Monthly Archives: June 2024

Two Cities

This week, a few words about the trip I just completed to London and Paris. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane


This week, a few words about the trip I just completed to London and Paris.


If there’s anywhere in Europe, I’ve visited more than anywhere else it’s London and Paris. 

When I was eight my Mom took me on a two week tour of those two cities which I found to be life changing for how they opened my eyes to a far wider world than what I’d previously known. My fascination for European history began on that trip; it’s a fascination that I’ve made into my career. I remember that February she put a “Learn French” cassette tape on while our family was driving through the hills of northwestern Illinois from Chicago to visit relatives at Mount Carmel, the Motherhouse of the Sisters of Charity of the Blessed Virgin Mary in Dubuque. I still think of that evening, watching the sunset over those hills, as the moment when I was first introduced to French, a language that I have come to define a great deal of my brand as a historian, writer, and translator by.

I remember thinking after our return from Paris in June 2001 that before that trip when I thought of what I was most excited about it was the Space Shuttle, dinosaurs, cowboys, and American history. Yet after that trip, while still thrilled by these things they still felt dulled somewhat by a new passion for medieval castles and far older history than what we had in our young republic. What’s funny to me about this is that these same thoughts returned in the days before I left for Europe. While normally Memorial Day wouldn’t have as much of an impact upon me, I think it’s pairing this year with the 80th anniversary of D-Day left me far more profoundly moved with pride in our republic, and what our people have accomplished across these generations. I returned to Europe then in much the same mindset that I had when I first visited London and Paris 23 years before, albeit with those 23 years of experience framing my thoughts.

London remains a home-away-from-home for me, having lived there for a time. Some of the optimism I remember feeling in that city in 2015 and early 2016 seemed to be renewed, if slightly, by the prospect of the upcoming General Election which will likely see a change in the governing party for the first time since 2010. I arrived there not entirely wanting to cross the Atlantic on June 6th. I always feel a hint of fear when I travel, especially overseas; this has been magnified since the pandemic when international borders were closed and for years afterward travel remained severely limited. The thought of being stranded somewhere away from my family leaves me shuddering, and has given me more pause when considering travel since 2020. Still, the flights, trains, lodgings, and some museum visits booked, I left home on the morning of June 6th and flew west to San Francisco, where I caught my transatlantic flight on United to Heathrow.

Why go west to go east? I tend to use my miles to fly international, and it was 30,000 miles cheaper to fly through San Francisco than my usual connections in Chicago, Newark, or Washington, or even through Toronto on Air Canada. Like last time, I felt a renewed sense of welcome when I arrived in London, and throughout my stay with friends in the Home Counties, I knew that this remained a place where I could build myself a home if the opportunity or need arose. One key difference from my last trip in October was that I was less concerned with visiting every single place I wanted to see from my time living there. I didn’t feel that desperation or passion to see and do everything that I’ve long known. Rather, I was content to be there again, and to enjoy what I was able to see and do. I prioritized seeing special exhibits at the museums alongside the permanent collections and was thrilled to visit the Tropical Modernism Architecture and Independence exhibit at the V&A, an exhibit on birds at the Natural History Museum, and two exhibits at the British Museum. 

The first of the British Museum exhibitions spoke to the initial field of study I wanted to pursue after finishing my MA in International Relations and Democratic Politics at the University of Westminster. It followed the life of a Roman legionary during the reign of Trajan, and provided a full introduction to the legions and auxiliaries of the Roman Army during the height of the Empire. In 2016, when I chose to return to History from Political Science, I wanted to study the expansion of Roman citizenship to provincial subjects either after the Social War during the late Republic or during the reign of Caracalla when in 212 CE the emperor extended citizenship to all free men in the Roman Empire. That initial interest eventually led me to where I am today studying the natural history of the Americas in the Renaissance, by admittedly a circuitous route. The second British Museum exhibition was closer to what I study today in its chronology as it covers the life and works of Michelangelo Buonarroti (1475–1564). It was inspiring to see his own self-portrait gazing out at us visitors, and to see his letters and sonnets in his own hand on paper there in the exhibit gallery.

After a weekend in London, I traveled south to Paris for a conference on collecting in early modernity that was held at the École des Hautes Études en Sciences Sociales (the School for Advanced Studies in the Social Sciences) in their building on Boulevard Raspail in the 6th Arrondissement. The building in question is important in the historical profession as it is where the French Annales school has been based since 1947, the Annalistes being quite influential in introducing new methods and theories of studying history to the profession globally in the postwar years. There, I presented my research into the provenance of two Tupinambá ritual artifacts today housed in the Musée du Quai Branly, also in Paris, which were likely brought to France by André Thevet in 1556 as gifts from the Tupinambá leader Quoniambec (d. 1555).

