What We’re Reading

Thomas Hobbes, The Leviathan. Thomas Hobbes’s Leviathan is a seminal work of modern political philosophy and, to some, the beginning of modern political science. Hobbes holds an important place of prominence in the history of political philosophy for various reasons, and readers of Eric Voegelin are no stranger to him; however, Voegelin has a very unique approach to Hobbes as a stop-gap figure in the history of gnostic revolutionism, something that is not common in approaching Hobbes. In teaching Hobbes, students are exposed to a fuller portrait of the great English thinker by also looking at him with Voegelinian lenses, a man who saw through the façade of Puritan revolutionism, while also teaching the traditional approaches to the man who proclaimed human life in the state of nature as “solitary, poor, nasty, brutish, and short.”

~ Paul Krause

Dante, La Vita Nuova. In La Vita Nuova, Dante’s primary object of attraction is Beatrice, a woman he met at nine years old; the love they shared was unrequited though Dante wants to use Beatrice as a means to explain how love is unwavering. He begins by saying, “Nine times already since my birth had the heaven of light returned to the same point almost, as concerns its own revolution, when first the glorious Lady of my mind was made manifest to mine eyes; even she who was called Beatrice by many who knew not wherefore.” He blatantly tells readers that he has been consistently in love with Beatrice, highlighting his dedication to her for nearly two decades. His obsessive love for Beatrice is heightened as she becomes his reason for writing, using her as a muse for producing poetry. Her extraordinary spirit contains such profound power, and all Dante can do is transform this energy into evaluating her beauty. He says, “I want to tell you what her power does.” Beatrice’s power, Dante believes, is her love radiating to Dante from afar. Since Beatrice is deceased, Dante is attempting to write an autobiography which applies their rare encounter(s) in person and in his dreams– Dante’s memory of Beatrice is exhausted as he determines what love means in this season of her departure. Dante says, “After the departure of this gentlewoman it was the pleasure of the Lord of the Angels to call to His glory a lady young and much of noble aspect, who was very graceful in this aforesaid city: whose body I saw lying without the soul amid many ladies, who were weeping very piteously. Then, remembering that erewhile I had seen her keeping company with that most noble one, I could not withhold some tears.” Whether he is remembering or exaggerating their encounters, Dante is overcome by her love, and his face grows pale– “the heart of him she greets is made to quake, his face to whiten, forcing down his gaze; he sighs as all his defects flash in mind.” He says, “Love (never, certes, for my worthless part, / But of his own great heart,) / Vouchsafed to me a life so calm and sweet.” Dante is being thrown off balance by love captivating his physical body. Dante then transitions Beatrice from a mortal being to a heavenly one who becomes a symbol for abounding grace. Dante says, “for when she walks, love drives a killing frost into vile hearts. That freezes and destroys their every thought; and dare a thought remain to look at her it has to change to good or else must die; for her least salutation bestows salvation; whoever speaks with her shall speak with him.” Dante sees Beatrice as a sacrament and a physical sign of grace. Even on earth, “Men turn to gaze at her when she walks by,” but her mortal body has been perfected and rejuvenated since her death. Dante tries to reunite with Beatrice further by raising her as a god-like figure in The Divine Comedy.

~ Sarah Tillard

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