Another reason for lesser interest manifested in this part of the Divina Commedia is the difficulty and obscurity of the paradiso.
The latter wrote the 'Inferno,' the 'Purgatorio,' the 'paradiso.'
For the technical terms Nuvola and paradiso see above, pp. 318, 319.
Does it not make thee a little sad to look at the pictures of the paradiso?
But there is a third Realm to which he is admitted, and whither he transports us, the paradiso.
If the reading of the "paradiso" turns one to other books, so much the better.
Dante gives full expression to these sentiments through the mouth of his ancestor, Cacciaguida, in the "paradiso."
When women are all dumb, no more discussions of the "paradiso."
The first of these tragedians marked two-thirds of the Inferno and paradiso as worthy of being committed to memory.
Dante charges the Franciscans with degeneracy in the paradiso, xi.
late 12c., "Garden of Eden," from Old French paradis "paradise, Garden of Eden" (11c.), from Late Latin paradisus, from Greek paradeisos "park, paradise, Garden of Eden," from an Iranian source, cf. Avestan pairidaeza "enclosure, park" (Modern Persian and Arabic firdaus "garden, paradise"), compound of pairi- "around" + diz "to make, form (a wall)."
The first element is cognate with Greek peri- "around, about" (see per), the second is from PIE root *dheigh- "to form, build" (see dough).
The Greek word, originally used for an orchard or hunting park in Persia, was used in Septuagint to mean "Garden of Eden," and in New Testament translations of Luke xxiii:43 to mean "heaven" (a sense attested in English from c.1200). Meaning "place like or compared to Paradise" is from c.1300.