I’d intended to use the majority of my time in Paris to work in the various departments of the Bibliothèque nationale de France and Archives nationales to look at some sources I didn’t have online access to, but instead in the months leading up to the trip I was able to find and request several of these documents be emailed to me, while others were restricted due to their poor physical condition. As a result, I only viewed one document, Thevet’s 1553 French translation of the Travels of Benjamin of Tudela, a 12th century Sephardic traveler who toured the Mediterranean. I spent a lovely morning sitting in the ornate Department of Manuscripts in the BNF Richelieu site reading and photographing Thevet’s translation. It was the first time I’d ever seen Thevet’s handwriting in person and gotten somewhat of an unscientific sense of the man himself between the lines. Looking at the folios, I had a sense of familiarity in a man who started with elegant pen-strokes which with each turn of the page became quicker and impatient. The last significant work that I wrote out by hand, a play I wrote in 2011 titled The Poet and the Lamb, had the same feel to it. I enjoyed writing it by hand, but it proved to be more of a burden than the art I intended it to be when I eventually typed it all out after all.

My theory is that considering Thevet took the time to translate Tudela’s travels into French, all 56 folios (112 pages) of it, that he likely modeled his own Mediterranean travel account La Cosmographie de Levant and his later Atlantic travel account Les Singularitez de la France Antarctique on aspects of Tudela’s work. I found my efforts at reading his Tudela translation were aided by my deep knowledge of the Singularitez, which I’ve translated into English. Thevet has a particular style and verbiage that you get to know after translating an entire book of his, a project that for the first draft alone took me three years to complete.

Without any other archival visits scheduled, I spent the rest of the week enjoying a few days of life in Paris. I visited several museums each day, wandered about the city from bakery to bakery (it’s not just a joke I tell about the bakery crawl being my favorite type of walk), and looking around bookshops selling both general titles, specialized academic titles, and several antique bookshops selling volumes largely published in the 18thand 19th centuries, though there were several I browsed through printed in the 17th century.

All around, this was a pleasant trip. When I returned home to the United States on Bloomsday, the holiday commemorating Leopold Bloom’s day about Dublin on 16 June 1904, I was left with an unsettling feeling that both in climate and in history that I fit in better in Europe than in America. For one, none of the muscular or joint pains I often feel walking around Kansas City are present when walking similar distances in either London or Paris. For another, the pace of life and the dearth of car dependency is certainly better all-around than how we’ve built our cities and lives here in the United States. I’d happily take the bus around town at home, if the temperature dropped below 90ºF (32ºC) during the day, and if the bus schedule worked with my own.

In these two cities I’ve grown to become much of the guy who I am today. This was my sixth visit to Paris, and a return to an old hometown of mine in London once again. In them, to draw the Dickens analogy out further, I’ve seen some of the best of times, and yes some of the worst of times, yet I’ve learned now to go with the flow, to not worry too much, and to embrace the opportunity to travel to these places. Travelling has made our world far smaller than ever before, so that the 4,500 miles (7,242 km) between Kansas City and Paris seem not as far as it really is. After all, before aviation it would’ve taken close to 10 days to travel between these two cities, whereas now it’ll take only a day.


A tiger staring at the camera through two fences.

A Tiger in the Sun

This week, I have a short story for you, in the style of an Irish aisling, a dream narrative, about a tiger basking in the warm February sun. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane


This week, I have a short story for you, in the style of an Irish aisling, a dream narrative, about a tiger basking in the warm February sun.


On a sunny, warm, and blustery day in February I left my desk in the afternoon for a walk at the city zoo. You could never really know how many warm days you’d have in February on the prairies, a time of snow, cold, and gray skies. I showed my member’s pass at the gate to the clerk and strolled between the polar bear’s wide enclosure and the lorikeets’ walk in cage towards the penguin house where I often liked to stand quietly and watch the birds waddle and swim about. There was something wistful about these penguins today, their black and white feathers glowing with a renewed exuberance from the lengthening days outside. I’d seen these penguins in all seasons, confined to their Antarctic chamber with many good places to swim, enclosures, and crevices that even I hadn’t seen. Worlds still unfamiliar to my eyes yet already known to my imagination which saw places where these birds could play and rest away from human eyes.

I left the penguins and began to walk further into the zoo towards the Asian and Australian animals who I hadn’t seen in my last few afternoon visits. I’d read that a new pair of Sumatran tigers had been brought to the zoo from another facility on the West Coast where they’d been born into captivity. These animals it seemed had a comfortable life, if confined as they were from the wilds their ancestors had once known. My walk took me past the alligators still hidden indoors and the camels who wandered about the edges of their sandy glade looking for new grass and leaves to eat. 

