“I have long thought that the most chilling words upon the portal of Hell are not those that shut the door on the fulfillment of human longings: ABANDON ALL HOPE, YOU WHO ENTER HERE. These crush with their finality, but they do not possess the shocking irony of the simple signature of the architect: DIVINE OMNIPOTENCE CREATED ME, THE HIGHEST WISDOM, AND THE PRIMAL LOVE. Of course, it is a Trinitarian signature. Still, the sonorous ending on amore, Love, should give us pause. How can Love fashion a realm of groaning and wailing, of utter agony and alienation? Theology can take us far: the just punishment of the wicked, says Thomas, is an act of charity toward them (justice and charity cannot finally be at odds), even when that punishment does not or cannot result in their correction. At the least it restrains them from deeper depravity. One may suppose, too, that punishment respects the dignity of the sinner, to grant him what his own disordered love has merited and has longed for. For such a lover, the only place more agonizing than Hell would be Heaven. Indeed, the one place hotter than Hell is Heaven, as Dante imagines it: without grace, the fires of Love in Paradise would be unendurable. Perhaps, then, the inscription over the gates of Hell is meant to teach as much about Love as about Hell. For Love, as Dante saw, is no mere sentiment, no habit of ease. It is a consuming fire.”
— Anthony Esolen on Canto Three of Dante’s Inferno
ISAIAH 42:1-4
1 Behold my servant, whom I uphold,
my chosen, in whom my soul delights;
I have put my Spirit upon him;
he will bring forth justice to the nations.
2 He will not cry aloud or lift up his voice,
Or make it heard in the street;
3 a bruised reed he will not break,
and a faintly burning wick he will not quench;
he will faithfully bring forth justice.
4 He will not grow faint or be discouraged,
till he has established justice in the earth;
And the coastlands wait for his law.
A PRAYER OF THANKSGIVING
Almighty God, Father of all mercies, we your unworthy servants give you humble thanks for all your goodness and loving-kindness to us and to all whom you have made. We bless you for our creation, preservation, and all the blessings of this life; but above all for your immeasurable love in the redemption of the world by our Lord Jesus Christ; for the means of grace, and for the hope of glory. And, we pray, give us such an awareness of your mercies, that with truly thankful hearts we may show forth your praise, not only with our lips, but in our lives, by giving up ourselves to your service, and by walking before you in holiness and righteousness all our days; through Jesus Christ our Lord, to whom, with you and the Holy Spirit, be honor and glory throughout all ages. Amen.
ART APPRECIATION
The Three Musicians is a famous example of Picasso’s style of Cubism. The three musicians are transformed into a sequence of two-dimensional planes, lines, and arcs.
1
Pablo Picasso (1811-1973) was born in Malaga, Spain. His name at birth was Pablo Diego Jose Franciso de Paula Juan Nepomunceno Maria de los Remedios Cipriano de la Santisima Trinidad Ruiz y Picasso. His parents gave him many names honoring saints and relatives. His mother claimed Pablo’s first words were “pencil, pencil” (in Spanish, of course). His father was a fine arts teacher at several schools, but legend has it that when he caught his 13-year-old-son finishing one of his paintings, he never painted again. Pablo was enrolled in a prestigious art academy, but soon quit because he didn’t like formal education. Instead, he moved to Paris to learn from the masters there. Picasso was the best-known figure in 20th century art and was more famous for his work during his lifetime than any other artist before him. He was a founder of a new art form called Cubism.
2
MUSIC APPRECIATION
| “O mio babbino caro” from Gianni Schicchi |
Puccini flirted briefly with faintly Wagnerian subjects in his early operas Le villi (1884) and Edgar (1889), though in these operas, the music owes much more to Verdi than to his Teutonic contemporary. Gianni Schicchi is a comparatively late work, comprising the third part of Puccini’s Il trittico (The Triptych), which premiered at the Metropolitan Opera in 1918. The libretto takes an episode from Dante’s Divine Comedy, the damnation of the will-forger Gianni Schicchi, as its starting point. His fraudulent will enriches his clan so that Lauretta, his daughter, can marry Rinuccio. In “O mio babbino caro,” one of Italian opera’s greatest tunes and a number that has become an archetype of late Romanticism’s final flowering in Puccini’s hands, Lauretta begs her father to go with her to buy a ring so she can marry, setting the whole forgery in motion. The tone of the aria is over-the-top in its voluptuousness, almost parodistic, which perfectly fits Lauretta’s melodramatic emotional state.
3
Giacomo Puccini (1858-1924) was an Italian composer, one of the greatest exponents of operatic realism, who virtually brought the history of Italian opera to an end. His mature operas included La Bohème (1896), Tosca (1900), Madama Butterfly (1904), and Turandot (left incomplete). 4
- Lange, Krista, and Leigh Lowe. First Grade Enrichment: Classical Core Curriculum. Teacher Guide. Memoria Press, 2017. ↩︎
- Ibid. ↩︎
- “‘O Mio Babbino Caro’ from Gianni Schicchi, Giacomo Puccini.” LA Phil, http://www.laphil.com/musicdb/pieces/56/o-mio-babbino-caro-from-gianni-schicchi. Accessed 15 Apr. 2025.
↩︎ - “Giuseppe Verdi.” Encyclopædia Britannica, Encyclopædia Britannica, inc., 19 Feb. 2025, http://www.britannica.com/biography/Giuseppe-Verdi.
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Providence School of Tifton 