Purgatory: Canto 26, The Lustful Sodomites
Having spent the whole day in service to my son, and having just given him a chaste kiss goodnight, I will sit and write two homilies for this canto and the next so that tomorrow the Dantefidelis will have something to which to respond besides the cantos. To begin, then, in this last cornice, we find two kinds of lustful -- the lustful who, like Paulo and Francesca, held the love of another in greater stead than their love for God, and the lustful who were intrinsically disordered in their inclinations -- both kinds repented of their desires in time to achieve salvation, which is what saves them from being hell-bait. Minos would have placed these particular sinners in either the second circle of the carnal, whipped eternally in the tornado of passion that lust is, or in the third round of the seventh circle, racing for eternity through a sterile desert landscape with hot brands gently falling upon their bodies. Here they are, safely ensconched within a burning ring of fire, kissing one another chastely without desire, like many tongues of flame lapping against one another in a funeral pyre. 
Dante's La Vita Nuova also sees his burning in grief, and that he tells these penitents of his goal in terms of grace and love after casting a shadow on them that makes their fire seem even redder, is sufficient proof that perhaps on this ledge, too, he may spend some time for immoderate desire. His discourse, though, is addressed to those who were "hermaphroditic" in their physical relationships with others, and he treats these penitent with the same respect he showed their counterparts in hell. One, in fact, is even praised by Dante for the verses he composed while the lives of the two yet overlapped. Adam's project on the eschatological treatment of homosexuality will undoubtedly be enriched by this canto and by Dante's sincere interactions with those purging themselves of this vice while replenishing within them the corresponding virtue of chastity.
Our poets seek completion in Christ through an imbalance in favor of virtue rather than vice. The whole truth must inundate the vessel yet created in God's image before that image might be ready to purge itself of the flames that burn it. Like St. Maximilian, who could not engage in partial truths, Pope teaches in his fourth epistle that "'the Universal Cause/ Acts not by partial, but by general laws;'/ And makes what happiness we justly call/ Subsist not in the good of one, but all." It is for this reason that at this point, the penitent seek to join in consanguinous union with one another, for they want to participate in a love that is an appropriate desire for the common good -- as do we all, at this point in our journey.
S.


6 Comments:
That the penitent sodomites kiss each other "chastely" in purgatory may raise some eyebrows. However, it does illustrate that close friendships can be chaste, which many moderns ridicule.
The value Dante gives to poets, particularly in this Canto, may well be justified, but we do not share it in our day. Would we be enriched if we did? I for one cannot grasp what many modern poets are saying. Perhaps the poets of our day are not equal to the thinkers and visionaries of Dante's age.
Fr. Earl, perhaps it is that the poetry you've explored is less clear than the meaning it intends to make, but that you've shown an affinity for Dante means that you also have an affinity for poetry. You just never met any you liked before now. The value of poetry, of course, lies in the metaphor -- in the ability to call into being one idea through the transformation of another. You've seen this all through Dante beginning with that She-Wolf we met at the beginning of the journey who represents incontinence and appetite (addiction or addictive behavior, you could say). Here's a fun one by Robert Frost called "Design" --
"I found a dimpled spider, fat and white,
On a white heal-all, holding up a moth
Like a white piece of rigid satin cloth--
Assorted characters of death and blight
Mixed ready to begin the morning right,
Like the ingredients of a witches' broth--
A snow-drop spider, a flower like a froth,
And dead wings carried like a paper kite.
What had that flower to do with being white,
The wayside blue and innocent heal-all?
What brought the kindred spider to that height,
Then steered the white moth thither in the night?
What but design of darkness to appall?--
If design govern in a thing so small."
So, what's it mean? Apply Dante to it, and it opens up for you.
S.
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