After passing the pelicans I came to a grand sign displaying a portrait of a tiger, in all its majestic ferocity. The entry to this Asian walkway was marked by a fleeting glimpse of another red, black, and white animal whose furry legs and tail darted behind a wall to my left. I walked onward and rounding the wall met a red panda on a stroll within the confines of its fenced enclosure. I stopped to look at the red panda who climbed a gangway that’d been set up for its enrichment and admired its ease of movement, the jolly grace of its demeanor. Yet still, the hairs on the back of my neck stood tall, alert. I knew the tigers dwelt behind me, yet they could’ve been anywhere in their terraced enclosure. I turned and caught the yellow eyes of a cat staring back at me, its orange nose wreathed in a beard striped black, orange, and white. This new tiger was smaller than I imagined, perhaps little older than a cub. It lay there on its side like my own cat often does, finding a nice place at the highest point in its home with the sun’s rays glittering down upon its neck and back between the barren branches of the cottonwood grove which towered above both feline and me.

I stood stock still, my nature sensing some intrinsic danger in my situation despite the double layers of fencing between us. This was a tiger after all, a hunter who if in the mood would gladly seek prey from either myself or its red panda neighbors across the path. Who was I to say I was any finer a creature than this one, who was lounging the afternoon away in the warm winter sun. It had no need of work or time; no economy or politics furrowed its brow. Here was a creature free of all our worldly concerns in its terraced enclosure. I would soon have to leave this tiger and continue on my way. My walk in the zoo was merely a distraction from my labors, an escape from the small walled enclosure of my desk where Sisyphean work awaited my attention. What time did I have to lay out in the sun and cherish the day? I walked on, my body moving back towards my work, yet my imagination remained. I dreamed as I walked of adventures I might have, greater escapes from my work, and of absconding for more than an afternoon from worry.

As I rounded the corner past the lower terrace of the tiger’s enclosure my phone began to ring. I pulled it from my pocket and caught myself seeing the number, “213, who’s calling me from Los Angeles?” I answered, looking up towards where the tiger lounged high above me. “Hello?”

            “Hello, I’m calling you about your application for the archivist position at the Space Science Center.”

            “Oh yes, how may I help you?” I asked reflexively, a knot building in my throat worried at what word might come next after so many rejections.

            “We would like to offer you the position here, if you’re still interested.”

            I caught myself in my jubilation, remembering I was in public, “Oh!” I cried, “what wonderful news!”

            “So, you’ll take it?”

            “Yes,” I stopped myself from being too exuberant, “It would be an honor to work with all of you there.”

            I thought I heard a smile from the other end of the phone. “I’m glad to hear that. Can you be here later this week to start?”

            “Later this week?” I asked, stopping in my tracks near the entrance to the kangaroos’ enclosure.

            “Yes, we’d like you to take over the work from our outgoing archivist who’s retiring at the end of this week.”

            I looked at my watch, it was nearly 3 ‘o clock in the afternoon. “Well, it’s Monday now, I can be there on Friday morning if that’d be alright with you.”

            “That’d be fine,” the herald of good news replied over the phone. “We’ll see you on Friday morning here in Pasadena.”

            “Thank you again!” I said as I heard the phone on the other end hang up. “Friday, Friday morning in Pasadena. I need to start packing,” I turned from the kangaroos and was about to walk past the building ahead when I remembered that path was closed for winter renovations. I turned back again towards the gate and strolled through; my head held higher than before with a newfound exuberance. Soon I wouldn’t be scraping by just as a freelancer, my four part-time jobs would have to go. Now, I could really earn enough to begin living my life.

I passed the Australian birds in their walk-through enclosure and was amused to see they were all standing stock still on various fenceposts. One squawked at the world, in what seemed to me a jubilant chord of praise for the wonderous afternoon sun.

If I was going to be in California on Friday morning, I would need to leave at dawn tomorrow. I could drive to Denver on Tuesday and stay at my cousin’s house there, if he’ll have me, and then cross the Rockies and the high deserts on Wednesday. I’d driven most of that route before one summer vacation several years ago, but the Rockies in winter would surely be an entirely different challenge than they are to cross in summer. The last time I drove through the Eisenhower Tunnel that bored its way beneath the Continental Divide I waited to use my breaks for just a few seconds too long on the western side and nearly ignited them in their furious efforts to slow my car down as it pulled into a parking spot along a creek in the village of Silverthorne. Should I get my snow tires out then, and have those on in case the interstate was slick up in the mountains? But I wouldn’t need them once I reached Utah where the high deserts would surely be dry, and possibly still hot despite it being February.

Once in Utah, even if my tank was nearly full, I would still stop in Green River, the last town before nearly 125 miles of open desert to ensure I wouldn’t run out of fuel on that other most dangerous part of the trip. I’d avoided that part of the interstate last time, taking a smaller high mountain pass through Central Utah. This time though there was no avoiding the desert. Once I made it to the junction with Interstate 15, I could turn south and make my way to my second overnight stop in Las Vegas. I figured I might not be the only traveler passing through Sin City who wasn’t there to gamble or for the spectacle. Then at last, on Thursday, I would finish with the last leg of the drive southwest across the California border and to Pasadena where my future awaited me. Work, to be sure, was something that drove me forward, the aspiration that I might make something of myself, that I might better my stars and spend my days doing something that both kept the lights on and fulfilled my dreams.

