Hold tight, dear readers, what this note is all about is nothing less than the Infinite. Tough topic, I know (and how could it be otherwise?), but it’s time, if not past time, because yesterday was not just an ordinary day. In fact yesterday we celebrated the first Sunday of Advent. So what?—you’ll say. Well, you know that we Christians traditionally mark Advent with the display of a wreath? And if so, do you know what does the wreath stand for? No? Well, I give you a clue: the wreath is circular… I hope you’ve got it now: the wreath circle reminds us of God Himself, eternal and endlessly merciful. It is evergreen—reminding us of the hope of eternal life. In other words, Advent tells us about the manifold attributes of the Infinite!
That being said, let’s get into our topic. But in order to do so, I need to resort to poetry, which, along with theology and philosophy, is the best way to express—although partly and indirectly—what the Infinite is all about. Specifically, I’ll first talk about what seems to be a fascinating intellectual paradox, but it isn’t: I mean, the “phenomenon” may well be fascinating, but on closer inspection it’s not a paradox. I’m referring to the religious reading of one of the greatest Italian poets ever, Giacomo Leopardi, whose deeply pessimistic
Weltanschauung, in both a “historical” and a “cosmic” sense, is based on an empirical and mechanistic world view (inspired, among others, by John Locke), denying purpose in the universe, and seeking to explain all phenomena solely by efficient causality.
As a matter of fact, in much of Leopardi’s poetry , the principal poetic mood is melancholic, and themes of solitude, suffering, despair, and disappointed love largely predominate. He often stresses his belief that joy is nothing but the momentary subsidence of pain and that only in death can man find lasting happiness, and his prose writings are eloquent articulations of his materialist, atheistic, skeptical, and decidedly “modern” thought—affinities between his pessimistic worldview and that of Arthur Schopenhauer, for instance, have been noted, while Friedrich Nietzsche found Leopardi’s historical insights congenial to his own.
Yet, from time to time, quite different (though not contradictory) aspects of his personality emerge: an immense admiration of nature’s beauty, a deep belief in the power of imagination, and a characteristically Romantic longing for the infinite (see, for instance, Matthew Arnold’s 1882 comparison of Leopardi with the English Romantic poets Lord Byron and William Wordsworth).
In a nutshell, Leopardi thinks that we human beings seek an infinite fulfillment, an infinite coherence, an infinite wisdom and comprehension, an infinite love, an infinite perfection. But we do not have the capacity to achieve any of these things, and the mystery of life, the mystery of happiness, seems always one step beyond us. Yet, does this necessarily mean that, at the end of the road, there’s only darkness and despair? Perhaps so.
Embedded in that “perhaps” is the possibility of hope.
By our own power we are hopeless, but, as St Augustine wrote in his
Confessions, “Thou hast made us for Thyself, O Lord, and our hearts are restless until they rest in Thee” (
Nos fecisti ad te et inquietum est cor nostrum donec requiescat in te). Leopardi’s “restless heart,” far more than his pessimistic world-view, is what his wonderful poem
“Canto notturno di un pastore errante dell’Asia” (Night Song of a Wandering Shepherd in Asia) seems to be all about.
By the way, this could somehow explain why something unexpected happened to an Italian priest, a very famous one: Fr Luigi Giussani, the founder and spiritual guide of the Communion and Liberation movement. In fact, he happened to read Leopardi’s hymn
“Alla sua donna” (To his Woman) as … a sort of introduction to the prologue to the Gospel of St John, and what is more, Leopardi became his favorite poet and a life-long “friend.”
In this last regard, the following except from Paul Zalonski’s essay “What is Luigi Giussani’s Contribution to Catholic Theology? Part II: Nothing Less Than the Infinite” (
Communio, October 28, 2008) can be very useful.
Giussani quotes the great 19th century Italian poet Giacomo Leopardi--who is speaking here in the persona of a shepherd watching his flock by night, conversing with the moon:
And when I gaze upon you,
Who mutely stand above the desert plains
Which heaven with its far circle but confines,
Or often, when I see you
Following step by step my flock and me,
Or watch the stars that shine there in the sky,
Musing, I say within me:
“Wherefore those many lights,
That boundless atmosphere,
And infinite calm sky? And what the meaning
Of this vast solitude? And what am I?”
