That the time of ascent to the spheres was noon is again stated in the opening Canto of the Paradiso, where Dante says that the sun had brought morning there (Purgatory) and evening here (the inhabited hemisphere), and that now the whole of that hemisphere was bright while the whole of this was dark.[488] The sun is therefore now due north. While Beatrice stood beside the waters of Eunoe, after walking towards the sun, it had moved to her left, so she now turns in that direction to gaze upon it.[489] She, like Virgil, takes as her guide that sun which Dante has said is the fittest symbol of God, and it is through the power of this heavenly light that he is raised from earth. Compare

He is not conscious of any effort, or even movement, but is astonished by a great light and strange music, and learns that he is in the sphere of fire and listening to the harmony of the spheres. His soul, freed from all that bound it to earth, is soaring towards its natural goal, as fire mounts up and rivers run down.

The upward gaze to the sun or to the skies, and its power to raise them, is again described in Par. i. 142: Beatrice “rivolse inver lo cielo il viso,”[491] and in ii. 22, “Beatrice in suso ed io in lei guardava.”[492] Thus they rise to the First Heaven, of the moon. In answer to an eager question of Dante’s about the markings of the moon, Beatrice is led to discourse on the spheres and their movers. Spirits appear, and Dante learns that although all the redeemed dwell in the Empyrean, those of different degrees of blessedness will manifest themselves to him in each sphere. After explaining this and other things, Beatrice once more

and swift as an arrow that strikes its mark before the cord has ceased to quiver, they ascend to the Second Heaven, of Mercury. To understand the above lines we must remember that the sun, as Dante told us in the introductory Canto,[494] is at the equinox, or near it, and therefore on the equator; also that the equator of a sphere, where motion is quickest, is its most living part.[495] Beatrice is therefore looking again at the sun. Some understand “quella parte”[496] to refer directly to the sun, “quegli ch’ è padre d’ogni mortal vita,”[497] some to the equinoctial point;[498] others think that the east is meant; others the Empyrean, in which is the true life of all the Universe.

Equally swiftly and unconsciously, Dante ascends to the successive heavens of Venus, the sun, Mars, Jupiter, and Saturn, finding himself always in the planet which occupies each sphere. Mounting the mysterious golden ladder which is set up in Saturn, with a rapidity inconceivable on earth, the poet finds himself in the Heaven of Stars, in the constellation of Gemini. Now that he is so near the final blessedness his eyes are clear and keen, and that his heart may be filled with joy Beatrice bids him look down and see how much of the universe is already beneath his feet. There lie the seven spheres, and there is the little globe of Earth, so small that, like Scipio, he smiles at its paltry appearance; there is the moon, showing him the face turned away from Earth, which has no dark markings: there is the sun, at which for once he is able to gaze; and near it circle Mercury and Venus; the temperate Jupiter moves between his father Saturn and his son Mars; with a new power of vision Dante can grasp all their sizes and distances and the various speeds of their movements; and the poor little disc of the earth, small and round as a threshing floor,[499] about which we quarrel so fiercely, is all visible to him at a glance, its highest hills and its lowest river-valleys running down to the sea. He turns away his eyes to look into the beautiful eyes of his guide. She is standing, erect, intent, watching eagerly for that glorious Procession, whose coming is making a growing brightness in the sky.

No other intimation is given as to the direction from which the Procession comes. The sun’s daily motion appears slowest on the meridian, as Dante remarked in Purg. xxxiii. 103, 104, because he is scarcely changing his position with regard to the horizon; or in the south (where we in this hemisphere see him when on the meridian); he shows least haste to leave us in the long summer days, near the solstice. If the Procession descends from the heaven of heavens to show itself here symbolically to Dante, as we know that the spirits in other heavens did,[501] then Beatrice was gazing upwards, and the meridian may be meant, particularly that part of it which passes directly overhead. If the Procession came from the east, like the Procession in Eden,[502] the summer solstice in Cancer is meant, which lies east of Gemini. It is difficult to see any special meaning in its coming from the south, for although some commentators say that this suggests the consummate glory of the midday sun, the same idea is conveyed by the meridian. A constellation like Cancer perhaps corresponds better than a circle like the meridian with the expression “plaga,”[503] and the idea of the east makes more perfect the beautiful simile which the poet has just drawn between the little bird on the spray beside its nest waiting for the sun to rise, and Beatrice watching for the advent of Him who is likened to a sun among the starry company of His saints.[504]

When this glorious company has at length vanished, she bids him look down once more, this time that he may realise how he has been revolving with the spheres, the little earth lying immoveable at his feet. He looks down, and notes what parts of Earth are lighted by the sun, and what parts are wrapped in darkness, for now he is able to see what he had often imagined, the shadow of night sweeping westward over the globe. The Atlantic Ocean, where Ulysses sailed beyond Gades, is all in daylight, and so is the Mediterranean, but the sun is setting over Jerusalem, for he says that its position prevents him from seeing beyond the coast whence Europa was carried (i.e. Phœnicia or Palestine). It must therefore be midday at Gades, and the sun is on the meridian there; it is “a sign and more,” or something between 30° and 60°, advanced to the west beyond the meridian over which Dante stands.

