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In The Inferno, Dante used his many skills of philosophical and theological argument, poetry, knowledge of the classics and the Christian Church to both show his readers the punishments that await them if they do not change their ways, but, also, to carry forth his own political and personal polemics.

Here, in Purgatorio, he shows himself to be of even greater genius. I was expecting to encounter those who, despite their good intentions, have found themselves suffering great penance for their sins. They do so willingly in the knowledge that the time will come when they will be granted absolution and be welcomed into Paradise.

Again, Dante reveals his genius in intermingling Classical and Christian myth to create forceful stories of sin and redemption. One need not be a Christian to feel the force of the arguments.

The true genius of the work only becomes clear in Canto XXXI and beyond when Dante finally encounters Beatrice. Not just another pretty face, Beatrice in all her purity is both Dante's protector and his judge. Her initial scorn for him makes the reader wonder why she has gone to so much trouble to bring him to the edge of Paradise. He is such a lowly worm.

Dante's extensive knowledge, his poetic genius, his commitment to his message and his ability to combine and invent all bring too me a certain humbleness that most writers can never bring to the fore. It seems that Dante has gone beyond the merely human in order to put it all together.

Now on to Paradiso.