There are a couple of points about this striking poetic excerpt that are worth mentioning as illustrative of central themes in Giussani. The first point is this: note that the shepherd's questions are so poignantly expressed “from the heart “(Musing, I say within me). They are “personal” questions we might say; that is, they are questions that seem deeply important to the shepherd's own life, that emerge from the shepherd's solitude as he watches the flocks by night and gazes at the moon. And yet, the questions themselves are really “philosophical” questions: “metaphysical” questions which ask about the relationship of the universe to its mysterious Source, and “anthropological” questions about the nature of the world, of man, of the self. Let us note these things only to emphasize that Giussani’s evaluation of the dynamic of the human heart is not exclusively concerned with the pursuit of external objects and the way in which these objects lead “beyond” themselves the acting person who engages them. Giussani stresses that the need for truth is inscribed on the human heart; the need to see the meaning of things is fundamental to man. Hence the “objectivity” required for addressing philosophical and scientific questions does not imply that these questions are detached from the “heart” of the person who deals with them. When the scientist scans that infinite, calm sky and that vast solitude with his telescope, he must record what he sees, not what he wishes he would have seen. In this sense, he must be “objective,” and his questions and methodology must be detached from his own particular interests. But what puts him behind that telescope in the first place is his own personal need for truth and this need grows and articulates itself more and more as questions emerge in the light of his discoveries. All of this could be applied by analogy to the researches carried out by a true philosopher.
The second point is this: Leopardi’s poem conveys with imaginative force the inexhaustibility of human desire and the questions through which it is expressed, or at least tends to be expressed insofar as man is willing to live in a way that is true to himself (several chapters of Giussani’s book are devoted to the various ways in which man is capable of distracting himself or ignoring the dynamic of the religious sense, or anesthetizing himself against its felt urgency). Even more importantly, he indicates that the unlimited character of man’s most fundamental questions points toward an Infinite Mystery, a mystery that man continually stands in front of with fascination and existential hunger but also with questions, because he is ultimately unable by his own power to unveil its secrets.
The experience of life teaches man, if he is willing to pay attention to it, that what he is truly seeking, in every circumstance is the unfathomable mystery which alone corresponds to the depths of his soul. Offer to man anything less than the Infinite and you will frustrate him, whether he admits it or not. Yet at the same time man is not able to grasp the Infinite by his own power. Man's power is limited, and anything it attains it finitizes, reducing it to the measure of itself. The desire of man as a person, however, is unlimited, which means that man does not have the power to completely satisfy himself; anything that he makes is going to be less than the Infinite.
Here we begin to see clearly why Giussani holds that the ultimate questions regarding the meaning, the value, and the purpose of life have a religious character; and how it is that these questions are asked by everyone within the ordinary, non-theoretical reasoning process which he terms “the religious sense.” The human heart is, in fact, a great, burning question, a plea, an insatiable hunger, a fascination and a desire for the unfathomable mystery that underlies reality and that gives life its meaning and value. This mystery is something Other than any of the limited things that we can perceive or produce; indeed it is their fundamental Source. Therefore, the all-encompassing and limitless search that constitutes the human heart and shapes our approach to everything is a religious search. It is indeed, as we shall see in a moment, a search for “God.”
We seek an infinite fulfillment, an infinite coherence, an infinite interpenetration of unity between persons, an infinite wisdom and comprehension, an infinite love, an infinite perfection. But we do not have the capacity to achieve any of these things by our own power. Yet, in spite of this incapacity, in spite of the fact that the mystery of life--the mystery of happiness--seems always one step beyond us, our natural inclination is not one of despair, but rather one of dogged persistence and constant hope. Giussani insists that this hope and expectation is what most profoundly shapes the self; when I say the word “I,” I express this center of hope and expectation of infinite perfection and happiness that is coextensive with myself, that “is” myself, my heart. And when I say the word “you,” truly and with love, then I am acknowledging that same undying hope that shapes your self.
