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Heavens above!

Mark Vernon

In the 750th anniversary year of Dante's birth, does the medieval world-view of The Divine Comedy still have anything to teach us? Mark Vernon's planetary tour of the Italian poet's universe gives new signposts for modern readers.

Midway upon the journey of his life, Dante Alighieri, the poet of The Divine Comedy, watched his luck collapse. A politician in Florence with the ear of the Pope, his fortunes suddenly reversed and he was cast into exile and penury. His mind fell on his first love, the beautiful Beatrice. The yearning and loss inspired his great poem, a visionary journey powered by love that carries him through the three realms of the dead towards a beatific vision of God. Many modern readers of his masterpiece feel quite at home in the Inferno and Purgatory. The fates and tortures, sorrows and hopes that fill these realms still feel related to our struggles today. That familiarity departs with the Paradise. The vast differences between the medieval and modern experience of life then become an apparently insuperable barrier. C.S. Lewis described the gap in his study of the medieval imagination, The Discarded Image. He recognized that it represented a major problem for Christianity because so much Christian imagery and theology is grounded in the abandoned worldview. When Dante looked up to the stars, he perceived himself to be on the lower rungs of a ladder of being that rises to God. When modern eyes gaze into the heavens, it is as if we look out from an island of awareness into vast voids of emptiness. Science tells us it is populated by dead matter not living souls; blind mechanisms not celestial virtues. Or is that right? Do we actually have more imaginative and metaphysical options than we might first presume? Can we look up with modern eyes and still detect Dante's brilliant vision?


Dante the pilgrim enters paradise and the first sphere of the Moon. According to the poem, he asks why the lunar surface has lighter and darker parts. Beatrice, who accompanies him, tells him that he must let go of the physical explanations he proposes. His task now is different: it is to learn to perceive by a spiritual light. So for we moderns, might entering the lunar domain be thought of metaphorically as coming to an awareness of how richly we project human perceptions onto the stars, so as to begin to let them go? Take the interest in discovering extraterrestrial life. This enterprise has been energetically engaged for well over half a century without a single positive discovery. The last report I saw said that over 100,000 galaxies have now been scanned for the basic signatures of civilizations like ours without the faintest signal. So why does this long search lose none of its fascination and appeal? Projection is one answer. I wonder whether the search for ET has much to do with the human need to feel we are not alone. You might say that the quest is indulged with sublunary assumptions, as if the only option for intelligent life is carbon-based consciousness like our own. But that preoccupation excludes spiritual possibilities. What might they be? Dante asks that too, as he journeys into the next sphere, Venus.


Here, he begins to be able to discern, and bear, intensely beautiful images of spiritual reality. For a modern mind, reflecting on the role that beauty plays in scientific discovery might help us to journey this next step with him. Put it like this: mathematicians seek elegant solutions; physicists symmetries; biologists patterns. Scientists do so because such beautiful formulations are scientifically productive. But are they metaphysically revealing too? In fact, the mathematician and former President of the Royal Society, Michael Atiyah, has noticed that modern scientists are perhaps unwittingly rejecting beauty as a handmaid of discovery by their adoption of algebra as a mathematical tool, in conjunction with computers. The upshot is that geometry, with its intuitive methods based upon principles of beauty - pattern, symmetry, balance - is falling into disuse. In a lecture, "Mathematics in the Twentieth Century", delivered in 2000, he argued that this move is something of a Faustian pact. "The devil says: 'I will give you this powerful machine, and it will answer any question you like. All you need to do is give me your soul.'" But without soul - without beauty - science is limited to what the machine can manipulate. It leaves scientists blind to what calculations cannot conceive. You could say that Atiyah senses that science needs Venus and the stimulus of beauty, and that her inspiration is at risk of being eclipsed.


Dante's next step in paradise is into the sphere of the Sun. He is now fully awake to the limitations of human understanding; he has embraced the wonder of being confronted by irresolvable mystery. For the modern mind, a similar point of realization can be reached: the knowledge gained through the powerful methods of modern science comes to be recognized as indicative of a richness that lies beyond description, and which is even more extraordinary. Dante meets Thomas Aquinas in the Sun. There is a well known story about Aquinas, which Dante presumably knew. On the morning of St Nicolas's Day, 1273, Aquinas had a vision. He concluded that all he had written was as much straw - meaning not meaningless but basic compared with the "wisdom so profound none of His creatures can ever hope to see into Its depths," as Dante has Aquinas say in Paradise. The human efforts of the Angelic Doctor could now stop. He would rest in the fecundity of spiritual silence, which paradoxically he could appreciate all the more because of his hard-won knowledge. He had adopted a solar mind. Another past President of the Royal Society, Martin Rees, has written of a parallel experience. He confesses an agnosticism of the type that is profoundly aware of the limitations of the human mind. He argues that scientific endeavours have barely understood the workings of the hydrogen atom, one of the simplest structures in the cosmos. It seems presumptuous to propose that we will one day arrive at a theory of everything, and so know the mind of God, to recall the phrase of Stephen Hawking. You might say that Rees is a scientist who enjoys the radiance of the Sun - the wonderment that dazzles at the fine edges of rational and empirical discovery. We can join him and Aquinas too.