Like the tiger, I would perhaps have time to rest in the sun, to enjoy the afternoons on a park bench near the science center. Surely in California, I would never have to shovel snow again, or scrape the ice off my car in the cold January mornings. Wasn’t California where that tiger was born? I thought about that for a moment as I walked along the path. To my left the local kangaroo mob lounged and grazed on the grasses of their meadow. A kangaroo stood and stared at me. I warily watched it, silently snapping a photo of it with my phone, and continued on my way, keeping ever a respectful distance from those remarkable creatures.

But what of my cat? How would she fare the long voyage west? Would she appreciate so much time in the car? She’d never been one for car rides even to her vet just a few blocks away. Perhaps she’d rather stay with my parents, they always enjoyed her company and she theirs. She was surely napping now too, finding a sunbeam somewhere near a south-facing window where she could enjoy this lovely day like her far larger yet far distant cousin. It would be a great change for my cat, as much as it was for me. We’d have to travel light, perhaps I could send for the rest of my belongings, especially my books, after we settled into our new abode. 

I paused at the southern gate leaving the kangaroo enclosure. Before me one of the camels stopped its grazing to stare back at me as I stood there, deep in thought. I could see my life in California well. I’d probably get a space in the basement of the science center, somewhere with no natural light where they kept their records. My domain would exist in the deep darkness there, somewhere I could make my own. Maybe I’d be far enough away from the rest of the staff or the general public to bring a radio in and listen to baseball games during the season like my grandmother used to do in her kitchen. There’d always be a part of me that would yearn for home of course, for the prairies and woodlands of the Midwest. Who would I be without this place that I came from? What would my life be like so far from everyone I know and love? Could I really separate myself off, devote my working hours to a place where few would understand what it meant to be from here, where few would understand me?

My mind returned to that tiger lying there in the sun, content with its lot in life. There was a creature that could try to hunt and prowl, perhaps it did so in its dreams. What are dreams but the longings of the subconscious? I’d always been a dreamer, an imaginer of wonders near and far from the truth. Do dreams then tell the truth, or is there such a thing as truth in the surreal realm which we imagine? I remembered a story I read as a child, from P.L. Travers’s original Mary Poppins novel, of a scene in which the roles were reversed and all the animals of London Zoo were gawking at the humans in the cages. Was fantasy so different from reality that it could not be informed by the real but instead kept unreal? 

I felt I had to return to that being whose yellow eyes had so deeply captured my thoughts that even now as I planned the monumental voyage of these coming days, a week spent crossing half a continent in winter, I couldn’t shake the image of those deep yellow eyes. I followed the path back towards the tiger sign that greeted visitors to the Asian footpath and ignored the red pandas in all their charm and found my captor laying there still. Those eyes caught mine again, and they seemed to recognize me from only a few minutes before. In those eyes I saw a truth that life was meant to be enjoyed, to be lived, yet in my eyes I was sure the creature could only see fear and wonder. Without these fences we both knew those yellow eyes would be a death sentence for me and that my power was devised in only the most artificial of means. The tiger was the real power, the true monarch of our shared domain. And yet it blinked at me, slowly, a signal that my own cat offers when it feels comfortable around me. Could this tiger feel at ease in its enclosure or is its ease perhaps from its inherited knowledge that nature gave it the upper hand over feeble, clawless, scaleless, featherless, furless me.

I didn’t feel the need to speak, this tiger could understand my expressions. I gazed into those eyes deeper, feeling my thoughts free fall into that yellow sea of potent grace. Did these eyes envision things like mine did? Could this tiger see things unknown to it in its dreams? Could it imagine a Creator? Would I still feel such a connection when I retired from my native place to that basement archive where surely, I would spend my waking hours? I wasn’t sure that the adventure of it all would be worth the query, yet I felt my nature pull me towards exploring further and deeper. I heard a noise from before me, a deep hiss emanating from a striped sea of orange, black, and white. The tiger had enough of my gaze, and with a hiss told me enough, “move along, leave me be.”

I backed out from the tiger’s view and turned away, looking to the red panda who seemed unfazed by the hissing hunter across the way. Move along indeed. In this adventure I’ll learn more about myself, and what I am capable of. When I reach the end of the line on this drive, when I arrive in California, there will surely be many new possibilities and wonders to behold. How often had I experienced a warm, sunny day in February here on the prairies? Wonderous things remained for me to find beyond my desk. I walked back to the front gate of the zoo and felt something new inside of me glow with confident glee at the thought of all that was to come.


Gustave Doré's depiction of Dante and Beatrice beholding the circles of Paradise.

Paradiso

This week, I conclude my three-part reflection on Dante’s Divine Comedy with the Paradiso. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane


This week’s edition of the Wednesday Blog is dedicated to Micah Holmes.


This week, I conclude my three-part reflection on Dante’s Divine Comedy with the Paradiso.


