Gabriel's Inferno (Gabriel's Inferno #1)(118)

“Look at him. A vest and a pocket watch?” muttered Paul, shaking his head. “How old is this guy? I bet he has a personal portrait in his attic that’s aging rather rapidly.”

Julia smothered a smile, but said nothing.

“Do you know what he had me do yesterday?”

She shook her head.

“I had to pack some of his precious pens in a crate, insure it, and ship it to a fountain pen infirmary. Can you believe that?”

“What’s a fountain pen infirmary?”

“Some repair shop for sick fountain pens that caters to even sicker f**kers who have way too much money. And too much time on their hands.

Or in their pockets.”

Julia snickered and switched off her cell phone.

Having recovered from the swine flu, Professor Jeremy H. Martin, the chair of Italian Studies, welcomed a crowd of about one hundred people and offered a glowing description of Professor Emerson’s research and accomplishments. Julia watched as Gabriel shifted uncomfortably in his chair, as if all the high praise and fine words displeased him. His eyes found hers, and she smiled encouragingly. She watched as his shoulders visibly relaxed.

Professor Martin was proud of Professor Emerson, and he had no qualms about making that fact known. To him, Gabriel had been one of the most promising hires of the Department and had truly lived up to his potential. He’d been tenured early on the strength of the publication of his first book by Oxford University Press, and was well on his way to becoming another Katherine Picton. Or so Professor Martin hoped.

After a thinnish round of applause, Gabriel took center stage, spreading his notes on the lectern and double-checking the readiness of his PowerPoint presentation. He took a moment to scan the crowd — Professor Martin was smiling in anticipation, Miss Peterson had slithered forward and was slyly fingering her plunging neckline, while his faculty colleagues sat quietly, seemingly interested in the topic of his lecture.

One striking exception was seated in the very front row. This professor had no interest in his research or his academic prowess. No, her interests were far more profligate, and it seemed to Gabriel that she was flaunting them now, her pink tongue darting out to moisten crimson lips. She was twisted. Predatory. And Gabriel was made very uncomfortable by the fact that she was staring at him with serpentine eyes, while sitting in the same room as Julia. He knew that his past lurked around every corner, but God help him if the two women ever met.

Dragging his eyes away from the blond professor, he forced a smile at the audience. He quickly sought out Julia’s pretty face and drew strength from her warm expression, and then he began.

“The title of my lecture is Lust in Dante’s  Inferno:  The Deadly Sin against the Self. Immediately, one might wonder why lust would be a sin against the self since it is always directed toward another — the use of another human being for personal, sexual gratification.”

A muffled snort reached Gabriel’s ears from the front row, but he ignored it, his reaction telegraphed by a noticeable tightening of his expression.

“Dante’s notions of sin are shaped largely by the writings of St. Thomas Aquinas. In his famous Summa Theologiae, Aquinas argues that any evil action or sin is a form of self-destruction. He assumes that human beings have a nature that is supposed to be rational and good. Aquinas conceives of this nature, that of the rational animal, as being created by God specifically to pursue goodness, more specifically, the virtues.

“When a human being departs from this natural purpose, she injures herself, for she does what she was not intended to do. She wars against herself and her nature.”

Miss Peterson leaned forward, as if she were paying rapt attention.

“Why does Aquinas hold this peculiar view of sin?

“One reason is because he accepts Boethius’ assertion that goodness and being are convertible. In other words, anything that exists has some goodness in it because God made it. And no matter how marred or broken or sinful that being is, it still maintains some goodness so long as it exists.”

Gabriel pressed a button, and his first slide appeared on the screen to his left. Julia recognized it as Botticelli’s illustration of Lucifer.

“According to this view, no one, not even Lucifer encased in ice at the bottom of Dante’s Inferno, is wholly evil. Evil can only feed off of goodness like a parasite; if all the goodness of a creature were eliminated, the creature in question would no longer exist.”

Gabriel felt a pair of cunning eyes fixate on him, mocking him and his silly recognition of concepts so bourgeois as good  and evil.

He cleared his throat. “It’s a foreign way of thinking to many of us — the idea that even a fallen angel condemned to live out his days in the Inferno  has some goodness left in him.” His eyes wandered over to Julia’s where they rested just long enough for her to see something pleading in them. “Goodness that begs to be recognized, despite the fallen angel’s sad and desperate addiction to sin.”

Another Botticelli illustration, one of Dante and Beatrice and the fixed stars of Paradise, was displayed on the screen. Julia recognized it as the same scene Gabriel had showed her from his private collection.

“Against the backdrop of good and evil, consider the characters of Dante and Beatrice. They have a relationship that typifies courtly love. In the context of The Divine Comedy, Beatrice is connected with Virgil. She appeals to him to guide her beloved Dante through Hell because she is unable to travel there, owing to her permanent residence in Paradise. In making the connection between Beatrice and Virgil, Dante is expressing his notion that courtly love is tied to reason rather than passion.”