He does not define his own position more exactly than this, but we may conjecture that he was 45° (a sign and a half) east of the sun, since this would be the meridian of Rome, and there would be a peculiar fitness in such a position at such a moment, when he has just received a message of warning and prophecy from St. Peter to bear to this city.[505]

Fig. 49 shows these positions of Dante and the sun, and the consequent limits of his vision. Jerusalem is “near,” in comparison with the much more distant sunlit space of ocean in the opposite direction. We place the sun in the middle of Aries, because we shall see presently (when discussing the date) that this is its most probable position, and Dante in the first degree of Gemini because this is 45° east of the sun, and also because the fact that he is above Earth’s “first climate” suggests that he is in the beginning of this sign. For the northern limit of the first climate was 20½°, according to Alfraganus, and the ecliptic in the sign of Gemini rises gradually from 20° north of the equator to 23½° at its end, where it adjoins Cancer.

Since the time when he looked down before, he sees that he has revolved over an arc equal to half the climate, that is 90°, for the climates only extended over the habitable earth, which was 180° in longitude. His former position, then, must have been 90° further east, halfway between Jerusalem and Ganges; and it was then noon at Jerusalem, while all the ocean east of Ganges lay in the black darkness of night. Fig. 48 shows this position.

In this interpretation of a difficult passage, the meaning given to the first lines seems a little forced; but if we take them in the more natural sense that Dante had moved from above the centre to the end of the climate, that is, from the meridian of Jerusalem to Gades, we are met by a difficulty in the following lines. For to say that he is standing over Gades, and in the same breath that the sun is more than 30° further to the west, means that it is setting more than 30° west of Jerusalem: he cannot therefore possibly see Jerusalem, nor is it “near” him. It does not help us to take “presso” in its alternative meaning, and say that he could see “nearly as far as” Jerusalem, for however little more than 30° “a sign and more” may mean, it brings the “terminator” (as astronomers call the dividing line between light and darkness on a planet) a long way from Jerusalem and much nearer Italy, according to Dante’s reckoning of distances in the Mediterranean. This is shown on fig. 50, where the data are made as favourable as possible, by putting the sun at the very end of Aries.

On the whole, it is easier to accept a round-about expression in the first lines than an inaccurate one later. The former is quite characteristic of Dante, and we have already met some like it in the Divina Commedia in descriptions of the positions of heavenly bodies.[506]

Looking back to the earlier position, as described in Canto xxii., we find no light thrown on the question; for here he does not mention any particular place as visible, nor say where the terminator lay. His words are:—

This seems to express simply a bird’s eye view of Earth, as it lay stretched out like a map below the observer.

It is, however, often taken to mean that the whole habitable earth was visible. This could never be unless the sun, as well as Dante, was over the meridian of Jerusalem, which is obviously impossible while one is in Aries and the other in Gemini; and as he refers back to the first passage from the second he cannot have forgotten this.[508]

A book which aims at explaining Dante’s Paradiso to young people[509] suggests an original way of reconciling the two passages, for the author gravely asserts that the sun was at first below Dante’s feet in Gemini, but that by the time he looked down again it had moved a good distance onward, and was then in the sign of Taurus! According to this, a whole month must have elapsed, and time had gone backwards, from May to April!

A suggestion much more worthy of attention is that of Professor Rizzacasa d’Orsogna, who thinks the key is to be found in the line, “Volgendom’ io con gli eterni Gemelli.” This, he suggests, is in anticipation of the second passage, for although Dante could not see the whole habitable earth at any one time, his change of position, as he revolved with the Twins, enabled him to do so in the course of time which elapsed between his two views. A comparison of figures 48 and 49 will make this clear.

One more suggestion may perhaps be made, though it is rather a hazardous one. “Dai colli alle foci”[510] may mean from the Apennine Hills to the mouths of Ganges. This would be decisive for the correctness of the explanation illustrated by our diagram. (See fig. 48).

In any case, the points which Dante specially wishes us to understand are clear and simple: at the first glance he was struck by the insignificance of the Earth; at the second, he became conscious that he was moving with the spheres, having passed over 90° of arc, or a quarter of the diurnal revolution, and he saw that it was now sunset at Jerusalem.

He next ascends to the Primum Mobile, though he cannot tell us to which part of it Beatrice chose to lead him, since it is perfectly uniform throughout. Beatrice explains that this most swift and living sphere, although it contains no star by which its motion is made visible, causes the (diurnal) motion of all the lower spheres; and thus it is like a flower-pot in which are hidden the roots of Time, while in the others we see the leaves. Here he sees the nine hierarchies of angels who direct the nine moving spheres; and finally he soars to the Empyrean, where Beatrice returns to her seat among the blessed spirits who form the Celestial Rose, and St. Bernard encourages him to lift his eyes to “L’Amor che move il sole e l’ altre stelle.”[511] This is the end and consummation of the Vision.

The reader will have observed that although there are several indications of direction in Dante’s journey through Paradise, all referring to the heavenly bodies, there are no time references after he has left Earth and entered the regions of eternity, except the passage discussed above, which indicates a period of six hours spent in the eighth heaven, since 90° of the diurnal revolution correspond with six hours of time. But it tells us also that at the close of this period the sun was setting over Jerusalem: consequently another morning was dawning in Purgatory. Eighteen hours have passed, therefore, since Dante left the Earthly Paradise at noon; and he rises to the Primum Mobile and thence to the Empyrean on the eighth day of his Vision.

The whole Vision, therefore, occupied an octave, or eight days.