Walking With Dante

Sordello leads Dante down three steps into the valley of the kings. There, our pilgrim Dante meets Judge Nino, perhaps a figure from the poet Dante's own past, certainly a figure tied to a major character in INFERNO, and a figure who helps our poet "prove" that his journey was indeed real, not imagined.Join me, Mark Scarbrough, as we explore this descent into the valley of the negligent rulers in the final bits of our time before the gate of Purgatory proper.Here are the segments of this episode of WALKING WITH DANTE:[01:53] My English translation of the passage: PURGATORIO, Canto VIII, lines 46 - 63. If you'd like to read long or drop a comment to continue the conversation, please go to my website: markscarbrough.com.[03:39] The further irony of sight in the dimness.[06:46] Noble Judge Nino of Pisa, a throwback to INFERNO.[10:48] Self-reflexivity and bolstered reality claims in COMEDY.[12:58] Fellowship after warfare: the nature of Purgatory.[14:39] Gaining the higher life by this journey--but how?[17:53] Being lost in Purgatory.[20:48] Rereading the passage: PURGATORIO, Canto VIII, lines 46 -63.

Help underwrite the costs associated with this free podcast! Licensing fees, hosting fees, streaming fees, music and sound royalties: it all adds up. You can donate to WALKING WITH DANTE at this PayPal link here.Still standing on the cusp of the valley of the negligent rulers, not yet among them, Dante witnesses two angels descend from heaven, the first we've seen come from the blessed realms. (The first angel of PURGATORIO is apparently a boatman between a spot in Italy and Mount Purgatory.)Join me, Mark Scarbrough, for an exploration of this curious passage about angels--as guardians, yes; but also as performers in a bit of nightly street theater.Here are the segments for this episode of WALKING WITH DANTE:[01:21] My English translation of the passage: PURGATORIO, Canto VIII, lines 19 - 45. If you'd like to read along or continue the discussion with me, please go to my website: markscarbrough.com.[03:38] The first of seven direct addresses to the reader in PURGATORIO.[07:26] A courteous (or noble) army: a key interpretive crux for Canto VIII.[09:10] Two angels from above, reminiscent of the Cherubim put on guard at the Garden of Eden after the expulsion of Adam and Eve.[13:28] Green angels and liturgical colors.[16:47] The irony of sight in the face of angelic brightness.[19:27] A reference to Mary that plays into the meaning of Canto VIII.[21:16] Freezing in Purgatory.[24:06] Deflating the drama in this passage.[26:35] Rereading PURGATORIO, Canto VIII, lines 19 - 45.

Help me keep WALKING WITH DANTE sponsor-free. You can donate to support the podcast at this PayPal link here.We move closer to the negligent rulers on the slope of Mount Purgatory, seated or standing about in a dale on the slope before the main gate.Among them, we encounter longing, yearning, dreaming, sadness, all at the moment of the end of the day, its death, even as someone is already anticipating sunrise (and resurrection?).Join me, Mark Scarbrough, as we explore one of the most beautiful passages in Dante's COMEDY: human, intimate, and cosmic, all the crisscrossing we expect of this great poet.Here are the segments for this episode of WALKING WITH DANTE:[02:19] My English translation of the passage: PURGATORIO, Canto VIII, lines 1 - 18. If you'd like to read along or continue the conversation with me, please go to my website: markscarbrough.com.[04:47] The opening pseudo-simile about sailors and pilgrims.[08:27] Out of canonical time and into common time, with a yearning for what was.[11:32] The irony of sight in a darkening landscape.[12:43] An unknown soul and the importance of the east.[15:58] The hymn "Te Lucis Ante" . . .[19:02] Which is the third hymn of PURGATORIO.[20:58] The divided self and the ecstatic experience.[24:53] A glimpse of the journey ahead.[26:29] Rereading the passage: PURGATORIO, Canto VIII, lines 1 - 18.

In the last episode of this podcast, we glossed (or explained) the long list of rulers who are in the darkening dale ahead of us, as well as Dante, Virgil, and Sordello.In this episode, let's ask interpretive questions of this long, difficult passage at the end of PURGATORIO, Canto VII. Some of these questions have answers; some, tentative answers; and some, mere speculation. But that's the intellectual fun of the walk with Dante!Join me, Mark Scarbrough, as I ask ten questions of this tough passage in PURGATORIO.Here are the segments for this episode of WALKING WITH DANTE:[02:06] My English translation of the passage: Purgatorio, Canto VII, lines 82 - 136. If you'd like to read along or drop a comment to continue the conversation, please go to my website: markscarbrough.com.[06:28] The ten questions: First, How do we know these are all "negligent rulers"?[09:45] How is the antiphon "Salve Regina" significant for this passage (and maybe for PURGATORIO as a whole)?[13:21] Is there an allegorical (or symbolic) significance to the "not steep" approach to this dale?[14:33] Does the passage verge toward nihilism?[16:15] Is Dante a proto-democratic thinker?[18:13] How is political power bestowed in Dante's day?[19:40] Is there humor in this passage?[22:16] How does Dante believe political power should be bestowed?[25:02] How are PURGATORIO Cantos VI and VII connected?[27:21] Who is the intended audience of this passage?

Please help support this podcast. I have a great many hosting, streaming, licensing, journal, and royalty fees associated with this work. Anything you can give helps! Use this PayPal link here to make a contribution.We finally get to see who is down in that beautiful dale in front of us on the lower slopes of Mount Purgatory--and it turns out to be a roster of rulers from the mid- to late-1200s.These kings have mucked up the European landscape and left it in the mess that Dante finds it. They appear to be repenting their actions. But they were also excessively action-oriented figures, going to war with each other for dynastic and territorial control.Join me, Mark Scarbrough, for the first of two parts on the end of PURGATORIO, Canto VII. This passage is tough--so this first time through it, we'll just fill in the historical details before we turn to questions of interpretation in the next episode of WALKING WITH DANTE.Here are the segments for this episode:[01:46] My English translation of the passage: PURGATORIO, Canto VII, lines 82 - 136. If you'd like to read along, print it off, or continue the conversation with me, please go to my website: markscarbrough.com.[06:00] The passage again, this time glossed with all of its historical detail, a crash course in central and southern European politics of the mid- to late-1200s.[23:44] The initial interpretive questions we should explore as we try to think through the problems this passage causes COMEDY as a whole and the ways it refocuses the poem Dante's growing political stance.

Help keep WALKING WITH DANTE sponsor-free by donating to help me cover its licensing, hosting, streaming, and royalty fees. You can use this PayPal link here to make a contribution.Sordello leads Virgil (and Dante the pilgrim, whom Sordello has hardly noticed) on to the beautiful dale on the lower slopes of Mount Purgatory.This passage is one of the first where the poet has to write about beauty. And in doing so, he has to renegotiate his position toward Virgil's great poem, THE AENEID.Join me, Mark Scarbrough, as we look at the steps up to the ridge that overlooks what will become the beautiful valley of the kings.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of this passage: PURGATORIO, Canto VII, lines 64 - 81. If you'd like to read along, print it off, or drop a comment, please go to my website, markscarbrough.com.[03:37] With minimal effort, Sordello, Virgil, and Dante the pilgrim come to what seems to be the Elysian Fields of THE AENEID's afterlife.[07:23] Dante's poetry may not yet be astute enough to handle beauty, rather than terror.[13:05] If this spot in PURGATORIO is indeed an allusion to the Elysian Fields, then what of Limbo back in INFERNO?[18:42] Rereading all of PURGATORIO, Canto VII, through this moment: lines 1 - 81.

