“When a human being departs from this natural purpose, she injures herself, for she does what she was not intended to do. She wars against herself and her nature.”
Miss Peterson leaned forward, as if she were paying rapt attention.
“Why does Aquinas hold this peculiar view of sin?
“One reason is because he accepts Boethius’ assertion that goodness and being are convertible. In other words, anything that exists has some goodness in it because God made it. And no matter how marred or broken or sinful that being is, it still maintains some goodness so long as it exists.”
Gabriel pressed a button, and his first slide appeared on the screen to his left. Julia recognized it as Botticelli’s illustration of Lucifer.
“According to this view, no one, not even Lucifer encased in ice at the bottom of Dante’s Inferno, is wholly evil. Evil can only feed off of goodness like a parasite; if all the goodness of a creature were eliminated, the creature in question would no longer exist.”
Gabriel felt a pair of cunning eyes fixate on him, mocking him and his silly recognition of concepts so bourgeois as good and evil.
He cleared his throat. “It’s a foreign way of thinking to many of us — the idea that even a fallen angel condemned to live out his days in the Inferno has some goodness left in him.” His eyes wandered over to Julia’s where they rested just long enough for her to see something pleading in them. “Goodness that begs to be recognized, despite the fallen angel’s sad and desperate addiction to sin.”
Another Botticelli illustration, one of Dante and Beatrice and the fixed stars of Paradise, was displayed on the screen. Julia recognized it as the same scene Gabriel had showed her from his private collection.
“Against the backdrop of good and evil, consider the characters of Dante and Beatrice. They have a relationship that typifies courtly love. In the context of The Divine Comedy, Beatrice is connected with Virgil. She appeals to him to guide her beloved Dante through Hell because she is unable to travel there, owing to her permanent residence in Paradise. In making the connection between Beatrice and Virgil, Dante is expressing his notion that courtly love is tied to reason rather than passion.”
At the mention of Beatrice, Julia began to fidget, keeping her face down lest it give anything away. Paul noticed her movements and misread-ing them, took her hand in his, squeezing it gently. They were seated too far away for Gabriel to see what was going on, but he observed that Paul had turned toward Julia, his hand disappearing near her lap. The sight distracted him momentarily.
He coughed, and Julia’s eyes flew to his as she hastily withdrew her hand.
“But what of lust? If love is the rabbit, then lust is the wolf. Dante says so explicitly when he identifies lust as a sin of wolf-like incontinence — a sin in which passion overtakes reason.”
At this remark, Christa slid to the very edge of her seat, leaning forward just enough so that her cleavage was visible from the podium. Unfortunately for her, Gabriel was too busy posting the next slide, Rodin’s sculpture Le Baisir, to notice.
“Dante places Paolo and Francesca in the Circle of the Lustful. Surprisingly, the story of their downfall is linked with the courtly love tradition.
At the time of their lustful indulgence, they were engaged in reading about the adultery between Lancelot and Queen Guinevere.” Gabriel grinned mischievously. “Perhaps this was the medieval equivalent of porn-fuelled foreplay.”
Polite laughter echoed across the lecture hall.
“In the case of Paolo and Francesca, passion overtook reason, which should have told them that since one of them was joined to another, they should keep their hands to themselves.”
Gabriel glared meaningfully at Paul. But Paul thought the glare was directed elsewhere, possibly to Julia or one of the women sitting in front of him, so he did nothing. At Paul’s lack of reaction, Gabriel’s blue eyes grew green like a dragon’s. All that was lacking from his display was the breathing of fire.
“Perhaps this is similar to the proprietary relationship that exists between a couple when they are courting. If someone else were to start indulging in some of the special delights that should be reserved for the courting couple, no doubt anger and jealousy would result.” Gabriel’s voice grew sharp.
Julia flinched and shifted slightly to her left, away from Paul.
“But the fact that Dante sees in Lancelot and Guinevere and Paolo and Francesca a corruption of the courtly love tradition shows that he recognizes the very real dangers facing his attachment to Beatrice. If Dante’s passion were to overtake his reason, it would ruin their lives and expose them to scandal. So the fate of Paolo and Francesca is a very personal warning to Dante for him to keep his affection for Beatrice chaste. Which is no easy task given her great beauty and allurements, and the depth and degree of his desire for her.”
Julia blushed.
“Let me be clear, despite the fact that they were separated from one another for years, Dante aches for her. He wants her, and he wants all of her. His chastity is made all the more virtuous because of the strength and desperation of his desire.”
While he paused, the serpentine eyes followed Gabriel’s gaze back to Julia before making eye contact with him. He glared in response and continued.
“In Dante’s philosophy, lust is a misplaced love, but a kind of love nonetheless. For this reason, it is the least evil of the seven deadly sins, and that is why Dante locates the Circle of the Lustful just underneath Limbo.