessalonians, 1 Timothy, 2 Timothy, Titus, Philemon, and Hebrews). Following these two are four more. They represent the Letter of St. James, the two Letters of St. Peter, the three Letters of St. John, and the Letter of St. Jude. The last elder and the final figure in the procession is depicted as an old man with a radiant face, walking as if in a dream. This is St. John the Evangelist, author of the Book of Revelation, the last book in the New Testament which is filled with his visions and dreams. Dante certainly identifies with him and his visions in this canto, and in art, St. John is often depicted asleep. |
| ↑15 | With the entire mystical procession directly across the stream from him it now stops to the sound of a great clap of thunder–the thunder following the flash of light that introduced the procession. Has this spectacular event taken place in just a few seconds? Commentators make an important note here: this procession represents all of time–past, present, and future–encompassed by the two Testaments at either end, with Christ at the center, and bounded by heaven above and the Earthly Paradise below. All of this, all of the Purgatorio to this point, has been a prologue. We stand ready with Dante to experience the climax of this Canticle in the next canto. |
| ↑16 | All in all, there are 9 sections to the Mystical Pageant, 43 characters, and 3 props:
Section 1: The great gold candlesticks (prop 1). These represent the sevenfold Spirit of God symbolized in the Gifts of the Holy Spirit in the streamers of colored light: Wisdom, Understanding, Counsel, Fortitude, Knowledge, Piety, Reverence for God. Section 2: The 24 elders representing the books of the Hebrew Bible. They are crowned with white flowers symbolizing Faith. Section 3: The 4 Evangelists/Gospels represented by the 4 creatures with 6 wings covered with eyes symbols of omniscience. They are crowned with green leaves symbolizing Hope. The lion is St. Mark, the calf is St. Luke, the human is St. Matthew, the eagle is St. John). Together, they represent what is noblest, strongest, wisest, and swiftest in creation. Section 4: The Griffin pulling the chariot (prop 2). This section is the centerpiece of the entire pageant. He represents the dual nature of Christ as God and human. He has wings which reach up through and beyond the canopy of streaming light from the seven candlesticks. This is a symbol of Christ’s triumph. His eagle part is pure gold (immortality), and the lion part is white with red spots (the Body and Blood of the Eucharist). The red spots can also symbolize the wounds of his torture and crucifixion. The chariot represents the Church Triumphant (everyone in Heaven). Section 5: The 3 Theological Virtues near the right wheel of the chariot as three dancing ladies in white (Faith), green (Hope), and red (Love). Section 6: The 4 Cardinal Virtues near the left wheel of the chariot as four dancing ladies in royal purple, symbolizing Prudence, Justice, Fortitude, and Temperance. Section 7: The Book of Acts (St. Luke) and the Letters of St. Paul, crowned with red flowers symbolizing love. (Sword–prop 3). Section 8: The 4 authors of the lesser Epistles (Sts. James, Peter, John, Jude), also crowned with red flowers symbolizing Love. Section 9: The Book of Revelation (St. John), also crowned with red flowers. |