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- Its principal characteristics are summarized under three points: (i) In radical distinction from the Empyrean of the Scholastics, the Empyrean of the Comedy is absolutely immaterial and uncreated: it does not exist in space or time; (ii) In the Comedy Dante identifies the Empyrean with the divine mind; the splendor of that mind is the luminosity of the “tenth heaven”; (iii) The Empyrean is the “cause” of the phenomenal world only in the sense that it is its “foundation,” the ground of its being.
academic.oup.com/book/2461/chapter/142721116The Empyrean | The Metaphysics of Dante's Comedy | Oxford ...
When he approached the summit of Mount Purgatory in Purgatorio, Dante suddenly turned to see that his faithful guide, Virgil, was no longer at his side. Now, in the Empyrean, something similar happens, as Beatrice returns to her rightful place in order to resume her praise of God.
At first, Dante could only see the Empyrean symbolically. Now that he’s drunk from the river of light, he sees flowers as saints and the sparks of light as ministering angels. He also sees firsthand how the light of God is distributed, by God’s providence, throughout the universe.
Why do you think Dante imagines an abstract, mathematical vision of the triune Christian god--as three circles--and compares his attempt to perceive the Incarnation to that of a geometer trying to square the circle?
After ascending through the sphere of fire believed to exist in the earth's upper atmosphere (Canto I), Beatrice guides Dante through the nine celestial spheres of Heaven, to the Empyrean, which is the abode of God.
The Empyrean is the highest sphere of Heaven, in which God, the angels, and the saints dwell. The Empyrean is the summit of Dante ’s journey through the afterlife, and it’s in this light -filled space that he experiences a firsthand vision of God.
However, Dante will see his face when he reaches the Empyrean, the soul says. Benedict goes on a rapturous rant about the Empyrean, stating how it is a space without poles and the ultimate ending of the golden ladder.
This chapter discusses the context and originality of Dante's Empyrean, as developed in the Comedy. Its principal characteristics are summarized under three points: (i) In radical distinction from the Empyrean of the Scholastics, the Empyrean of the Comedy is absolutely immaterial and uncreated: it does not exist in space or time; (ii) In the ...
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