I’ve long wondered about the nature of the heavens, both scientifically through my passion for astronomy, and theologically drawing from my Catholic education and faith. In the Spring of 2011, I staged a one-act play of my own writing called The Swansong of the King which I wrote in the spirit of the scene in John Boorman’s 1981 film Excalibur where Merlin’s ghost appears to Arthur in a circle of standing stones to reassure him before his great final battle at which he would surely die. I wrote Merlin lines that told the story I’d imagined of the soul’s voyage to Paradise, an island amid a deep blue sea where in a valley in the middle surrounded by lush forests, there stands a city of white stone houses and public edifices. Each house is a garden in its own right, looking like an ancient Roman atrium more than anything else, and when the soul arrives, they find the people they always loved waiting for them there for one last great party.

My vision of Heaven draws from other sources than Dante’s; his is the child of a medieval Italian world with deep and still living Roman roots, while mine has in equal amounts classical and Celtic antecedents, the island in essence being the Irish Tír na nÓg, the Land of Eternal Youth. There’s also a bit of Tolkien in there, with the speech that Gandalf gives to Pippin during the Battle of Minis Tirith in The Return of the King that was so wonderfully acted out by Sir Ian McKellen in the film adaptation. Yet upon reading Dante’s cantica of his travels from the summit of Mount Purgatory to the ultimate light at the apex of all Creation, I can understand where he was coming from even if I found my understanding of his verse fading in and out at times.

Early in the Paradiso, Dante writes in Canto 5 about acknowledging one’s mistakes, in Beatrice’s words “Better for him if he had said: ‘I’m wrong,’ / than to do worse doing it.”[1] So, the vision I’ve held onto since childhood of Paradise may well be lacking, while it makes sense in my understanding I could still very well be wrong in my assessments, and in that I would be joyous to be proven wrong so for that would mean that this affirms one of the greatest truths that I believe in: that there is always more out there for us to learn.

All things that we know exist within creation, Beatrice describes in Canto 7 how all things “come to decay and last no time at all,” on Earth, yet in them something greater can be seen. In Paradise, Dante meets many saints and holy men and women. There too, he lives out the genealogist’s dream by speaking to one of his ancestors, Cacciaguida (c. 1098 – c. 1148), a knight who left Florence to join the Second Crusade during which he was knighted by Emperor Conrad III (r. 1138–1152). When asked who he was, the knight responds to Dante, “My branch and leaf (in whom I was well pleased, / waiting until you came) I was your root.”[2] Yet when Dante asks the question I’ve long wished I could ask my own ancestors from whom I inherited my family name, “Tell me my earliest, my dearest growth / who were your own progenitors? Also, / what years were marked for you as boy and youth?”[3] Cacciaguida replies that his ancestors lived in Florence as did he and Dante, concluding “that’s all you need to hear of my great sires.”[4] Among my own Kane ancestors––the name is variably spelled Keane, Kane and Caine in English but consistently as Ó Catháin in our native Irish––the unbroken recorded link only reaches as far back as my great-grandfather’s great-grandfather who is identified in Griffith’s Land Evaluation in the 1840s as Thady Caine. I’ve surmised that he was likely born at the earliest in the 1790s. The memories of these people who in worldly affairs had little impact yet still existed as a part of our history deserve to be remembered as we still exist as a part of their legacy.

As Beatrice leads Dante higher and higher through the celestial spheres, he notices how her laughter and joy evokes the spirit of their surroundings. In Canto 18, Dante writes that upon turning to Beatrice he:

            “saw the light within her eye so clear,

            so full of laughter that her look and air

            defeated all that these, before, had been.”[5]

One passage, in Canto 19 that struck me as needing particular note concerned the salvation of those who are born outside of Christendom and live good and worthy lives. In Dante’s verse:

            “’A man is born,’ you’ve said repeatedly,

            ‘beside the Indus. And there’s no one there

            Who speaks of Christ, or reads or write of Him.

            And all he does and all he means to do ––

            As far as human minds can tell –– is good,

            sinless alike in living and in word.

            Then, unbaptized, beyond the faith, he dies.

            Where is the justice that condemns him thus?

            Where is his guilt, if he does not believe?”[6]

Here, I feel that Dante is asking about the salvation of his first guide through these three realms, Virgil, who is condemned to eternity in the First Circle of Hell for the fact that he was born and died just too early to have encountered Christianity. It’s a question that I certainly have, having known many people who do not practice this faith yet have lived good and true lives. I don’t have an answer here, like many questions of faith this is something that remains a mystery to me, for I can see both sides of this question. What I can do is hope in love, which Dante writes is the purest and truest emotion evoked from God’s Essence:

            “Love, which in laughter sweetly clothes itself,

            how ardent in those piercing pipes you burned,

            voiced by the breath of holy thoughts alone.”[7]

In that essence of love, Dante sees Beatrice slowly immerse herself into the orbit of God, beginning in Canto 21 and continuing through to the end of the Paradiso in Canto 33. In the first of these two canti, Beatrice warns Dante that he is not ready to see her in her full beauty enhanced by the presence of God:

            “’If I were to smile,’

            so she began, ‘you would become what once

            Semele was, when she was turned to ash.