Help keep WALKING WITH DANTE sponsor-free. Your donation at this PayPal link helps cover streaming, hosting, website, and licensing fees for this podcast. Donate here.Virgil has turned the journey into his own--but now confronts not only his limits but perhaps everyone's as Sordello warns him (and Dante the pilgrim) that night is falling on Mount Purgatory.Join me, Mark Scarbrough, as we explore this very strange passage from PURGATORIO in which we find out for the first time that the Elysian Fields lies in front of us but that we'd better get there while we still can.Here are the segments of this episode of WALKING WITH DANTE:[02:09] My English translation of this passage: PURGATORIO, Canto VII, lines 37 - 63. If you'd like to read along, print it off, or continue the conversation, please go to my website, markscarbrough.com.[04:33] The passage seems to call back to Belacqua in PURGATORIO, Canto IV, and to show us that PURGATORIO is starting to wrap into itself.[08:07] Sordello "uses" a passage from THE AENEID to explain their movement on Mount Purgatory.[12:53] Sordello is only talking to Virgil, despite Dante standing right there.[15:35] Virgil asks questions about ability and the will--and the allegory gets very intense.[18:41] Sordello makes a gesture similar to the one Jesus makes in John 8 when the woman is caught in adultery.[21:12] When there's no light, stay where you are--or else you might have to move down.[23:16] Delight is the central motivation of PURGATORIO and even COMEDY as a whole. Too bad knowing that does Virgil no good.[24:48] Delight directs the will.[26:40] Love may move the fence but that movement is always costly.

If you'd like to donate to WALKING WITH DANTE to keep it afloat without sponsors, you can give some a little in any currency using this PayPal link.Sordello stands amazed in the presence of the great poet Virgil. The pilgrim Dante? Seemingly forgotten.Sordello wants to know how this classical poet got into Purgatory. So Virgil offers an explanation that reiterates what we know about Limbo but also redefines Limbo and perhaps causes Dante the poet to trip across the wires of his own thinking.Join me, Mark Scarbrough, as we watch Dante renegotiate the presence of Virgil in COMEDY once again, ever trying to come to terms with a pagan poet in a Christian poem.Here are the segments for this episode of WALKING WITH DANTE:[01:43] My English translation of the passage: PURGATORIO, Canto VII, lines 16 - 36. If you'd like to read along, print it off, or continue the conversation with me, please go to my website, markscarbrough.com.[03:49] How is Virgil the "glory of the Latins" as Sordello claims? What does that mean to Sordello (and to Dante)?[06:02] There are at least two ways to handle Sordello's claim: 1) Latin was Virgil's vernacular or 2) Virgil showed the capabilities of language itself.[10:28] Apparently, Sordello isn't bothered by Virgil's eternal status.[11:14] Virgil offers an overview of his journey. His. Is it his? What of Dante the pilgrim?[15:22] Virgil seems both to reiterate and to redefine our understanding of Limbo.[19:07] Dante wants the human will to be the mechanism of salvation but that notion runs contrary to the Christian doctrine of original sin.[21:40] Dante is renovating Virgil because Virgil is the prime way Dante can renovate classical learning.

Please help support WALKING WITH DANTE to keep it sponsor-free. You can make a donation in any currency using this PayPal link.We've come out of the invective against Italian strife and returned to the plot of COMEDY--and Dante the poet clearly wants to return Virgil to the center of the narrative's stage.But can he? How is Virgil's position negotiated and renegotiated as the damned Virgil walks on into the redeemed landscape.Join me, Mark Scarbrough, as I explore our return to storytelling in a passage in which Dante the pilgrim seems to fall through the cracks of Dante the poet's larger strategies.Here are the segments for this episode of WALKING WITH DANTE:[01:51] My English translation of this passage: PURGATORIO, Canto VII, lines 1 - 15. You can find it on my website, markscarbrough.com.[03:24] The emotional space that opens PURGATORIO, Canto VII, and may re-establish Virgil's position in COMEDY.[09:04] Virgil names himself for the first time in COMEDY and offers a rationale (maybe!) for his damnation. But isn't Cato always in the offing?[15:59] Sordello suddenly becomes uncertain (no longer a crouching lion?) in the face of the great poet.[18:27] The redeemed Sordello abases himself in front of the damned Virgil.

Donate to help keep WALKING WITH DANTE on its path by using this PayPal link here.Dante's invective against political strife reaches its height by turning its rhetoric toward Dante's own experience--and maybe even his experience in writing COMEDY.Join me, Mark Scarbrough, as we watch Dante's poetic craft fall apart a bit and then turn back to the poet's own experience, all to find his stance as the prophet-poet he wants to be.Here are the segments of this episode of WALKING WITH DANTE:[02:40] My English translation of the passage: PURGATORIO, Canto VI, lines 127 - 151. If you'd like to read along or drop a comment to continue the conversation, please go to my website, markscarbrough.com.[05:05] The rage-filled sarcasm seems to go off the rails in a loss of good poetic craft.[09:26] The invective turns to the poet's personal experience and a call-back to a previous moment in PURGATORIO, Canto VI.[13:12] The invective ends with a terrific image of a feather bed and a sick woman as the summation of the political problems in Florence.[15:48] PURGATORIO, Canto VI, is directly related to INFERNO, Canto VI.[20:10] In PURGATORIO, Canto VI, Dante the poet may be learning how to become the prophet-poet he wants to be.

Rage knows no bounds--even in a poem as controlled as Dante's COMEDY. The poet has been offering up an invective about Italian strife and the war-torn landscape that has ruined his home. But in the middle passage of his invective, he may have finally lost all control and committed outright blasphemy.Or maybe really complex irony. It's hard to tell.Join me, Mark Scarbrough, as we explore the middle of the invective in PURGATORIO, Canto VI. Here are the segments for this episode of the podcast WALKING WITH DANTE:[01:21] My English translation of the medieval Florentine for PURGATORIO, Canto VI, lines 106 - 126. If you'd like to read along, print it off, or drop a comment to continue the conversation, please go to my website, markscarbrough.com.[03:23] Who are the various families in this passage: the Montecchi, the Cappelletti, the Monaldi, and the Filippeschi?[07:47] Who is the Marcellus who ends this middle section of the invective?[09:46] To whom is this middle passage of the invective addressed?[12:28] The poet turn to the (Justinian?) legality of questioning God's purposes.[13:50] Dante seems to taunt God.[15:58] Here are two possible answers to the tangled knot of blasphemy in this passage.

We've danced around the notion of Dante as the pilgrim and Dante as the poet and their competing voices in COMEDY for so many episodes--quite literally, years now. But does this split in Dante hold up? Why do we allow something to occur in interpretation which never occurs in the poem?Join me, Mark Scarbrough, for this interpolated episode of WALKING WITH DANTE. I want to engage in some rather high-level narrative theory to talk about why we need to make the split between pilgrim and poet, a split that COMEDY itself never makes.Here are the segments of this podcast episode:[01:15] My thesis: the pilgrim/poet split is a convenient fiction to allow us to come to terms with a polyvalent or multivocal work.[04:10] Nowhere in COMEDY is there a distinct moment when we see Dante the pilgrim and Dante the poet differentiated.[07:38] Sordello's lack of categorization (which sort of penitent is he?) gives Dante the narrative space to break the sequence of events (the "walk") and offer his invective.[11:39] There are wildly contradictory moments in COMEDY that break our neat pilgrim/poet split.[13:50] What are other examples of polyvalent or multivocal works? And why do we so value them?

