A central question facing the reader of the Paradiso terrestre (Pg 28–33) concerns the selfhood of the protagonist, the character Dante. While the state of Dante’s soul was critical to the poem’s beginning in the dark wood, and remained implicit through the intervening cantos, it is only in the Paradiso terrestre that it becomes the poem’s central focus. This question is explored in cognitive and theological terms in a sequential reading of the six cantos that elucidates the learning process occurring in the character before and after his confession in Pg 31: in his encounter with Matelda, his sensory and perceptual experience of the procession, his dialogues with Beatrice, and his witnessing of her divine beauty as the analogia entis reflecting the beauty of God. The analysis acknowledges the changes in Dante’s style in this interval, which serves as a fulcrum of the entire Commedia, a spatio-temporal threshold in which the transition of one soul, from confession to redemption to instruction on the divine word, is linked to the destiny of humankind and the prospect of universal salvation. Throughout this process of becoming, the character’s cognitive limitations are exposed, not simply as flaws but as signs of his intrinsic humanity.
Die Analogia Entis
