1. “The Coming of the Glad and Lovely Eyes”: The Figure of Beatrice in Hell, Purgatory, and Paradise

2. Beatrice’s Eyes as a Central Image Constraints of time and space mean that our final lecture will not focus on the large-crowded canvas of Purgatory and Paradise. Constraints of time and space mean that our final lecture will not focus on the large-crowded canvas of Purgatory and Paradise. Instead we will follow a central motif: the image of Beatrice’s eyes as it functions in the Inferno, Purgatory, and Paradise Instead we will follow a central motif: the image of Beatrice’s eyes as it functions in the Inferno, Purgatory, and Paradise

3. Beatrice’s Eyes in Inferno Canto II In Canto II, Beatrice commissions Virgil to “rescue” Dante; her meeting is filled with references to her eyes. In Canto II, Beatrice commissions Virgil to “rescue” Dante; her meeting is filled with references to her eyes. They are associated with the stars. They are associated with the stars. –They either “surpass” the splendor of the star’s” (ii.55: Longfellow, Mendelbaum), or they are “kindled by the lamps of heaven” (Chiardi) (In ascending order of symbolism, the stars are of a higher order than Beatrice’s eyes). –Nevertheless, they are associated with the stars—the stars which end every Canto. They are “star-gazing” eyes—“For I am Beatrice who, send you on/I come from where I most long to return.” Later, in Canto xxxi of Paradiso, we will learn that she longs to return to the place of beautic vision where she gazes unceasingly at the light of God. They are “star-gazing” eyes—“For I am Beatrice who, send you on/I come from where I most long to return.” Later, in Canto xxxi of Paradiso, we will learn that she longs to return to the place of beautic vision where she gazes unceasingly at the light of God. –We might also note that thus they are star-leading eyes. They don’t exist to draw Dante to themselves—but to the “love that moves the sun and the other stars.” –Hence her love is different than greedy and lawless love of Paolo and Francesca; it’s goal is the redemption and not “possession{“ of the loved one.

4. Beatrice’s Eyes in Inferno Canto II (Cont.) They are love-filled and “love sent” eyes. She is gazing upon Virgil because “Love sent me” (II. 73) They are love-filled and “love sent” eyes. She is gazing upon Virgil because “Love sent me” (II. 73) And because they are eyes of love, they are eyes of tears. And because they are eyes of love, they are eyes of tears. –Note that the eyes “gleam” with tears. Tears increase, not dim, their brightness. Notice the contrast here to the frozen tears freeze in their eyes in Cocytus. –They tears clarify and focus. Virgil is eager “to hurry all the more.” (ii. 116). They are clear and brilliant eyes, like the clear and brilliant stars which direct one out and up toward the highest— toward even greater lights (like the Virgin’s eyes in Paradise) and finally the full light of the beautific vision. They are clear and brilliant eyes, like the clear and brilliant stars which direct one out and up toward the highest— toward even greater lights (like the Virgin’s eyes in Paradise) and finally the full light of the beautific vision.

5. Beatrice’s Eyes are a clear contrast to the images of blindness and unclear sight in hell. Beatrice’s Eyes are a clear contrast to the images of blindness and unclear sight in hell. Hell is a place which “closes its eyes” which has no place for the bright, clear eyes of Beatrice or the starlight quality of their gleaming. Hell is a place which “closes its eyes” which has no place for the bright, clear eyes of Beatrice or the starlight quality of their gleaming. It has ‘lost the good of the intellect” (III.20) the ultimate good is the beatific vision—something which is seen with the eyes. To lose the good of the intellect is to “go blind.” It has ‘lost the good of the intellect” (III.20) the ultimate good is the beatific vision—something which is seen with the eyes. To lose the good of the intellect is to “go blind.” But Most of all, Hell is a place of darkness and mist/ which can be seen as a series of contrasts to Beatrice’s eyes. But Most of all, Hell is a place of darkness and mist/ which can be seen as a series of contrasts to Beatrice’s eyes. –At the end of canto IV they reach “a place where on light gleams”— think of how Beatrice’s eyes gleamed with her tears. –At the beginning of that canto, hell is dark and deep and “filled with mist.” Again, I am reminded of the contrast to the eyes of Beatrice which become bright with her tears and increase the clarity and resolution of those gazing into them