Please consider supporting this work in WALKING WITH DANTE by donating to help me cover hosting, streaming, website, and licensing fees for this podcast by visiting this Paypal link here.The story (or narrative) of PURGATORIO comes to a halt in Canto VI and the poem turns into a political invective. There are interesting problems here: with metaphors, with history, with poetics, and with (perhaps) our own expectations. Join me, Mark Scarbrough, as I have to face my own expectations about COMEDY in this difficult canto of PURGATORIO.Here are the segments of this episode of WALKING WITH DANTE:[02:16] My English translation of the passage: PURGATORIO, Canto VI, lines 76 - 105. If you'd like to read along, print it off, or continue the conversation with me, please go to my website, markscarbrough.com.[05:48] Who was Justinian and why was he important to Dante?[09:58] Who was "German Albert," as well as his successors? And why were they important to Dante?[15:12] The opening third of the invective moves from a messy jumble of metaphors to a single, controlling metaphor. Is this movement enacting Dante's own political hopes?[19:47] Dante's politics are deeply troubling, as are our own: chaos calls for an iron fist.[21:52] Sordello is a crouching lion, a threat, because he represents the sort of poet Dante could have become.

Help support WALKING WITH DANTE by donating to cover hosting, licensing, streaming, and podcast fees at the PayPal link here.Virgil has come in for a bit of a whipping. But no worries! All is forgiven. Dante still sees Virgil as his liege in a feudal context, his ultimate guide.And together, they find a solitary soul on the slopes of Mount Purgatory: Sordello, a troubadour poet and Dante's second guide across the known universe.Join me, Mark Scarbrough, as we explore this intriguing figure who sits by himself, isolated and uncategorized in COMEDY's schematics.Here are the segments of this episode of WALKING WITH DANTE:[01:52] My English translation of the passage: PURGATORIO, Canto VI, lines 49 - 75. If you'd like to read along, print it off, or drop a comment to continue the conversation, please go to my website, markscarbrough.com.[04:27] How does Virgil know what he knows?[09:47] The poet Dante strangely interrupts the narrative sequence in this passage.[12:38] A busking break![13:36] The soul ahead is not only solitary physically, but also emotionally.[16:50] Who is Sordello? Dante's second guide across the known universe, a figure deeply connected to others across COMEDY, and a distinguished, late troubadour poet from Italy.[25:07] A read-through of the narrative section of PURGATORIO, Canto VI: lines 1 - 75.

Help support WALKING WITH DANTE by covering the hosting, editing, and licensing fees. You can donate through PayPal here.The pilgrim Dante and Virgil pass on from the crowd. And now Virgil really becomes the loser.Dante inquires about a passage in THE AENEID. And Virgil answers like a prof who is caught with a question he can't answer.Join me, Mark Scarbrough, as we explore the second time in COMEDY that Virgil is forced to correct his masterpiece in front of Dante.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of this passage: PURGATORIO, Canto VI, lines 25 - 48. If you'd like to read along or print it off to make notes, please go to my website: markscarbrough.com.[03:36] Dante quizzes Virgil about the theology of the master's tragedy. What text is Dante the pilgrim referencing? THE AENEID, Book VI, around lines 373 - 376.[05:44] Virgil replies with garbled logic, if not utter sophistry.[11:21] The three most common medieval responses to classical texts like Virgil's.[15:55] My personal theory: the poet Dante may still be in a bit of an infernal state of mind, seeing souls as "placed" rather than "in transit."

Help support WALKING WITH DANTE to keep it sponsor-free. Click here for a PayPal link to donate and help me cover licensing, hosting, streaming, and research fees.Having heard three stories of those who died violent deaths unshriven, Dante the pilgrim is besieged by requests from others. A crowd forms around him, all begging for prayer, including six individuals singled out from the crowd.But something's amiss. Someone has won at a game of dice--and someone has lost. Who's the winner and who's the loser?Join me, Mark Scarbrough, as we explore this final episode to those who died violent deaths yet are among the souls slowly (!) ascending to heaven.Here are the segments for this episode of WALKING WITH DANTE:[01:26] My English translation of this passage: PURGATORIO, Canto VI, lines 1 - 24. If you'd like to read along or print it off to make notes, please go to my website: markscarbrough.com.[04:09] PURGATORIO, Canto VI as a whole: an introduction to its structure.[06:19] The six souls who accost the pilgrim Dante: three named and three unnamed (or, better, named periphrastically).[15:49] Why does Dante the poet feel the need to obscure three of these pressing souls?[19:08] An Arabic game of dice opens Canto VI--and may be a meta-statement about COMEDY as a whole.[24:18] Who is the winner of this game? Dante the pilgrim, of course. But who is the loser? Probably Virgil!

In this episode of WALKING WITH DANTE, we'll read the three cantos that lead us up to the gate of Purgatory itself.These are tough cantos! It's important to hear them before we break them apart to study them. Many a reader has been daunted by what's happening here before we finally get into Purgatory proper. Don't despair. We'll get down the flow (or lack thereof!) in these cantos before we start to study them more in depth.Here are the segments for this episode of WALKING WITH DANTE:[03:24] Reading Purgatorio Cantos VI - VIII. This is my English translation which you'll be able to find on my website, markscarbrough.com, in smaller chunks when we start to break it down and study it in more depth.[26:53] Initial questions that arise from Purgatorio, Cantos VI - VIII.

Dante the pilgrim has heard two dramatic speeches from characters whose deaths were full of Sturm und Drang. Now, a quiet, lone voice comes forward to tell an elliptical, enigmatic tale of her violent death in only seven lines (one of which is a dialogue marker).Join me, Mark Scarbrough, as we listen to "la Pia" and attempt to come to terms with her devastating speech which has befuddled commentators for over 700 years.Here are the segments of this episode of WALKING WITH DANTE:[01:32] My English translation of the passage: PURGATORIO, Canto V, lines 130 - 136. If you'd like to read along, print it off to make notes, or continue the conversation with me, please go to my website, markscarbrough.com.[06:28] Who is "la Pia"? An enduring mystery.[12:16] Distinct interpretive knots in Pia's short speech.[20:23] Pia's speech happens after the first moment of the veneration of the Virgin Mary in COMEDY. That placement can't be my mistake.[22:17] Two ways to interpret Pia's speech.[26:00] What can we make of the poetics of Pia's speech?

We come to the second monologue in PURGATORIO, Canto V. This time, we're on the other side of the battle of Campeldino with one of Dante's enemies. And we're on the other side of INFERNO, with a son whose father we saw damned with Ulysses and Diomedes.Join me, Mark Scarbrough, as we explore this most surprising speech and continue to discuss the ways PURGATORIO is changing the game for Dante's masterpiece, COMEDY.Here are the segments of this episode of WALKING WITH DANTE:[01:19] My English translation of the passage: PURGATORIO, Canto V, lines 85 - 129. If you'd like to read along, print it off, or drop a comment on this episode, please go to my website: markscarbrough.com.[04:38] Who was Buonconte da Montefeltro?[08:36] A positive and a negative node in the passage: a sense of humility and a growing misogyny in PURGATORIO.[13:11] Dante the poet offers a ham-handed narrative tercet while also forgiving his enemy, Buonconte--in other words, bad form but good ethics.[14:25] Buonconte's speech is the first true node of the veneration of the Virgin Mary in COMEDY. But there's also a problem here. What or whom is Buonconte actually forgiving?[18:05] Buonconte brings up the problem of veracity in COMEDY by foregrounding the credulity (or incredulity) of his story.[22:01] There are demonic voices in PURGATORIO![23:26] There are more bits of Virgil's GEORGICS in this passage. Even more important, Buonconte's speech shows that COMEDY is becoming more and more encyclopedic.[27:35] Two shocking bits. Apparently, one needn't be buried in sacred ground. And Dante the poet gives the more learned speech to his former enemy.[29:49] Four ways Buonconte's speech ties back to Jacopo del Cassero's: 1) Campeldino, 2) bloody deaths, 3) a tour of Italian geography, and 4) distinct references back to INFERNO.

