Botticelli illustrates Purgatorio 27, Dancing through the Fire
‘From wrong to wrong the exasperated sprit proceeds/ unless restored by that refining fire/ where you must move in measure like a dancer’
These words from TS Eliot’s Little Gidding have always struck a chord with me. They allude, of course, to the moment near the end of the Purgatorio when the pilgrims ascend towards the Earthly Paradise, the garden of our origins and of our restored humanity, at the summit of the Holy Mountain. But Eden is surrounded by a circle of fire. The poet-pilgrims must pass through that fire, in which the last of love’s imperfections will be purified. Desire for the beloved must be redeemed from the possessive lust which makes a person an object, and restored to that wholeness of love in which the beloved is desired and loved, body and soul, for herself as person. It is only when Virgil reminds Dante that his beloved Beatrice is waiting for him beyond the fire that he has the courage to enter the flame.
This episode has engaged my life and writing in various ways over the years and it is the title and subject of my most recent cd Dancing Through the Fire. Now I engage with it again as part of this sequence, in the terza rima that Dante used for his great poem.
As always you can hear the poem by clicking on the title or the play button and I am grateful to Margot Krebs Neale for the image which illustrates and interprets the poem at the bottom of this page
‘per te poeta fui, per te Christiano‘ ( purg 22:73)
Then stir my love in idleness to flame
To find at last the free refining fire
That guards the hidden garden whence I came.
O do not kill, but quicken my desire
Better to spur me on than leave me cold.
Not maimed I come to you, I come entire
Lit by the loves that warm, the lusts that scald
That you may prove the one, reprove the other,
Though both have been the strength by which I scaled
The steps so far to come where poets gather
And sing such songs as love gives them to sing.
I thank God for the ones who brought me hither
And taught me by example how to bring
The slow growth of a poem to fruition
And let it be itself, a living thing,
Taught me to trust the gifts of intuition
And still to try the tautness of each line,
Taught me to taste the grace of transformation
And trace in dust the face of the Divine,
Taught me the truth, as poet and as Christian ,
That drawing water turns it into wine.
Now I am drawn through their imagination
To dare to dance with them into the fire,
Harder than any grand renunciation,
To bring to Christ the heart of my desire
Just as it is in every imperfection
Surrendered to his sharp refiners fire
That love might have Its death and resurrection.
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Botticelli illustrates Purgatorio 27, Dancing through the Fire
‘From wrong to wrong the exasperated sprit proceeds/ unless restored by that refining fire/ where you must move in measure like a dancer’
These words from TS Eliot’s Little Gidding have always struck a chord with me. They allude, of course, to the moment near the end of the Purgatorio when the pilgrims ascend towards the Earthly Paradise, the garden of our origins and of our restored humanity, at the summit of the Holy Mountain. But Eden is surrounded by a circle of fire. The poet-pilgrims must pass through that fire, in which the last of love’s imperfections will be purified. Desire for the beloved must be redeemed from the possessive lust which makes a person an object, and restored to that wholeness of love in which the beloved is desired and loved, body and soul, for herself as person. It is only when Virgil reminds Dante that his beloved Beatrice is waiting for him beyond the fire that he has the courage to enter the flame.
This poem is also set for this Saturday in The Word in the wilderness. Here’s what I wrote about it there:
So, at the end of this ‘Dante’ week, I give you my own poetic response to Friday’s passage from the Purgatorio. And I take occasion in this poem to thank God for the poets, the warm-hearted poets whose strength, and yes, sometimes weakness too, was in their service of Eros, but who always gave me, as the pagan Virgil gave Dante, a new kindling of hope and longing; a vision, even through the warmth of earthly love, of the eternal Love of Heaven. Through them I learned that the right response to Eros is not to ask for less desire, but for more, to deepen my desires until nothing but Heaven can satisfy them. I also take occasion here to think about the art of poetry itself. There is a parallel, I think between our love-life and the making of poetry. In both there is an initial gift and inspiration, a subtle and all-transforming intuition of beauty. But in both this might easily be frittered away or corrupted. The first glimpse, the intuition, which as it did for Yeats’s Wandering Aengus, should lead to a life-times quest, can be lost or dissipated in the pursuit of one will’o’the wisp after another. Or we can be faithful to it: that first intuition, that graceful gift of love can be attended to, and shaped. We can craft for it a steady reliable form and a home. We can bring it, in poetry and in love-life through slow growth to fruition. So I praise the poets, among them Dante himself, who
taught me by example how to bring
The slow growth of a poem to fruition
And let it be itself, a living thing,
And we can do more than that. Poetry must begin with specific and loving attention to the particular and the earthly, but it doesn’t end there. And so I praise the poets who
Taught me to trust the gifts of intuition
And still to try the tautness of each line,
Taught me to taste the grace of transformation
And trace in dust the face of the divine,
Taught me the truth, as poet and as Christian,
That drawing water turns it into wine.
The lines, the images, the sounds and rhythms of a poem are all physical things of this world, and yet, somehow in them and through them, another light shines. George Herbert put it perfectly when he said
A man that looks on glass
On it may stay his eye
Or if he pleaseth, through it pass,
And then the Heavens espy.
And all this, that is true of poetry, is also true of the transformation of Eros in our lives. The familiar face of the person we live with, the quality of their steadfast covenant love can suddenly become a window through which the face of the God, who loves us in and through them, shines. Marriage itself is intended as the sacrament in which that transformation can happen, and that is why the marriage service alludes to our Lord’s presence ‘at a wedding in Cana of Galillee’. For the miracle that was wrought there, in which the very act of drawing water in Christ’s presence has turned it into wine, is a sign of what can happen to all we love and make in this world, poems and relationships, if we open them up to Christ.
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As usual you can hear the poem by clicking on the ‘play’ button or the title, and I am grateful to Margot Krebs Neale for the lovely interpretative image which follows the poem
As always you can hear the poem by clicking on the title or the play button
Botticelli illustrates Purgatorio 27, Dancing through the Fire
‘From wrong to wrong the exasperated sprit proceeds/ unless restored by that refining fire/ where you must move in measure like a dancer’
These words from TS Eliot’s Little Gidding have always struck a chord with me. They allude, of course, to the moment near the end of the Purgatorio when the pilgrims ascend towards the Earthly Paradise, the garden of our origins and of our restored humanity, at the summit of the Holy Mountain. But Eden is surrounded by a circle of fire. The poet-pilgrims must pass through that fire, in which the last of love’s imperfections will be purified. Desire for the beloved must be redeemed from the possessive lust which makes a person an object, and restored to that wholeness of love in which the beloved is desired and loved, body and soul, for herself as person. It is only when Virgil reminds Dante that his beloved Beatrice is waiting for him beyond the fire that he has the courage to enter the flame.
This episode has engaged my life and writing in various ways over the years and it is the title and subject of my most recent cd Dancing Through the Fire. Now I engage with it again as part of this sequence, in the terza rima that Dante used for his great poem.
As always you can hear the poem by clicking on the title or the play button and I am grateful to Margot Krebs Neale for the image which illustrates and interprets the poem at the bottom of this page
Botticelli illustrates Purgatorio 27, Dancing through the Fire
Malcolm Guite 