I’n no theologian, but I think there are several “senses of sin” across the schools of Christianity, rather than one universally adopted “tradition” — at least when it comes to original sin. They all agree on the “origin story”, but differ somewhat in its nature, transmission and effects. For example, I grew up in the Lutheran tradition in an area of Pennsylvania heavily populated with Amish and Mennonites, who are part of the Anabaptist tradition. Luther described original sin as a radical and pervasive corruption of human nature — not just inherited guilt, or a tendency to sin, but rather a complete distortion of being (“total depravity”). (That might explain why some Lutherans are strung pretty tight…) Anabaptists, while affirming original sin’s reality, view it as an inherited tendency to sin, rather than guilt (being held accountable for Adam and Eve’s Original Sin). They emphasize human responsibility for personal sin more than inherited guilt.
But I digress — back to Dante: I found it fascinating to think about his portrayal of Limbo and the interplay of original and personal sin with respect to the shades in Canto IV. Limbo has fallen out of fashion in the modern era, but it’s intriguing to see his deviation (poetic latitude) from contemporary portrayals. Thomas Aquinas viewed it as a place for those who died without baptism but were not guilty of personal sin. He divided it into two components: “Limbus Infantium” (Limbo of Infants) for unbaptized children, and “Limbus Patrum” (Limbo of Fathers). The kids’ table was eternal, but the adult table was a temporary abode. Aquinas argued that the death sentence for the unbaptized infants was a form of natural happiness, with freedom from suffering and enjoyment of the natural goods of human existence, such as peace and companionship, but without the supernatural joy of union with God. (The primary consequence of Original Sin). Quite a burden for the little ones. In Dante’s depiction, there’s no hope of a Harrowing or sanctifying grace for anyone. Therein lies the rub: you’re burdened by original sin yet without hope of rescue. No wonder everybody’s melancholy!
Amazing. You are able to really give a large picture of the Comedy. It’s a gift to be able to put together things that seems a part. I really appreciate the references to Genesis in the Comedy. I have difficulties to get together things too much apart. Thanks. Also, I appreciate that you underlined that sin is an act of will and not just a mishap. And this is not fiction, but theology. This helps to understand the behaviour of the Pilgrim and the Poet toward the damned. Italian scholars for long time, and still now someone, search for compassion where it would not be possible to find it, unless going against God’s will. Also the connection of sin with a misdirected desire/Love has so many implications in the text. I hope you will develop more. Thanks again. This is a very exciting journey.
I’n no theologian, but I think there are several “senses of sin” across the schools of Christianity, rather than one universally adopted “tradition” — at least when it comes to original sin. They all agree on the “origin story”, but differ somewhat in its nature, transmission and effects. For example, I grew up in the Lutheran tradition in an area of Pennsylvania heavily populated with Amish and Mennonites, who are part of the Anabaptist tradition. Luther described original sin as a radical and pervasive corruption of human nature — not just inherited guilt, or a tendency to sin, but rather a complete distortion of being (“total depravity”). (That might explain why some Lutherans are strung pretty tight…) Anabaptists, while affirming original sin’s reality, view it as an inherited tendency to sin, rather than guilt (being held accountable for Adam and Eve’s Original Sin). They emphasize human responsibility for personal sin more than inherited guilt.
But I digress — back to Dante: I found it fascinating to think about his portrayal of Limbo and the interplay of original and personal sin with respect to the shades in Canto IV. Limbo has fallen out of fashion in the modern era, but it’s intriguing to see his deviation (poetic latitude) from contemporary portrayals. Thomas Aquinas viewed it as a place for those who died without baptism but were not guilty of personal sin. He divided it into two components: “Limbus Infantium” (Limbo of Infants) for unbaptized children, and “Limbus Patrum” (Limbo of Fathers). The kids’ table was eternal, but the adult table was a temporary abode. Aquinas argued that the death sentence for the unbaptized infants was a form of natural happiness, with freedom from suffering and enjoyment of the natural goods of human existence, such as peace and companionship, but without the supernatural joy of union with God. (The primary consequence of Original Sin). Quite a burden for the little ones. In Dante’s depiction, there’s no hope of a Harrowing or sanctifying grace for anyone. Therein lies the rub: you’re burdened by original sin yet without hope of rescue. No wonder everybody’s melancholy!
Amazing. You are able to really give a large picture of the Comedy. It’s a gift to be able to put together things that seems a part. I really appreciate the references to Genesis in the Comedy. I have difficulties to get together things too much apart. Thanks. Also, I appreciate that you underlined that sin is an act of will and not just a mishap. And this is not fiction, but theology. This helps to understand the behaviour of the Pilgrim and the Poet toward the damned. Italian scholars for long time, and still now someone, search for compassion where it would not be possible to find it, unless going against God’s will. Also the connection of sin with a misdirected desire/Love has so many implications in the text. I hope you will develop more. Thanks again. This is a very exciting journey.
Thanks again, enjoyed the post
Thank you for taking the time to read it! :)