The frenzied souls had spoken in unison, in monophony. Now they begin to differentiate, to enter into polyphony with each other.Join me, Mark Scarbrough, as we hang out on the first minor ledge of Purgatory with Dante the pilgrim and Virgil, his guide. They've been confronted by a mad battalion charge of souls who want to know how the pilgrim is in his body and what he can do for them when he returns to the land of the living.One of them steps out and tells the story of his death, the first of three stories that end PURGATORIO, Canto V. Here are the segments for this episode of WALKING WITH DANTE:[01:32] My English translation of the passage: PURGATORIO, Canto V, Lines 64 - 84. If you'd like to read along, print it off, make notes, or continue the discussion with me, please go to my website, markscarbrough.com.[03:43] This soul is Iacopo or Jacopo del Cassero (c. 1260 CE - 1298 CE). Here are the important facts about his life.[10:14] A line-by-line reading of the first half of Jacopo's story of his death.[18:53] A line-by-line reading of the second half of Jacopo's story of his death.[23:55] Why is this passage so associated with Italian geography? What has so much of PURGATORIO so far been about Italian geography and politics? Is Dante making a comment about his homeland as a sort of Ante-Purgatory?[26:47] Jacopo's speech shows Dante the poet's attempt to "reconcile" the fraudulent nature of language while upholding its poetic possibilities. It's a task destined to fail--and spectacularly.

The pilgrim Dante and his guide, Virgil, have passed beyond the lazy souls and on to a group that's in a frenzy: running, calling out, speaking in one voice. The change is marked and important to understand how PURGATORIO works.Join me, Mark Scarbrough, as we explore this passage from the fifth canto of PURGATORIO. These souls have died violent deaths. And they want something from the pilgrim Dante. He wants something, too. And his wants are somehow tied with Virgil.Here are the segments of this episode of WALKING WITH DANTE:[02:16] My English translation of the passage: PURGATORIO, Canto V, lines 37 - 63. If you'd like to read along, print it off, or drop a comment about this episode, please go to my website, markscarbrough.com.[04:33] A concise but double simile, so compact it's a little garbled in the medieval Florentine--and perhaps comes from Virgil's GEORGICS (Book I, lines 365 - 367).[08:27] Virgil doesn't seem to fully know what these frenzied souls want from the pilgrim Dante. If Virgil doesn't understand Christian theology, what then is his purpose in PURGATORIO?[13:17] The souls speak in one voice (to Dante the pilgrim, NOT to Virgil!). The narrative movement of PURGATORIO is monophony (or unison) to polyphony.[16:27] The souls want a transactional relationship with Dante the pilgrim. And maybe with Dante the poet, too.[18:32] Dante seems to clarify the initial metaphor's implications.[20:38] Two fundamental keys to PURGATORIO's thematics in this passage.[25:30] Five interpretive problems in this passage.

We come to a second scene, certainly sequential, almost contemporaneous with the previous scene among Belacqua's cohorts.Join me, Mark Scarbrough, as we come to one of the great contrasting moments in PURGATORIO: the lazy souls with Belacqua vs. these souls, traversing the slope, singing, running, shouting, and making an all-around ruckus.The key here, as always (so far), is Virgil. His response seems the opposite in this scene to his response just a few lines earlier. What gives?Here are the segments for this episode of WALKING WITH DANTE:[01:16] My English translation of the passage: PURGATORIO, Canto V, lines 22 - 36. If you'd like to read along, print it off to make notes, or drop a comment to continue the conversation, please go to my website: markscarbrough.com.[03:03] We hear the second song in PURGATORIO--and the second "miserere" of COMEDY.[04:51] The pilgrim's body stops not only the sunlight but also the "miserere." Surely there's a moral point afoot here![07:54] Why is Virgil's attitude so different from just a few lines back? Three possible answers.[13:20] Where are we? In Ante-Purgatory, according to the commentators, although Dante's been pretty quiet about the specifics of our geography. What is this place if it's not Purgatory itself? And who are these souls, the prisoners of hope?

Dante the pilgrim has had his last words with Belacqua and begins his journey on up the mountain. Or at least, laterally along the mountain of Purgatory.But those negligent souls with Belacqua are not done with the pilgrim. They point him out and seem suddenly to leap into action . . . or at least, into words.Dante is . . . flattered? Proud? Distracted. Virgil is having none of it. He reprimands the pilgrim and may give us a clue into the changing poetics of PURGATORIO.Join me, Mark Scarbrough, as we walk through the opening lines of canto V of PURGATORIO.Here are the segments for this episode of WALKING WITH DANTE:[01:03] My English translation of the passage: PURGATORIO, Canto V, lines 1 - 21. If you'd like to read along, print it off for notes, or continue the conversation with me, please go to my website: markscarbrough.com.[03:01] PURGATORIO, Canto IV and the unity of the soul vs. PURGATORIO, Canto V and the apparent stability/ultimate fragility of the body.[05:48] Canto V seems to open with more sardonic irony: a lot of activity from the negligent, lazy souls under the shadow of the rock with Belacqua.[08:20] Virgil's reprimand is one of his most strident in COMEDY. It also recapitulates the argument about the unity of the soul.[10:58] Dante the pilgrim may exhibit some hubris (or overreaching pride) in this passage. Or perhaps not. It's a tad unclear.[13:53] Dante the pilgrim certainly sees Virgil's remarks as a reprimand. But can there be error in the redeemed part of the afterlife?[17:15] Maybe Virgil is onto something about the writing of PURGATORIO. It cannot be "merely" about Dante the pilgrim's reactions.[19:44] Rereading the passage: PURGATORIO, Canto V, lines 1 - 21.

We've reached the end of the first narrative arc of PURGATORIO. Dante the poet brings the first five cantos to a close with a very quiet, almost disturbing decrescendo: a small voice, a woman's voice, reduced the barest details.Join me as we read through PURGATORIO, Canto V, before we take it apart and start our slow-walk through it, passage by passage. My English translation is not found on my website. Instead, I just want you to sit back and take the canto in before we pull it into so many pieces.Here are the segments of this episode of WALKING WITH DANTE:[01:20] My English translation of PURGATORIO, Canto V. Again, it's not found on my website. Instead, please just listen for the narrative flow.[08:38] What initial questions do we have after we've read PURGATORIO, Canto V?

We've talked about Belcqua as a parodic, ironic, or comedic figure in PURGATORIO. But is there a way to interpret his character as more straightforward? What if Dante the poet intends him to be a warning about negligence, a truth-teller sitting on the first minor ledge of the great mountain of Purgatory?Join me, Mark Scarbrough, as I read back through Belacqua's speeches in PURGATORIO, Canto IV, interpreting this time without the assumption of irony. What happens to the very words of the text when we change the interpretive lens?Here are the segments for this episode of WALKING WITH DANTE:[01:27] Belacqua's opening "maybe" doesn't include any clues as to its irony based on its rhyme.[03:44] Belacqua's second speech mentions being "valiant," right after the very valiant Manfred. Belacqua's third line is perhaps merely a statement of fact--or perhaps a bit of characterization for Belacqua: a know-it-all who didn't hear Virgil's discussion of the sun's position.[06:48] Belacqua calls Dante "brother," a term of Christian affection.[08:08] The way up is indeed blocked for Belacqua.[09:34] Perhaps Belacqua's use of "martydom" for his purgation indicates his coming link with the church's founding legends. Maybe the punishments of Purgatory do indeed link the penitents to the martyrs.[11:36] Belacqua's final sighs are indeed "good."[12:25] Belacqua's last statement about efficacious prayer is orthodox theology.