            For if my beauty (which, as you have seen,

            burns yet more brightly as it climbs the stair

            that carries us through this eternal hall)

            were not now tempered, it would shine so clear

            that all within your mortal power would be 

           a sprig, as this flash struck, shaken by thunder.”[8]

Here Dante drew from the classical inheritance, evoking the story of Semele, daughter of Cadmus of Thebes, the founder of Tyre, who was one of Jupiter’s lovers and was tricked by the jealous Juno to ask to see Jupiter in his full majesty only to be reduced to ash by seeing him.[9] I’m reminded as well of the Irish legend of the return of Oisín to Ireland after spending 200 years in Tír na nÓg with his wife Niamh only to turn to ash when he fell onto mortal soil again, but not before having a long discussion of faith with a certain Christian missionary named Patrick. In both Dante’s use of the myth of Semele and this clear Christianization of the death of Oisín, the one ancient hero who by all druidic accounts still lived in the Irish Paradiso of Tír na nÓg, the new faith could incorporate the old worlds into which its light flooded over the last two millennia.

At long last though, Dante is able to see the “sacred light” in its purest form, and to look again at the face of Beatrice illuminated by this light as one of the righteous. Later again in Canto 21, he proclaims with the exuberance of the Magnificat:

            “O sacred light,

            how love – the freedom of this holy court –

            is all one needs to trace God’s providence.”[10]

Dante can see the truth of Paradise because of the caritas, the charity, “on high that makes us serve / so readily the wisdom of the spheres.”[11] This light overwhelms Dante, even then. This is something that I fully can relate to, having felt much the same throughout my life yet magnified in recent months. In the first lines of Canto 22, the poet writes:

            “Astounded, overwhelmed, I turned to her

            my constant guide, like any little boy

            who’ll run to where his greatest trust is found.

            And rushing there, as mothers always do,

            her shocked, pale, sobbing son, she said to me:

            ‘Do you not know that you’re in Heaven now?

            Or know the heavens are holy everywhere,

            and all here is done is done from zeal?”[12]

Even in this moment when Dante ought not to be afraid, he still felt that most human of instinct at beholding something otherworldly and so beyond what he had seen before then. The immensity of Paradise alone would make anyone of us cower in fear. These verses more than any other spoke to me directly, as something that I could see myself doing in Dante’s place. It reminds me of Moses’s first reaction to realizing whose voice spoke to him from the burning bush:

“I am the God of your father, he continued, the God of Abraham, the God of Isaac, and the God of Jacob. Moses hid his face, for he was afraid to look at God.”[13]

This, dear Reader, is a human experience of the Divine, of something greater than ourselves. I’ve long pondered how best to express my own beliefs concerning these questions, how best to refer to God. Dante sees God as a light emanating from the core of all things, and in my best effort at understanding the inherent paradox of God, for nearly a decade now I’ve come to think of a Divine Essence, as the best metaphysical expression of the Tetragrammaton which in its best English translation is rendered I am that Am. The Latin infinitive of the copula verb is essere, and this is the root of the noun essentia, so it seems prudent to me to write then of this Divine Essence, even if that Essence may seem impersonal. That’s where the three persons in one of the Trinity comes into my own faith.

At the end of Canto 22, Beatrice offers one of her last encouragements to Dante, the man who had loved her since first he saw her when they were children:

            “’You are so close,’ Beatrice said,

            ‘to your salvation here that you must keep

            the light within your eye acute and clear.

            And so, before you further ‘in’ yourself,

            look down and wonder at how great a world

            already you have set beneath your feet,

            so that your heart may show itself, as full

            as it may be, to this triumphant throng

            that rings in happiness the ethereal round.’”[14]

Dante here has a moment to look down on the Earth, on his home, what the great humanist astrophysicist Carl Sagan called the Pale Blue Dot and admire just “how small and cheap it seemed.”[15] I admire how Dante is able to imagine the Earth in one view, to see our entire planet as one common body made up of many separate parts.

Dante’s Paradiso concludes the three cantiche of his Divine Comedy, one of the great works of epic poetry in the western canon. It offers many things to many people; to my medievalist friends it is a window into the cosmology and theology of an Italian at the dawn of the fourteenth century. I would add here my own question of how different this Commedià would be had it been written just a few decades later when the Black Death swept across Europe in the 1340s? To the believer today, it evokes a vision of the afterlife in all its nuance and promises what might become of us once our lives have ended and our souls are weighed for their actions and deeds while living. I see both of these visions in the Commedià and also a poet, someone with whom I share the vocation to craft stories and enrich the human experience with our words, trying to make sense of his own life in exile far from his beloved Florence.

Reading this work has enriched my experience of Dante and reawakened some of that spirit of imagination and faith which I’ve long sheltered from the harsh winds and tempests of these recent verses that I’ve written in the last few years of my life. As much as I look forward to that great garden party in my vision of Tír na nÓg, Dante’s celestial spheres leave me with a warm sense of hope for something better to come.


