The Metaphysics of Dante's Comedy (AAR Reflection and Theory in the Study of Religion)

## Abstract Dante's metaphysics — his understanding of reality — is very different from our own. To present Dante's ideas about the cosmos, or God, or salvation, or history, or poetry within the context of post-Enlightenment presuppositions, as is usually done, is thus to capture only imperfectly the essence of those ideas. This book argues that the recovery of Dante's metaphysics is essential if we are to resolve what has been called “the central problem in the interpretation of the Comedy. ”That problem is what to make of the Comedy's claim to the “status of revelation, vision, or experiential record — as something more than imaginative literature.” This book offers a sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and of the relation between those metaphysics and Dante's poetics. The book carries this out through an examination of three notoriously complex cantos of the Paradiso, read against the background of the Neoplatonic and Aristotelian tradition from which they arise. Dante's metaphysics--his understanding of reality--is very different from our own. To present Dante's ideas about the cosmos, or God, or salvation, or history, or poetry within the context of post-Enlightenment presuppositions, as is usually done, is thus to capture only imperfectly the essence of those ideas. The recovery of Dante's metaphysics is essential, argues Christian Moevs, if we are to resolve what has been called'the central problem in the interpretation of the Comedy.'That problem is what to make of the Comedy's claim to the'status of revelation, vision, or experiential record--as something more than imaginative literature.'In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and of the relation between those metaphysics and Dante's poetics. He carries this out through a detailed examination of three notoriously complex cantos of the Paradiso, read against the background of the Neoplatonic and Aristotelian tradition from which they arise. Moevs finds the key to the Comedy's metaphysics and poetics in the concept of creation, which implies three fundamental insights into the nature of reality: 1) The world (finite being) is radically contingent, dependent at every instant on what gives it being. 2) The relation between the world and the ground of its being is non-dualistic. (God is not a thing, and there is nothing the world is'made of') 3) Human beings are radically free, unbound by the limits of nature, and thus can find all of time and space within themselves. These insights are the foundation of the pilgrim Dante's journey from the center of the world to the Empyrean which contains it. For Dante, in sum, what we perceive as reality, the spatio-temporal world, is a creation or projection of conscious being, which can only be known as oneself. Moevs argues that self-knowledge is in fact the keystone of the Aristotelian and Neoplatonic philosophical tradition, and the essence of the Christian revelation in which that tradition culminates. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy. In particular, it becomes clear that poetry coincides with theology and philosophy in the poem: Dante poeta cannot be distinguished from Dante theologus. Dante's metaphysics — his understanding of reality — is very different from our own. To present Dante's ideas about the cosmos, or God, or salvation, or history, or poetry within the context of post-Enlightenment presuppositions, as is usually done, is thus to capture only imperfectly the essence of those ideas. This book argues that the recovery of Dante's metaphysics is essential if we are to resolve what has been called “the central problem in the interpretation of the Comedy . ”That problem is what to make of the Comedy 's claim to the “status of revelation, vision, or experiential record — as something more than imaginative literature.” This book offers a sustained treatment of the metaphysical picture that grounds and motivates the Comedy , and of the relation between those metaphysics and Dante's poetics. The book carries this out through an examination of three notoriously complex cantos of the Paradiso , read against the background of the Neoplatonic and Aristotelian tradition from which they arise

The recovery of Dante's metaphysics - which are very different from our own - is essential, argues Christian Moevs, if we are to resolve what has been called "the central problem in the interpretation of the Comedy." That problem is what to make of the Comedy's claim to the status of revelation, vision, or experiential record - as something more than imaginative literature. In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy, and the relation between those metaphysics and Dante's poetics. Moevs arrives at the radical conclusion that Dante believed that all of what we perceive as reality, the spatio-temporal world, is in fact a creation or projection of conscious being. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy.

The recovery of Dante's metaphysics - which are very different from our own - is essential, argues Christian Moevs, if we are to resolve what has been called "the central problem in the interpretation of the Comedy ." That problem is what to make of the Comedy's claim to the status of revelation, vision, or experiential record - as something more than imaginative literature. In this book Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy , and the relation between those metaphysics and Dante's poetics. Moevs arrives at the radical conclusion that Dante believed that all of what we perceive as reality, the spatio-temporal world, is in fact a creation or projection of conscious being. Armed with this new understanding, Moevs is able to shed light on a series of perennial issues in the interpretation of the Comedy . "Christian Moevs offers the first sustained treatment of the metaphysical picture that grounds and motivates the Comedy and of the relation between those metaphysics and Dante's poetics. He carries this out through a detailed examination of three complex cantos of the Paradiso, read against the background of the Neoplatonic and Aristotelian tradition from which they arise."--BOOK JACKET Moevs offers a treatment of the metaphysical picture that grounds and motivates 'The Divine Comedy', and the relation between those metaphysics and Dante's poetics. He arrives at the conclusion that Dante believed that all of what we perceive as reality is in fact a creation or projection of conscious being Dante and Beatrice arrive in the Primo Mobile around line 100 of Paradiso 27, and abandon it for the Empyrean at approximately Paradiso 30.37.