Belacqua has been the subject of hundreds of commentaries over centuries as readers have grappled with who this figure is and what purpose he serves in Dante's poem.Join me, Mark Scarbrough, as I offer you multiple ways to interpret this most intriguing figure in PURGATORIO, a favorite character Samuel Beckett--and for me, too. I see him as a parody of the contemplative life. Which means I see Beatrice--or a parody of her--in this passage.Here are the segments for this episode of WALKING WITH DANTE:[01:25] My English translation of the passage: PURGATORIO, Canto IV, lines 115 - 139. If you'd like to print it off, read along, or continue the discussion with me about this episode, please go to my website: markscarbrough.com.[03:49] Several points in the passage to suggest Belacqua is an ironic figure of some sort.[08:02] Who was Belacqua? The answer is surprisingly unclear.[10:15] Belacqua is a favorite character for Samuel Beckett.[11:18] How has Belacqua been interpreted over the centuries of commentary? And how do I read this most intriguing figure?[15:56] Pain has a temporal component in PURGATORIO--indicating that redemptive pain has a time value.[17:38] Beatrice may well be behind Belacqua's final words. Virgil certainly seems to hear an echo of her! And perhaps invokes Ulysses as a final stroke of irony.[20:40] The structure of PURGATORIO, Canto IV.[22:54] A vertical reading of INFERNO, Canto IV, and PURGATORIO, Canto IV.[24:48] A progression in PURGATORIO, Cantos II through IV: Casella, Manfred, Belacqua.[26:28] Rereading the entire Belacqua sequence: PURGATORIO, Canto IV, lines 97 - 139.

After all that scholastic reasoning, all that discussion of medieval astronomy and geography, all that cogitation on the soul's unity and the sun's position, Dante the pilgrim and Virgil come across a guy who's just hanging out in the shade, trying to escape the noontime heat.He may be the most famous character of PURGATORIO. Join me, Mark Scarbrough, as we begin our exploration of this negligent soul, a character who has captured the imagination of thousands of the COMEDY's readers.Here are the segments of this episode of WALKING WITH DANTE:[01:38] My English translation of the passage: PURGATORIO, Canto IV, lines 97 - 114. If you'd like to read along, print it off, or continue the discussion with me about this passage, please go to my website: markscarbrough.com.[03:47] The guy's first response has two curious bits: an emphasis on the "perhaps" and an address only to Dante the pilgrim, not to Virgil.[06:26] How does this passage relate to Virgil's last words: "I can't say anything else but I do know this much is true"?[09:37] The figure embodies negligence, perhaps what some medieval scholars called "inactive melancholy" or the "noontime demon."[11:20] Dante the poet is playing a tricky game since the sin of sloth was not punished in INFERNO (perhaps).[15:32] The negligent soul seems to offer both the pilgrim Dante AND the reader a way out: what's ahead is tough, so be forewarned before you go on.

Dante the pilgrim continues to rest on the first small ledge that runs around Mount Purgatory. Here, he and Virgil first discuss astronomy--or why the sun is in on his left (or "wrong") in this hemisphere. Virgil seems to end the discussion (in the last episode of this podcast) with a sneer: "If you're smart enough to figure this out."Indeed, the pilgrim is! In fact, he does Virgil one better. He summarizes the "science" far better than Virgil can. And Dante the pilgrim shifts the discussion to geography, which then Virgil oddly shifts to morality, one-upping the pilgrim to show who's really in charge.Join me, Mark Scarbrough, for this episode about a passage from PURGATORIO which is perhaps the crystallization of Dante's technique: misdirection as ultimately the way forward.Here are the segments for this episode of WALKING WITH DANTE:[01:27] My English translation of the passage: PURGATORIO, Canto IV, lines 76 - 96. If you'd like to read along, print it off, or drop a comment, please go to my website, markscarbrough.com.[03:14] Dante the pilgrim restates Virgil's argument about the sun's position. Except the pilgrim changes the argument a bit.[06:41] Is there irony here? Dante the pilgrim is better able to explain the sun's position with a more straightforward restatement of the "science."[08:16] Dante the pilgrim then shifts the discussion from astronomy to geography. Virgil, then, does him one better and shifts the discussion of geography to morality.[11:21] Why does Virgil shift the discussion to moral allegory? Because of his wisdom? Or because of his limits?[13:36] Virgil is forced to admit his ignorance and so takes another drubbing in a string of them in the early cantos of PURGATORIO.[16:23] Rereading the entire sequence on the first small ledge of Mount Purgatory: PURGATORIO, Canto IV, lines 52 - 96.

Virgil and Dante the pilgrim have completed their first major, breath-taking climb on Mount Purgatory. They hang out for a bit on a ledge for a little rest. In truth, there's no rest with all these mental gymnastics!Join me, Mark Scarbrough, as we explore this passage. Dante notices that the sun is shining on the "wrong" side of him and Virgil explains (or imagines or "rationalizes") the sun's position in the southern hemisphere, based on the intricate workings of a geocentric universe.Here are the segments for this episode of WALKING WITH DANTE:[01:50] My English translation of the passage: PURGATORIO, Canto IV, lines 52 - 75. If you'd like to read along, print it off, make notes, or drop a comment to me, please go to my website, markscarbrough.com.[03:53] How ironic that a passage with so many mental gymnastics is supposed to be restful![06:44] In the geocentric universe as Dante understands it, the sun's position is on an ellipse around the globe.[10:48] Virgil's explanation for the sun's position involves a complicated supposition about the sun's position later in the year, when the sun is in the constellation Gemini.[13:47] Dante's successful trek across the cosmos is in direct contrast to Phaeton's failed journey across the sky.[16:47] Let's begin a larger discussion of the Ptolemaic universe--particularly, the beginning of the cracks in that conception in the European late Middle Ages.

Virgil and Dante leave behind the sheeplike souls that include Manfred to begin their hard climb up Mount Purgatory.The initial ascent is rough on the pilgrim, climbing on his hands and knees, constantly out of breath. Why do we assume the bad is always easy and the good is always hard? And if the ascent is so hard, what's in it for Virgil?Join me, Mark Scarbrough, as we explore these moral quandaries and more in this passage about the first ascent in PURGATORIO.Here are the segments of this episode of WALKING WITH DANTE:[01:18] My English translation of the passage: PURGATORIO, Canto IV, lines 19 - 51. If you'd like to print it off, read along, or continue the conversation with me, please go to my website, markscarbrough.com.[03:44] How do we know all the souls around Manfred are more of the excommunicated? May some of them be other stragglers? What assumptions does Dante force us to make? And why?[06:44] Two misdirections in this passage: 1) the pastoral imagery after the scholastic mental gymnastics and 2) a long passage of plot after a passage in which the plot had come to a dead halt.[09:40] Rustic imagery is some of the residue of the troubadour traditions Dante has inherited.[12:06] The widening geographical references may indicate Dante's understanding of his widening readership.[17:17] Virgil becomes Dante's cheerleader. But what's in it for Virgil?[20:48] Why is the good always hard and the bad always easy?[23:56] Desire is the key to the passage--and to the climb itself.[26:47] Rereading the passage: PURGATORIO, Canto IV, lines 19 - 51.

Manfred's monologue has ended with some shocking conclusions: the excommunicated can indeed end up in heaven, a person can indeed repent at the last second, and the prayers of the living do have an effect on the fate of those in the redeemed part of the afterlife.But Dante is not done shocking us. Join me, Mark Scarbrough, as we discover that the moral of Manfred's tale isn't what we thought it was. Wasn't it about the fate of a late-repentant soul? Nope. It was about the unity of the human soul.This is the first "scientific" disquisition in PURGATORIO. It sets us up for the complications ahead, causing us to realize that even our notion of "plot" was not strictly correct.Here are the segments of this episode of WALKING WITH DANTE:[01:49] My English translation of the passage: PURGATORIO, Canto IV, lines 1 - 18. If you'd like to read along, print it off, or drop a comment on this episode, please go to my website, markscarbrough.com.[03:42] The "scientific" debate among Plato, Aristotle, Aquinas, and Dante on the unity of the soul: the debate's historical roots and its importance for Christian theology.[18:43] Why does this "scientific" disquisition appear as the opening of PURGATORIO, Canto IV? 1) Because plot is not just action; it is also the development of the intellect. And 2) because Dante the poet surprises us with an alternate conclusion to the ones we might have drawn from Manfred's monologue.[24:20] Why does PURGATORIO contain so many passages about time? To show us it is a terrestrial, human landscape.[29:00] Wandering humans in congregation can find the way (although the church does have some power, if not final agency).[31:32] Rereading this passage: PURGATORIO, Canto IV, lines 1 - 18.