[1] Dante, Paradiso 5.66–67.

[2] Dante, Paradiso 15.88–89.

[3] Dante, Paradiso 16.22–24.

[4] Dante, Paradiso 16.43.

[5] Dante, Paradiso 18.55–57.

[6] Dante, Paradiso 19.70–78.

[7] Dante, Paradiso 20.13–15.

[8] Dante, Paradiso 21.4–12.

[9] Ovid, Metamorphoses 3.253–86.

[10] Dante, Paradiso 21.73–75.

[11] Dante, Paradiso 21.70–71.

[12] Dante, Paradiso 22.1–9.

[13] Exodus 3:6.

[14] Dante, Paradiso 22.124–132.

[15] Dante, Paradiso 22.135.


Dante and Virgil meet Marco Lombardo, envisioned by Gustave Doré.

Purgatorio

Last week, I wrote my thoughts on the first cantica of Dante’s Divine Comedy. This week then, the second part, the Purgatorio. All quotations from the Divine Comedy come from Robin Kirkpatrick’s English translation published in the 2012 Penguin edition. — Click here to support the Wednesday Blog: https://www.patreon.com/sthosdkane


Last week, I wrote my thoughts on the first cantica of Dante’s Divine Comedy. This week then, the second part, the Purgatorio.


The sentiment of purgatory isn’t a good one, it’s a place where you don’t want to end up yet often find yourself stuck for longer periods of time. I often have dreams about needing to get somewhere or to do something or find something and getting stuck in an eternal loop of steps along the way and never actually reaching that goal. There are many different ways I could interpret those dreams of mine, yet in this instance I think they may be my subconscious imagination of purgatory. 

Dante’s Purgatorio is an early depiction of this concept, though Jacques Le Goff (1924–2014), the French annaliste medieval historian wrote in the second appendix to his book The Birth of Purgatory that “the noun purgatorium was added to the vocabulary alongside the adjective purgatories.” In the next paragraph, Le Goff dated this addition to the decade between 1170 and 1180.[1] The concept itself is affirmed by the Catholic Church as doctrine today based on an interpretation of three verses from Chapter 12 of the Second Book of Maccabees, in which the author described how Judas Maccabaeus (d. 160 BCE) “exhorted the people to keep themselves free from sin, for they had seen with their own eyes what had happened because of the sin of those who had fallen.”[2] The footnote there in the New American Bible acknowledges that this passage “is the earliest statement of the doctrine that prayers and sacrifices for the dead are efficacious” and that “this belief is similar to, but not quite the same as, the Catholic doctrine of purgatory.” Dante’s depiction of purgatory fits well into this model, though he does write often of souls asking him to pray for them, as prayers for those in purgatory will speed their cleansing that they may enter Paradise again.

In this light, Dante’s purgatory is optimistic and hopeful. Sure, he encounters people who continue to suffer as they did in life from their own actions. In Canto 12, an angel proclaims to the poet and Virgil his guide, using Robin Kirkpatrick’s translation, “O human nature! You are born to fly! / Why fail and fall at, merely, puffs of wind?”[3] The cleansing path that the souls in this realm take requires tremendous effort and faith both in one’s abilities to surmount that path, and the reward for those efforts. Dante remarks later in Canto 12, “How different from the thoroughfares of Hell / are those through which we passed. For here with songs / we enter, there with fierce lamentations.”[4] The dead who walk the paths of purgatory then are working toward something, they know that they will learn in their paths the way into Paradise, it just may take a while.

The Purgatorio is remarkable for how it contrasts with the far more popular Inferno. Again, Dante stops and talks to everyone, and again nearly everyone he encounters is an Italian like him, someone with whom he can relate. He finds his fellow Tuscans among the crowds and makes his own birth well known by speaking Tuscan along his way. In several instances the souls he meets remark on the fact that he must be a Tuscan by his way of speaking, even if they themselves are Lombards, Latins, or from elsewhere. 

I found it fascinating to see him encounter the ruling elite of Europe, the kings and popes who work off their sins. In one instance he sees Henry III of England (r. 1216–1272), one of my favorite medieval English kings, who had a pretty unfortunate and quite long reign. Dante places him among several other failed rulers, including Rudolf I of Germany (r. 1273–1291), Ottokar II of Bohemia (r. 1253–1278), Philip III of France (r. 1270–1285), Henry the Fat of Navarre (r. 1270–1274), Charles I of Naples (r. 1266–1285), and Peter III of Aragon (r. 1276–1285).[5] In Canto 20, Dante meets Hugh Capet (r. 987–996) who succeeded the last of the Carolingians as King of the Franks and founded the great medieval French royal dynasty which still exists as the Royal Family of Spain today. Capet sees his old life as something distant from himself: 

“I was, down there, called Hugh Capet once.

From me were born those Louis and Philippes

by whom in these new days our France is ruled.

