Such is the case with Dante Alighieri’s (1265-1321) Divine Comedy.

Many of us came across at least part of the Comedy somewhere in school. Perhaps we’ve read the Inferno, where, in the chilling words of C. S. Lewis, God says to the sinner, “Thy will be done.” Perhaps we took a course that included the Purgatorio, where those whose sins have been covered and who are guaranteed a place in heaven experience cleansing from the pollution of their sins. Fewer of us, probably, have tasted of the Paradiso, where dance and song become more and more prominent as the soul rises to God.

The Origin

Less known is the fact that the Divine Comedy is itself a product of exile. For Dante, homelessness became a permanent feature “in the middle of his life.” At about age 35 and at the height of a promising calling as poet and politician, Dante experienced a dramatic and devastating reversal of fortune at the hands of political enemies. He then spent the last 20 or so years of his life — when he did most of the writing for the Divine Comedy — away from home, “knowing the salty taste of others’ bread” (bread in his native Florence was made without salt) and “going up and down stairs” as a guest in homes not his own.

Separated from his family, and with his career in ruins, Dante awakes “alone” (literally) “in a dark wood” (metaphorically). From this vantage point, he looks anew at himself, at the human condition, and at the Christian story.

He writes about an imagined meeting with two people. In the Inferno he comes across a fellow poet-statesman, Pier delle Vigne, who found himself — like Dante — betrayed and suddenly out of favor (Inf. XIII). This soul’s response was suicide. Delle Vigne gave up on living and sought grim satisfaction through his suicide against those who had wronged him.
 
 
 
 
 
 
 
 
 
 
In the Paradiso, on the other hand, Dante meets his own great-great-grandfather, Cacciaguida (Par. XV-XVIII). Cacciaguida recounts pilgrimage to the Holy Land and his battles for truth as a Crusader. Then he forecasts in some detail his great-great-grandson’s exile, but promises that Dante’s fame will shine all the brighter “for having become a party of your own.” Cacciaguida challenges Dante to take advantage of his poetic gifts to become a pilgrim and crusader in his own right: to journey deeper into the Christian story and tell the truth about what’s wrong with us and with the church.

Chosen Journey

It was writing this extraordinary song of 14,000 lines that turned Dante’s exile into a pilgrimage. Dante sang his lament, and his forced exit from home became a chosen journey into the heart of God’s redeeming story. Not only that, but his personal loneliness drove him to realize that his true community was vast and personal, comprised of every soul for whom Christ died and who will attain resurrection life. And by writing his “new song” in the people’s Italian rather than the church’s Latin, Dante invites every one of us into his party.

Many of us have experienced exiles not unlike Dante’s. Not everybody who shows up on a Sunday morning has had a great week. Many are in marriages than make them feel they’d be less lonely single. Some will have heard from a boss that week, “We’re moving in a different direction…” Nearly all are acutely aware they are not the person they wish they were.

What can we offer? Well, we can make sure not to skirt the painful and difficult parts of the Bible’s story in worship. We can make sure the psalms of lament are read and sung. We can use art that tells the truth about the Christian life as journey. We can offer generous opportunity for the most basic of Christian prayers: “Lord, have mercy.”

Perhaps the most important thing we as worship leaders can offer is ourselves as “living epistles” of what it is to live in pilgrimage rather than exile. Perhaps there are artists or poets who draw profound emotions or deep thoughts from you, who point you to Christ’s suffering and glory and your place in them. “Alone and in a dark wood” not long ago myself, I found in Dante a soul-mate and a guide through the dark wood. Maybe he could be the same for you, or — perhaps you have your own song to write.

I’m grateful to Thomas Howard for Dove Descending, his commentary on T.S. Eliot’s “Four Quartets.” But why must Eliot be so pointedly obtuse as to need line-by-line decoding? (Though I suspect some of my students would think I find in Eliot a kindred spirit.) Having forced my way through “Prufrock” and “Hollow Men” and “Wasteland” last week, I’m ready for some words of redemption. I’m just getting started on “Four Quartets” — I love the notion of there being “a way up that is at one and the same time a way down,” but this poetry is tough going. (I hope I can get some help from Charlie Kidd when he returns from abroad.)

Last week while grading exams (almost done), I listened several times (and am doing so even now) to Richard Strauss’s Alpine Symphony. The Alpine Symphony, a tribute to the philosophy of Friedrich Nietzsche, makes Nietzsche’s atheism (or at least his quest for a “nobler god”) feel so, I dunno, so what? Brave?

Then again, if your best hope is to have your ashes parked on the top of the Himalayas in a Chock Full o’Nuts can (per The Bucket List, which movie Shari sat me down to watch this weekend, and which movie felt to me like an extended commentary on how to make Nietzsche work for you — even if the main characters do make non-Nietzschean moves toward relationships), you move past bravery into, well, again, what?

OK, I guess it makes a pretty big difference whether there’s a Redeemer or not. If not, The Bucket List is about as close to redemption as you’re going to get, I suppose. That said, I’m not sure a bucket list isn’t a bad idea even if (or since) there is a Redeemer.

What could be on mine? I’ve already killed a gator, hit a home run, played Bach & B.B. King, swung a samurai sword, driven (even briefly owned) a muscled up Mustang, kissed the most beautiful girl in the world, raised with her the three most vibrantly alive sons ever, written more than I have the right to expect anybody to read, spoken truth into the lives of half a generation of seminarians, seen tons of the majestic …

Before we leave Strauss, his Also Sprach Zarathustra (the whole tone poem) has inspired me to try to get the “Prelude” into my fingers on my Lucille and out through my Fender tube amps.

My head still hurts (that good hurt when your head feels like it’s taken in more than it’s able) from how rich the Institute for Worship Studies experience was this session. I’m grateful especially for bold prayers and wise counsel I received, and for the self-giving love I witnessed among strong-willed and talented worship leaders. It’s curious that my teaching partner and I are going through such parallel dysfunctions in church life. I love the church so — may all of us who love the Groom and his Bride help each other help Her not dress so ugly. I hold much promise of Her better adornment through my IWS friends.

Like I said, random thoughts … but, hey, it’s my blog.

Note to both devoted readers: I won’t forget about the other seven reasons for samurai sword training in Japan.

Go, go, go, said the bird: human kind
Cannot bear very much reality. • T. S. Eliot