Manfred continues his shocking speech, giving us the details of his body after his death--thereby continuing the theme of the body in PURGATORIO, Canto III; and thereby giving Dante the poet plenty of room for his imagination to run wild.Join me, Mark Scarbrough, as we learn what happened to Manfred's body after his death at the hands of the French forces at Benevento--and what can happen to Manfred's soul if the living get busy and focus on his trials at the bottom of Purgatory.Here are the segments of this episode of WALKING WITH DANTE:[01:46] My English translation of the passage: PURGATORIO, Canto III, lines 121 - 145. If you'd like to read along, print it off, or continue the conversation, please go to my website, markscarbrough.com.[04:04] Manfred is humbled and admits (vaguely) that the rumors about him may be true.[06:35] What is the "aspect" of God that the church leaders have misread?[08:31] What is the historical record of Manfred's death?[10:37] Why would Dante the poet make up so much of Manfred's story, particularly the story of his body after his death at the hands of the French forces at Benevento?[14:50] Why "thirtyfold"?[17:03] What is the role of the living in terms of the dead? Two answers to this question.[22:08] A structural look at PURGATORIO, Canto III.[25:10] Rereading the entire Manfred sequence: PURGATORIO, Canto III, lines 103 - 145.

Dante our pilgrim and his guide, Virgil, have come across a flock of sheep-like souls at the very bottom rung of Mount Purgatory. They've fallen in with them, going in front, when one of these humbled souls steps out and gives the first great monologue of PURGATORIO.Join me, Mark Scarbrough, as we encounter Manfred, the self-proclaimed King of Sicily and Emperor Frederick II's illegitimate son. This passage is strange and unexpected, about as strange for Dante's audience as the appearance of Cato was for us.We'll only cover the first "half" of Manfred's speech in this episode. Here are its segments:[02:22] My English translation of the passage: PURGATORIO, Canto III, lines 103 - 120. If you'd like to read along, print it off, or drop a comment to continue the conversation, please go to my website, markscarbrough.com.[04:14] Who is Manfred?[09:14] Who is the Empress Constance? And who is Manfred's daughter, mentioned in the passage?[10:50] The big surprise is that Manfred is not in hell![13:12] What is the pilgrim Dante's reaction to Manfred? Why would Manfred (dead in 1266 CE) expect Dante to recognize him?[17:27] Why does Manfred smile?[19:49] Why are Manfred's wounds still visible?[24:40] A structure analysis of the middle part of PURGATORIO, Canto III.

Dante and Virgil have come across a group of souls who are hanging back against the cliff's steep rise. They're like shepherd-less sheep--which may indeed be the secret to living a life of the "quia," the "what is”—yet also the heart of Virgil's despair.Join me, Mark Scarbrough, as we explore one of the most famous similes in PURGATORIO and find out how the pilgrim Dante and his guide navigate a new way to be: in congregation, reacting and moving, without truly knowing why.Here are the segments for this episode of WALKING WITH DANTE:[01:36] My English translation of the passage: PURGATORIO, Canto III, lines 79 - 102. If you'd like to read along, print it off to make notes, or drop a comment about this episode, please go to my website, markscarbrough.com.[03:29] A famous pastoral simile from PURGATORIO, a similie that shows us a humble flock without a distinct shepherd.[06:04] The flock lives in the "quia," the "what is," without a full understanding of the "why"--which is exactly the stance that Virgil exhorted humans to take and that left him in such despair earlier in Canto III.[10:41] Virgil seems to be trying out a similar spell to one he often used in INFERNO.[12:36] The flocks seems to accept Dante and Virgil as their leaders.[15:28] Rereading the passage: PURGATORIO, Canto III, lines 79 - 102.

In this episode from Purgatorio, Canto III, we might not see Virgil in his best light. He appears to frighten some souls on the bottom ledge. Then he overplays his hand with flattery. And he ends with a truly bizarre aphorism.Join me, Mark Scarbrough, as we look at some of the interpretive problems in this passage, then turn to think about how characters are built in medieval literature and how they are built in modern literature. The differences may help us get our heads around how strange Virgil's character is becoming in PURGATORIO. Here are the segments for this episode of WALKING WITH DANTE:[01:50] My English translation of PURGATORIO, Canto III, lines 67 - 78. If you'd like to read along, print it off, or even leave a comment about this episode, please go to my website, markscarbrough.com.[03:01] Why do the penitent souls hesitate, seemingly in fear, though perhaps just in doubt?[06:52] Virgil sets in with some (possibly overstated) flattery.[08:31] Virgil ends his flattery with a banal and almost incomprehensible aphorism.[12:02] Modern vs. medieval characters: the question of the necessity of a backstory.[15:20] Modern vs. medieval characters: the rhythms of ambient personality texture.[18:28] Modern vs. medieval characters: the importance of causality.[19:37] Medieval characters are built with allegorical intent.[22:44] Medieval characters are built through established "topoi" (that is, plot tropes, usually with a moral intent).[26:47] Rereading the entire sequence: PURGATORIO, Canto III, lines 46 - 78.

Virgil loses the way. Dante finds it. Virgil tries to figure it out. Dante uses the language of revelation. All to make sure Virgil can be the guide again, even when he's clueless about Purgatory.Join me, Mark Scarbrough, as we watch the irony deepen in this passage from PURGATORIO, Canto III. Dante the poet is playing a wicked game with his characters. And we have to walk slowly to see it.Here are the segments of this episode of WALKING WITH DANTE:[02:16] My English translation of the passage: PURGATORIO, Canto III, lines 46 -66. If you'd like to read along, print it off, or drop a comment about this episode, please go to my website, markscarbrough.com.[04:17] The pilgrim Dante and his guide, Virgil, have apparently been walking all along beside incredibly rough terrain--which seems to bring out Virgil's sarcastic streak.[06:55] The clear difference: Virgil looks down; Dante looks up.[07:41] Dante sees human souls on the left. Many commentators believe Virgil and Dante are still following a hellish (leftward) direction.[10:16] Dante uses the language of revelation (after Virgil's discussion of the limits of human reason).[12:05] Virgil gets back on familiar ground as the guide because of Dante's revelation. Who's really the guide here?

Dante the pilgrim has been shocked by his shadow, the only one against the rock. Is he alone? No, Virgil's there, still his comfort.Or is he? Virgil sets into an explanation for why bodies cast shadows, then gets lost in his own sorrow in one of the most astounding speeches in all of COMEDY.Join me, Mark Scarbrough, as we tease out the implications for Virgil's rich but very disconcerting reply.Here are the segments for this episode of WALKING WITH DANTE:[02:07] My English translation of the passage: PURGATORIO, Canto III, lines 22 - 45. If you'd like to read along, print it off, or leave a comment about this episode, please go to my website, markscarbrough.com.[04:52] The story of Virgil's death and burial--and thus, of his body, which he lacks.[07:43] Virgil's bitterness: I'm star stuff but damned; I've got divine reason but I can't figure out the workings of the universe.[12:57] Virgil's address to all of humanity: a final riddle that seems to negate the incarnation while also celebrating it at the same time.[19:00] The rhymes in this passage further develop our understanding of Virgil's character.[21:18] Can Virgil be a comfort for Dante?[25:06] Rereading the passage: PURGATORIO, Canto III, lines 22 - 45.