6. IV.The Tears of Beatrice and the Grief of Satan A Study of Contrasts A Study of Contrasts Beatrice’s tears motivate Virgil to hurry to Dante’s rescue (ii.115-117) Beatrice’s tears motivate Virgil to hurry to Dante’s rescue (ii.115-117) Satan’s tears are an angry and sullen self torment when express themselves in an angry devouring of the sinners in his mouth Satan’s tears are an angry and sullen self torment when express themselves in an angry devouring of the sinners in his mouth Her tears gleam brightly they are like the stars of her eyes, bright and clean. His tears mingle with bloody puss. Her tears gleam brightly they are like the stars of her eyes, bright and clean. His tears mingle with bloody puss. Her tears warm Virgil to action; His whole being freezes people into self=pitting hating immobility. Her tears warm Virgil to action; His whole being freezes people into self=pitting hating immobility.

7. Purgatory and the Meeting with Beatrice In the earthly paradise near the pinacle of Mt. Purgatory Virgil speaks of Beatrice’s coming as the coming of her eyes (Purgatory xxvii.135-142). Again her refers to their tears. In the earthly paradise near the pinacle of Mt. Purgatory Virgil speaks of Beatrice’s coming as the coming of her eyes (Purgatory xxvii.135-142). Again her refers to their tears. The”completing” and “redeeming” effect of Beatrice’s eyes The”completing” and “redeeming” effect of Beatrice’s eyes –Veiled like the sun’s face to be seen (xxx.25) –They make Virgil Disappear. The coming of Beatrice’s eyes is the signal for the disappearance of Virgil’s (xxx.49) –The eyes that gleamed compassion to Virgil gleam sterness to Dante. Her eyes compel his to look into the stream and see himself in shame. And her voice which was like an angel’s voice to Virgil’s is “the voice of stern pity” here. (in jarring contrast to the mocking jeering voices of sinners with each other). Her eyes compel his to look into the stream and see himself in shame. And her voice which was like an angel’s voice to Virgil’s is “the voice of stern pity” here. (in jarring contrast to the mocking jeering voices of sinners with each other).

8. The Disappearance of Beatrice’s Eyes. It is of the nature of the poem that Beatrice and her eyes must disappear. Because Beatrice is not God, but a “God bearing” image. Her goal in the poem is ultimately to draw attention away from herself to that of the God whose uncreated light all are to adore. It is of the nature of the poem that Beatrice and her eyes must disappear. Because Beatrice is not God, but a “God bearing” image. Her goal in the poem is ultimately to draw attention away from herself to that of the God whose uncreated light all are to adore. Thus, in Canto XXXI Dante, in a rapturous contemplation of the Angels, like a swarm of celestial bees in eternal transit between the celestial rose and God, turns around and finds that Beatrice is gone—just as Virgil had disappeared earlier. Thus, in Canto XXXI Dante, in a rapturous contemplation of the Angels, like a swarm of celestial bees in eternal transit between the celestial rose and God, turns around and finds that Beatrice is gone—just as Virgil had disappeared earlier. His last view of her eyes is as she sits among the blessed forming a celestial rose. His last view of her eyes is as she sits among the blessed forming a celestial rose. –She looks down and smiles, one last smile—but then, most importantly she turns away from Dante and gazes at “the Eternal Fountain”—as Dante is to do.

9. Eyes Giving Way to Stars The Gesture of Beatrice is now repeated by another pair of Eyes—The Virgin. The Gesture of Beatrice is now repeated by another pair of Eyes—The Virgin. “The Eyes that God reveres” (xxxiii.40) are fixed only briefly “on the suppliant” but “then her eyes turned to the Eternal Light” (xxxiii.43) “The Eyes that God reveres” (xxxiii.40) are fixed only briefly “on the suppliant” but “then her eyes turned to the Eternal Light” (xxxiii.43) So Again, the human eyes must give way to the divine light for which they were formed. So Again, the human eyes must give way to the divine light for which they were formed. So her eyes lead Dante’s eyes to contemplate the vision of God: 3 circles of light upon one of which is imprinted the “effigy” of a man. So her eyes lead Dante’s eyes to contemplate the vision of God: 3 circles of light upon one of which is imprinted the “effigy” of a man. And Then the sun which moves the sun and the other stars. And Then the sun which moves the sun and the other stars.