Commentary Par V 1-6

For a presentation of the status questionis of a problem that has bothered many readers of these verses, see Giuseppe Ledda (Ledd.2002.1), pp. 263-64.  Whose sight (veder, verse 5) is perfect (perfetto), Beatrice's or Dante's?  And what exactly does the word perfetto here mean?  If it is used to describe Beatrice's vision, it nearly certainly means what we have translated it to mean, 'perfect,' i.e., the ultimate sort of seeing, possible only in a saved soul (for this sense of the word see [Par VIII 111]); however, if it refers to Dante, it would not be translatable in that literal way (cf. [Inf VI 107], where we learn that a thing may be 'più perfetta,' i.e., having reached a better stage, but not yet at its ultimate development; and, for a related instance, see Conv.IV.xi.5: 'For it is not incongruous for one thing to be both perfect and imperfect when it is perceived from different perspectives' [tr. R. Lansing].).  As Alessandro Niccoli points out in his article 'perfetto' (ED.1973.4, p. 413a), Dante found this 'relative' sense of perfection in Aristotle, for whom each stage of development in a process is 'perfect' in itself.  Plausible cases can be (and have been) made for each alternative.  As is evident from our translation, we are inclined to side with those who think that the improved sight is Beatrice's, as her apprehension of the divine Essence draws her farther into God's sight, thus also causing her to shine with greater effulgence.  But see the early gloss of Francesco da Buti (DDP Buti.Par.V.1-18); in our own time Leonella Coglievina (Cogl.1990.1), p. 50; Marina De Fazio (Defa.1995.1), p. 85; and Anna Maria Chiavacci Leonardi (DDP Chiavacci.Par.V.4-6) all have worked on this passage; all of them believe that the more perfect vision mentioned by Beatrice belongs to Dante.  Their case is made more difficult by the fact that currently the protagonist is having a very hard time seeing anything at all.  And while majority vote is probably not a valid procedure for disentangling knotted skeins of Dante's text, we are in accord with the wider opinion, given summarizing voice by Niccoli (ED.1973.4), ibidem.  The most imposing criticism of Beatrice's candidacy is based on verse 6: how can her will be described as being in motion toward God?  Is she not already there?  And the answer to that is found in the several expressions of eagerness on her part to get her peripatetic instruction of Dante completed so that she can get back 'home,' first as she enters the poem ([Inf II 71]); then in the earthly paradise when she makes clear that the temporary nature of their stay even in that most agreeable place is preferable to a permanent one ([Purg XXXII 100-102]; [Purg XXXIII 10-12]); and finally, when she asks Dante to look back down the 'ladder' he has climbed up through the heavens in order to reach the 'ultima salute' ([Par XXII 124-132]).