Virgil has scurried off, apparently ashamed or somehow guilty (the damned can be guilty?) because of Cato's reprimand.Now it's Dante's turn. As Virgil slows up, Dante first notices the giant mountain beside them--and then sees his own shadow and balks in fear.Join me, Mark Scarbrough, as I explore this implications of this dramatic and complicated passage in PURGATORIO, Canto III.Here are the segments of this episode of WALKING WITH DANTE:[01:23] My English translation of the passage: PURGATORIO, Canto III, lines 10 - 21. If you'd like to read along, print them off, or drop a comment, please go to my website, markscarbrough.com.[03:35] Virgil's frenzied pace reverses a moment in Limbo and echoes a moment in Inferno, Circle Seven, Ring Three: the running homosexuals.[06:34] Dante the pilgrim has had no moment when he have seen any shadows--until now.[08:32] Discovery leads to fear: the familiar emotional progression of COMEDY so far, and one that much now begin to change.[11:56] Dante's first great neologism (new word) in PURGATORIO: the mountain "unlakes itself."[14:20] Corporeality is a double-edged problem: the source of the soul's safety and the cause of its alienation.[19:38] Rereading our passages in PURGATORIO from the beginning of Canto III: lines 1 - 21.

Cato has given his stern reprimand and everyone has scattered for Mount Purgatory. Even Virgil. He's on the run, ashamed.But why should Virgil be ashamed? What's he done? And what would it matter if he did do something wrong?Join me, Mark Scarbrough, as we work through these complicated questions that COMEDY never fully answers. Dante the poet, instead, offers us emotional compensations for the logical flaws in his plot. Are those compensations enough?Here are the segments for this episode of WALKING WITH DANTE:[01:37] My English translation of the passage: PURGATORIO, Canto III, lines 1 - 9. If you'd like to read along, print it off, or drop a comment, please go to my website: markscarbrough.com.[03:02] The fiction and strategy of COMEDY is to pretend the poem has neither.[07:11] The divisions between the cantos in PURGATORIO become more permeable--and in some interesting ways both mute and foreground the pilgrim, Dante.[10:12] The pilgrim Dante's place in COMEDY is changing.[11:42] Why is Virgil so upset? How did he fail? What does it matter if he failed?[14:43] Dante the poet "fixes" the problem of Virgil's shame with a plea for compassion. Is that a true "fix"?

We've encountered Cato (twice!), seen souls arrive in an angel's boat, and heard Casella sing, all before everyone scatters toward Mount Purgatory.What's next? The climb! Join me, Mark Scarbrough, as we read through my English translation of cantos 3 and 4 of PURGATORIO. We'll get the story straight before we break the cantos down into smaller chunks to think through what they entail, what they mean, and what they fail to mean.Here are the segments for this episode of WALKING WITH DANTE:[01:26] Reading my English translation of PURGATORIO, Cantos 3 and 4.[18:31] Four interpretive questions immediately raised by these cantos. First, what can we make of how parallel these cantos are?[20:26] Second, how does Virgil's character change in these cantos?[22:04] Third, where are we on Mount Purgatory?[23:47] Fourth, what's the parallel (or disconnect?) between Manfred and Belacqua?

In this interpolated episode of the podcast WALKING WITH DANTE, let's look at some Biblical passages that may pertain to Purgatory. Medieval theologians used these verses to codify, justify, and elaborate on the brand-new doctrine.Join me, Mark Scarbrough, as I look at these five texts to find the rationales behind this new doctrine, brought into church theology formally only a few decades before Dante wrote COMEDY (and not fully codified into church doctrine until long after Dante's death). We can truthfully say that Dante's imagination is one of the most competent architects of Purgatory itself.Here are the segments for this episode of WALKING WITH DANTE:[02:30] Psalm 49: 13 - 15 and the problem of Sheol (or perhaps "the pit" or "the grave") and its increasingly complex geography over the course of its conception.[05:42] II Maccabees 12: 39 - 45 and the notion that the living can indeed do something to aid the dead, even idolators.[10:39] The Gospel Of Luke 16: 19 - 26 and the question of where exactly the poor man Lazarus goes when he dies and heads off to find comfort near Abraham.[16:47] I Corinthians 3: 11 - 15 and St Paul's notion that in the resurrection, even the redeemed will judged by fire.[20:11] Philippians 2: 9 - 11 and the strange, slightly baffling tripartite division of the afterlife.

This interpolated episode of WALKING WITH DANTE takes on a structural analysis of the first two cantos of PURGATORIO--as well as our first vertical reading of COMEDY, comparing INFERNO I and II with PURGATORIO I and II.Join me, Mark Scarbrough, as we begin to see the incredible architecture of Dante's masterwork COMEDY.Here are the segments of this episode of WALKING WITH DANTE:[01:47] PURGATORIO, Cantos I and II are bracketed by appearances of Cato.[03:20] PURGATORIO, Canto I is Virgil's; Canto II is Dante's.[04:26] The first two cantos of PURGATORIO open with astronomical/astrological references.[06:02] PURGATORIO gets increasingly crowded over its first two cantos.[08:25] PURGATORIO's first two cantos are full of hesitations.[11:11] Let's turn to the question of a "vertical" interpretation of INFERNO I & II and PURGATORIO I & II.[13:53] In INFERNO I, Virgil appears; in PURGATORIO I, Cato appears.[16:55] Both INFERNO's and PURGATORIO's openings include a descent.[19:19] The run rises in first parts of the two canticles.[20:33] In INFERNO II and PURGATORIO II, we get glimpses of Paradise.[21:35] For INFERNO I & II and PURGATORIO I & II, there's a chiasmus: Dante - Virgil in INFERNO; Virgil - Dante in PURGATORIO.[22:40] In INFERNO I & II, the way is clear; in PURGATORIO I & II, it's not.

The souls off the angel's boat, Dante, and Virgil have all been enjoying a nice song on the shores of Purgatory. It's so refreshing, so pastoral . . . until Cato reappears.His return brings up a host of problems for the end of PURGATORIO, Canto II. Join me, Mark Scarbrough, as I offer you lots of interpretive possibilities without coming to any firm conclusions . . . because that's the way we'll have the most interpretive fun with the poem.Here are the segments for this episode of WALKING WITH DANTE:[01:46] My English translation of the passage: PURGATORIO, Canto II, lines 118 - 133. If you'd like to read along, print it off, or drop a comment, please go to my website: markscarbrough.com.[03:11] More about the ways humans can refuse love (according to Dante).[05:48] The on-going dove "program" in COMEDY--comparing INFERNO, Canto V, with PURGATORIO, Canto II.[09:54] CONVIVIO's song ends unnaturally and COMEDY's plot lurches back in motion, having been halted for a long while.[12:42] Five ways to interpret the reappearance of Cato in PURGATORIO, Canto II.[13:54] One, a reprimand to Dante the poet for abandoning Beatrice for a love of philosophy.[18:53] Two, a reprimand merely to the souls off the boat, not to Dante.[21:06] Three, a reference to Moses, the tablets of the law, and the golden calf.[23:01] Four, a reprimand about delay to both the souls off the boat and to Dante the poet.[26:02] Five, a ham-handed way to get the plot moving again.[29:59] Rereading the passage: PURGATORIO, Canto II, lines 118 - 133.

