This article considers the characterization of blessed souls in Dante’s Commedia (1307–21) and Petrarch’s Canzoniere (c. 1356–74) and Triumphi (c. 1352–74). It argues that eschatological realism – the detailed representation of souls in the afterlife – lies at the heart of these three works, each of which depicts a deceased beloved who now resides in Paradise. Dante’s Paradiso navigates a range of doctrinal and literary challenges to incorporate its blessed characters into the poem’s continuum of interlocutors. Although the Commedia culminates with a first-person, mystical experience, the structural importance of third-person voices to the canticle demonstrates the centrality of realist characterization to the overall project. Petrarch’s works, meanwhile, reject Dante’s broad and varied descriptions of beatitude but nonetheless assert a more restricted eschatological realism channelled through the interpersonal connection with Laura. The beloved’s combination of exemplarity and historicity sets up the paradigm that defines the other characters in Petrarch’s narrative, including the poetic ‘I’