Love presses on, and Dante next moves towards Mars. Here, he meets one of his ancestors and, in that meeting, his relationship to the great flow of life. It's the next gift offered by paradise. I sense we might be welcomed here by Paul Davies, a cosmologist who countenances a possibility that is generally taboo in modern science, namely that the cosmos might have a telos, a directionality, an end. Davies is the author of several bestselling science books, including The Goldilocks Enigma, in which he examines the seeming rightness of the universe for the emergence of self-conscious life. He speculates that the cosmos may contain a drive for life, for self-consciousness, and even for qualities such as love. Though it's taboo to raise such possibilities, this "life principle" is a plausible hypothesis, he writes. It's a breathtaking thought when set alongside the vastness of the universe's unfolding: at least 13.8 billion years in time and 90 billion light years in space that is permeated by this gentle, unfailing pull. To put it another way, a cosmic life principle presents us with our own relationship to the great flow of life. Further, it lifts us out of any humdrum experience of life and affords us a glimpse of the mystery of life and death. And more: is not to see one's own life as a reflection of an instinct for awareness that pulses through the cosmos, to die a little to self? Is it not to feel one's existence within a wider whole, flaming forth from an animating principle, the divine Word? It's what Dante realizes too as he is blessed by Mars.


Can we make the next move towards Jupiter, the realm of order, justice and serenity? Each of the souls Dante sees here has a place, rejoices in her place, and works harmoniously alongside all others. Interestingly, it is also the domain in which no one speaks to the pilgrim. In relation to modern cosmology, a parallel experience might be to receive an intuition of the ineffable lawfulness of the universe. Under the white light of Jupiter, the laws of nature that science can articulate come to be known as echoes of a higher, harmonious order. Albert Einstein smiles at us in this realm. On Earth, he had professed the type of pantheism advocated by Spinoza. It identifies God with nature but, unlike reductive forms of pantheism, does not forget the dependency of nature upon God: God is not another being but the Being of nature itself. This theological carefulness sprang from his intellectual humility, his "veneration for a force beyond anything that we can comprehend." My conceit is that his terrestrial humility secures him a place in Jupiter's celestial domain because it ensures that his genius served a greater worship of the cosmic mystery. He spoke of "a humble admiration of the illimitable superior spirit who reveals himself in the slight details we are able to perceive with our frail and feeble minds." He knew nature as a wonderful phenomenon shaped according to lawful patterns and coordinated movements. You could say he loved "Jove's justice", to echo the words that appear to Dante in this sphere.


There is a contemplation that is another step on, in Saturn. Dante now sees a ladder that can lift the soul out of the heavenly spheres altogether, and so closer still to God. Even music and Beatrice's loving smile, Dante realizes, are imprints of a lower beauty from which he must become detached if he is to continue. He must prepare himself to rise on a metaphysics that acknowledges a world of pure spirit that is radically independent of the material world. It's a form of Platonism, and one shared by the Oxford physicist who taught Stephen Hawking, Roger Penrose. For Penrose, Platonism provides the best description of why the human mind can do science at all. There must be a link between a metaphysical reality and physical reality, and it is made through the intelligence we know as mind. Though Penrose publicly remains neutral about the existence of God, I think he can be thought of as a fellow traveller with Peter Damian, the medieval contemplative whom Dante meets in Saturn. Damian's words to the poet capture the tremendous dynamic inherent in Platonic insight: "A ray of God's light focuses on me and penetrates the light enwombing me, whose force once joined to that of my own sight, lifts me above myself until I see the Primal Source..." The metaphor of a ray of light carries a striking additional resonance too. I once spoke with Penrose about the nature of light. He told me that, according to the theories of relativity, light does not exist in time. That is part of the definition of travelling at the speed of light, and one reason why it is impossible to accelerate to the speed of light. Time would have to slow to a halt, requiring an infinite amount of energy - a lift to eternity, you might say, given that eternity is the world of timelessness. And then Penrose added a personal thought. He described arriving at his office in the morning and turning on the lights. The room floods with photons, cascading sparks of timeless brightness. "It's like being bathed in eternity," he murmured, almost to himself. It seemed to me that this everyday act, transformed by a deep cosmological mystery, was simultaneously akin to a mystical experience, momentarily lifting him out of time altogether. Surely it is to glimpse high into the divine heavens. Moon, Venus, Sun. Mars, Jupiter, Saturn. In the poem, Dante continues, journeying on. But perhaps that's enough to suggest there are ways of reclaiming, and inhabiting, Dante's "discarded image".

Mark Vernon is a psychotherapist and writer. His latest book is Love: All That Matters (Hodder). See www.