Dante has heard Casella's weird story about hanging around back in the land of the living for three months--and not even being able to cross to Purgatory before that.But Dante the pilgrim wants more. He wants comfort. And he gets it. With his own poetry.Join me, Mark Scarbrough, as we talk about love, about the ways we resist it, and the ways our resistance may show us at our most human.Here are the segments of this episode of WALKING WITH DANTE:[01:37] My English translation of the passage: PURGATORIO, Canto II, lines 106 - 117. If you'd like to read along, print it off, or drop a comment, please go to my website: markscarbrough.com.[03:30] The "new law": a possible reference back to Cato's appearance.[06:23] The "new law": a possible reference to Pope Boniface VIII's Jubilee Year of 1300.[11:16] Dante, refreshment, and the origins of the doctrine of Purgatory.[14:36] Casella's song, Dante's poetry, and the sheer relief of being human.[24:18] A rereading of the passage: PURGATORIO, Canto II, lines 106 - 117.

We've come to the heart of the second story sequence in PURGATORIO, Canto II. Here, Dante tries to hug one of the souls off the angels boat and discovers an old friend, Casella.Casella has some surprising news about souls, their journey to the afterlife, and his own hesitations. All from a soul we hardly know.Join me, Mark Scarbrough, as we look at some of the interpretive knots in this early, crucial episode in PURGATORIO.Here are the segments of this episode of WALKING WITH DANTE:[01:24] My English translation of the passage: PURGATORIO, Canto II, lines 88 - 105. If you'd like to read along, print it off, or drop a comment, please go to my website: markscarbrough.com.[03:15] Who is Casella? Some source evidence, some information from the early commentators, and the problems with all of that.[08:09] Dating problems in the passage. When did Casella die? How long did he wander around the land of the living?[12:03] More dating problems in the passage: Pope Boniface VIII's Jubilee Year of 1300 and its plenary indulgences.[12:57] The ghost story in the passage.[17:50] Love: the great thematic of PURGATORIO, a part of Dante's historical moment.[21:53] Why is this passage so murky? Some tentative speculations.[26:25] Rereading the passage: PURGATORIO, Canto II, lines 88 - 105

Dante has certainly been able to interact with all sorts of souls in INFERNO. But now things seem to be changing. He meets a soul on the shore of Purgatory that he can't touch--or even hug.Join me, Mark Scarbrough, as we explore this short passage from PURGATORIO to begin a long discussion about the changing nature of the body-soul problem in Dante's COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:31] My English translation of the passage: PURGATORIO, Canto II, lines 76 - 87. If you'd like to print it off, read along, or drop a comment, please find this passage on my website: markscarbrough.com.[02:53] Three human moments in the passage to show we're a long way from INFERNO: brotherly affection, a smile, and redemptive wonder.[06:14] The importance of the human voice, even in the afterlife.[07:45] Virgil's masterwork, THE AENEID: still with us, even in PURGATORIO, this far down the road.[10:36] The body/soul problem: corporeality, animation, rationality, and incarnation.[20:58] Rereading this passage: PURGATORIO, Canto II, lines 76 - 87.

We begin the second sequence in PURGATORIO, Canto II, with the souls who've been summarily dumped out of the boat onto the shores of the mountain-island. Where should they go? What should they do? They look to Virgil and Dante for answers--who are both clueless as well.Join me, Mark Scarbrough, as we talk about pilgrims, pilgrimages, hesitancy, and the road to a new life in this gorgeous passage from Dante's PURGATORIO, the second third of COMEDY.Here are the segments of this episode of WALKING WITH DANTE:[01:05] My English translation of the passage: PURGATORIO, Canto II, lines 52 - 75. If you'd like to read along, print it off, or drop a comment, please go to my website: markscarbrough.com.[03:22] The first souls in Purgatory are not categorized in any way, reminiscent of the souls who throw themselves into Charon's boat.[09:07] The second sequence in PURGATORIO, Canto II starts with hesitation, as does the first sequence--but perhaps with a difference. What if hesitancy is the right start toward a new life?[12:45] Virgil uses the word "pilgrims" for the first time in the poem. Does that mean INFERNO was not part of Dante's pilgrimage?[16:33] Is Virgil a pilgrim? Can he be?[21:01] There have been three references to wonder or marvels here and in the previous two cantos, all the way back to INFERNO, Canto XXXIV. Is there a progression here?[24:18] What news does Dante the pilgrim bring to the shores of Purgatory?[28:02] Rereading the passage: PURGATORIO, Canto II, lines 52 - 75.

We've come to the end of the angel sequence in PURGATORIO, Canto II. The souls arrive on the shores of Purgatory singing a psalm that is unique in the medieval liturgy and that points to important pieces of Dante's developing theology.Join me, Mark Scarbrough, as we explore this short passage from PURGATORIO, talking about some of its INFERNO references, talking about a garbled line in the text, and reading closely the psalm the souls are singing.Here are the segments of this episode of WALKING WITH DANTE:[00:48] My English translation of the passage: PURGATORIO, Canto II, lines 43 - 51. If you'd like to read along, print it off, or drop a comment, please go to my website: markscarbrough.com.[02:00] INFERNO references in the passage: to Charon and (of course!) Ulysses.[04:44] A garbled line in the passage and a possible explanation for the textual problems here and ahead.[08:50] A close reading of the psalm the souls are singing as they arrive at Purgatory.[19:49] A question about the psalm's musicality in medieval liturgy: one of the only known examples of the "tonus peregrinus."[22:37] Rereading the entire angel sequence: PURGATORIO, Canto II, lines 13 - 51.

We knew a bright light was approaching fast--but now we find our that it's our first angel in Purgatory, standing at the helm of a ship, following the path Ulysses once took to get here.Join me, Mark Scarbrough, as we explore the implications of our first angel sighting in PURGATORIO. It's a moment of heavenly triumph. Or would be, were it not for all the questions the angel brings in tow.Here are the segments for this episode of WALKING WITH DANTE:[01:21] My English translation of the passage: PURGATORIO, Canto II, lines 25 - 42. If you'd like to read along, print off my translation, or drop a comment, please go to my website, markscarbrough.com.[03:28] Four infernal characters underneath this passage: first, Phlegyas.[06:31] Second, Charon.[07:42] Third, Ulysses.[09:14] Finally, Francesca.[11:12] Why are there so many references to INFERNO in the opening two cantos of PURGATORIO? I've got five possible answers.[17:04] Virgil's position is complicated in this passage. How does he recognize the angel before Dante the pilgrim? And why doesn't Virgil bow down to the angel?[23:38] Heaven has "officials" because it's a bureaucracy with eternal records.[26:48] What happens when the truth is too bright?

The pilgrim Dante and his guide, Virgil, may not know where to go next, but their answer may be arriving more quickly than they could imagine. Something incredibly white is approaching--and revealing both the poet Dante's and the pilgrim Dante's slightly disingenuous tone.Join me, Mark Scarbrough, as we look for the arrival of the first angel in PURGATORIO.Here are the segments for this episode of the podcast WALKING WITH DANTE:[01:09] My English translation of the passage: PURGATORIO, Canto II, Lines 13 - 24. If you'd like to read along, print it off, or drop a comment, please go to my website: markscarbrough.com.[02:33] Interpreting Mars in the passage: 1) as opposed to Venus in Canto I, 2) as red v. white, and 3) by a passage from Dante's unfinished work, CONVIVIO.[10:41] "The sea's western edge": another reference to Ulysses (INFERNO XXVI: 29).[12:08] The appearance of Dante the poet in the passage. Is there a hint of a disingenuous moment?[13:57] Not a flight of folly but a flight of light.[14:37] The pilgrim's humanity--once again.[15:40] Modern notions of perspective and the quality of light.[16:49] Trinitarian whiteness v. a disingenuous pilgrim.[19:42] Rereading the passage: PURGATORIO, Canto II, Lines 13 - 24.