I was from Paris, and a butcher’s son.

And when the line of ancient kings died out ––

All gone, save only one who wears a monk’ dark cowl ––

I found my hands were tight around the reins

That govern in that realm, and so empowered

In making that new gain, with friends so full,

that, to the widowed crown my son’s own head

received advancement. And from him began

our lineage of consecrated bones.”[6]

In this world which he devised, Dante created tangible settings where the soul is cleansed after its life and before its final entry into Paradise. Dante himself climbed high until by the time he reached Canto 15, the suffering and toil of purgatory cleansed his own soul, so that in place of any other emotion “caritas burns brighter.”[7] The distinction in Latin between caritas and amor is something that I remember being discussed at length in my undergraduate theology classes at Rockhurst. These Latin terms are in turn translations of the Greek originals ἀγάπη and ερως, which I’ve come to understand as a distinction between charity and romance. The higher Dante and the penitents climbed up Mount Purgatory, the purer their souls became so that the affection they felt for their fellows and for all things was less a love that desired something of each other rather than a love that wished only to exist in communion with each other. In my fraternal order, the Ancient Order of Hibernians (AOH), our motto of “Friendship, Unity, and Christian Charity” speaks to this vision of love as charitable, unifying, and amicable. Purgatory was intended to replace fear and “penitential tears” with charitable love:

            “If love, though, seeking for the utmost sphere,

            should ever wrench your longings to the skies,

            such fears would have no place within your breast.

            For, there, the more we can speak of ‘ours’,

            the more each one possesses of the good.

            and, in that cloister, caritas burns brighter.”[8]

In purgatory, the penitents seek to cleanse themselves, and to cleanse the world in time as well. In Canto 16, the medieval Italian courtier Marco Lombardo remarked to Dante that societal corruption stems from the government:

            “So — as you may well see — bad government

            is why the world is so malignant now.

            It’s not that nature is corrupt in you.”[9]

The hopes then of the penitent are that not only will they enter the Gates of Paradise but that all those who they left behind on the Earth will also join them and God among the heavenly spheres in their own time. Marco Lombardo remarked to Dante that “of better nature and of greater power / you are free subjects. And you have a mind / that planets cannot rule and stars concern.” In this, Marco reminds Dante that the key to Paradise is accepting one’s responsibility for one’s actions and life and being honest and free about one’s mistakes. Dante experiences this at the end of the Purgatorio, when he at last arrived in the Garden of Eden, located at the top of Mount Purgatory. There, he encounters his beloved Beatrice, the love of his life who sent the poet Virgil from the first circle of Hell (Limbo) to guide Dante to this point where he will at last be reunited with her.

Yet when Beatrice sees Dante standing there in the garden, she admonishes him for his sins and faults when she was alive and afterwards. She challenges him to be better, and to give up the last of his fear and worry, he had not come to her in the usual way after his own death. Beatrice challenged Dante, silencing him with sharp words that he did not expect of her:

            “Respond to me. Your wretched memories

            Have not been struck through yet by Lethe’s stream.”[10]

To advance further, and to be with his beloved again, Dante needed to forgo his feelings of fear and worry, remorse and sorrow, and instead embrace the moment in which he was living, standing there in her sight and hearing her voice.

            “And yet –– so you may bear the proper shame

            your error brings and, hearing, once again,

            the siren call you may show greater strength ––

            put to one side the seed that nurtures tears.”[11]

Beatrice is the first one in the entire Purgatorio who calls Dante by his name, the first to properly recognize him for who he is, more than just the wandering Tuscan poet or the Italian. I’ve often thought about how I would reveal characters’ names in my stories. I like to slowly peel away the layers of fog surrounding a narrative and let the audience discover the characters’ names in a more natural fashion. In a story I’ve begun to write, a sort of cleansing purgatory for the main character, his name is not uttered until after he has passed through these great circles of repentance in his own wandering way home.The Purgatorio concludes in a very mystical fashion, heralding the beginning of the Paradiso that follows. The symbols of the heavens abound, as Dante leaves fatherly Virgil behind to return to his own circle and follows instead his muse Beatrice toward the highest heights anyone in this cosmos can hope to achieve. That then, is where we will continue next week.


[1] Jacques Le Goff, The Birth of Purgatory, (Chicago: University of Chicago Press, 1984), 362.

[2] 2 Macabees 12:42–45 (NAB).

[3] Dante, Purgatorio 12.95–96.

[4] Dante, Purgatorio 12.112–114.

[5] Dante, Purgatorio 7.

[6] Dante, Purgatorio 20.49–60.

[7] Dante, Purgatorio 15.57.

[8] Dante, Purgatorio 15.52–57.

[9] Dante, Purgatorio 16.103-105.

[10] Dante, Purgatorio 31.11–12.

[11] Dante, Purgatorio 31.43–46.


All quotations from the Divine Comedy come from Robin Kirkpatrick’s English translation published in the 2012 Penguin edition.