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Examples Of Paradiso In Dantes Inferno

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The theme of vision throughout the last cantos of Dante’s Paradiso is crucial in fully grasping the scope of the Rose’s consequence. In canto XXX, Dante enters Empyrean and completes his return journey to God. Dante undergoes two treatments of his vision in this canto, before he can see God. In lines 52-54 of Paradiso XXX, Beatrice explains that the blinding brightness of the Empyrean welcomes all newcomers precisely as Dante is welcomed in this section, “The love that calms this heaven always offers welcome with such greetings, to make the candle ready for its flame.” Dante is able to see the river of light flowing through the countryside, after this visual stimulus. Yet another visual purification comes in lines 82-90 of Paradiso XXX, when …show more content…

Although this theme is prevalent throughout the entirety of the Divine Comedy, it is implicitly supported in the final cantos of Paradiso, canto XXXII, in particular. As discussed previously, one half of the Rose, already full, holds those who believed in Christ before he came; the other half, with only a few seats still unoccupied, contains those who believed in Christ after he came. The row below Mary is where the women of the Hebrew Bible sit (Eve, Rachel, Sarah, Rebecca, Judith, Ruth, and others). Beatrice is seated next to Rachel, on the third row from the top; Rachels’s position here is noteworthy. Although not always explicitly, Dante appears to show preference to the role of the contemplative over the active lifestyle, yet recognizes that both are needed to fully express devotion towards God. One of the first instances where this view is mentioned is in Dante’s third dream within Purgatorio, in which he sees the biblical characters Rachel and Leah, “…To be pleased at my reflection I adorn myself, but my sister Rachel never leaves her mirror, sitting before it all day long. She is as eager to gaze into her own fair eyes as I to adorn myself with my own hands. She in seeing, I in doing, find our satisfaction’” (Purg. XXVII. 97-108). Here, looking into the mirror is not a sign of vanity, but is rather a sign of inward examination. In Christian symbolism, Rachel is often

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