Podcast
Walking With Dante
Hosted by Mark Scarbrough · EN
Ever wanted to read Dante's Divine Comedy? Come along with us! We're not lost in the scholarly weeds. (Mostly.) We're strolling through the greatest work (to date) of Western literature. Join me, Mark Scarbrough, as I take on this masterpiece passage by passage. I'll give you my rough English translation, show you some of the interpretive knots in the lines, let you in on the 700 years of commentary, and connect Dante's work to our modern world. The pilgrim comes awake in a dark wood, then walks across the known universe. New episodes every Sunday and Wednesday.
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Apocalypse Even In Eden, Part Two: PURGATORIO, Canto XXXII, Lines 109 - 160
Mar 1500:25:15Tap to summarizeIn the last episode, we talked through some of the "superficial" factors in the grand apocalyptic vision in Eden: its structure, some diction cues, even a few rifts or cracks in its flow.In this episode, let's turn to the much thornier issue of what it all means. A consensus has developed over the seven hundred years of commentary. That reading (or interpretation) now dominates the Anglo-American, rationalist outlooks on the vision.But might there be more? And might that reading be prone to mistakes or gaffes it cannot accommodate?Join me, Mark Scarbrough, for the second of two episodes on the complicated vision of the apocalypse that ends PURGATORIO, Canto XXXII.To support this work, consider underwriting its many fees with a one-time donation or a small monthly stipend. You can do so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:38] Once again, my English translation of PURGATORIO, Canto XXXII, lines 109 - 160. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[05:28] The now-standard interpretation of the vision as a sweet of Christian church history up until Dante's day and the so-called "Avignon captivity" of the papacy.[13:10] Questions and problems that arise in the standard interpretation. These may show us that the vision is more layered than a rationalist interpretation would consider.[16:28] Two external sources that may impinge on this vision: the prophecy of Daniel 7:7 and the visionary writings of the Radical Franciscans.[19:27] My reading of the vision as the collapse of good governance following the departure of the proper balance of church and state.[21:47] Two final questions: 1) Does Dante cause the collapse of the vision? And 2) should the vision be interpreted in such a rational, one-for-one way?
Transcribe →Apocalypse Even In Eden, Part One: PURGATORIO, Canto XXXII, Lines 109 - 160
Mar 1100:28:46Tap to summarizeDante is now ready for the final apocalyptic vision of PURGATORIO . . . and in the last place we might expect it: in that bastion of innocence and purity, the Garden of Eden.In seven vignettes, Dante witnesses some chaotic and catastrophic collapse of the chariot and even one of the original trees of Eden.But all is not lost. Beatrice is on the scene. And Dante himself participates in this vision, seemingly instigating a new ending to what had become a disaster.Join me, Mark Scarbrough, for the first of two episodes on the grand apocalypse of Eden in PURGATORIO, Canto XXXII.To support this work, please consider a small monthly stipend or a one-time gift to help cover the many fees associated with this podcast. You can donate at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:37] My English translation of PURGATORIO, Canto XXXII, Lines 109 - 180. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[05:28] Thoughts on the almost surreal strangeness of the vision as it moves from the natural world to the monstrous.[08:59] The structure of the vision: seven vignettes--five in six-line segments; the first and last scenes, longer.[18:34] Echoes in the vision to other moments in COMEDY: eagles, a vixen, dragons, a prostitute, and giants.[23:12] Biblical echoes from the Apocalypse of St. John at the end of Dante's vision.[25:03] Two outside actors who enter the vision and fundamentally change it.
Transcribe →A Brief Introduction To Women In The High Middle Ages
Mar 800:21:49Tap to summarizeBefore we continue with Beatrice (and even the young woman who tends the Garden of Eden), let's stop and talk all too briefly about the roles and available places for women in Dante's day, the high middle ages.Although we can't hope to cover this subject in depth, we might be able to see some of its reflections in COMEDY so far, as well as in the complex and even contradictory characterization of Beatrice in COMEDY.Join me, Mark Scarbrough, as we take an all too quick side quest into the question of women in the high middle ages.To help support this podcast by underwriting its many fees, please consider a small monthly stipend or a one-time donation using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:40] The largest grouping of women in COMEDY does not bode well for Dante . . . except a women who lies ahead of us.[06:01] The various roles and positions women could hold in the middle ages, at least according to a tract/book written in Dante's lifetime.[09:48] The damning problem: Women cannot be citizens.[13:31] The church's role in the growing restrictions on women . . . and the ways they subverted those religious restrictions.[17:50] Beatrice's role v. the Virgin's growing veneration.
Transcribe →Beatrice, Changed; Dante, Panicked; And The Reader, De-centered: PURGATORIO, Canto XXXII, Lines 70 - 108
Mar 400:34:45Tap to summarizeDante wakes back up from his unexpected sleep to find that the grand parade is heading off into the forest (or maybe the skies). He's in a panic that Beatrice has left, too, although the young woman of Eden comforts him and shows her now humble place under the renewed tree.Meanwhile, we readers are equally panicked . . . or at least de-centered, as we try to make sense of complicated similes and oblique symbolic meanings. COMEDY is getting more complex by the line. It's a game of interpretation we've been preparing to play since INFERNO, Canto I.Join me, Mark Scarbrough, as we look at the passage just before the giant apocalyptic vision of PURGATORIO, Canto XXXII.To underwrite the many fees for this work, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:21] My English translation of PURGATORIO, Canto XXXII, Lines 70 - 108. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[04:53] Four (or maybe five) interwoven Biblical references in the opening twelve lines of this passage (or the opening four tercets).[13:25] The interweaving of textuality to de-center the reader by pushing meaning further into mystery.[15:52] Dante's awakening to panic and then obeisance.[19:43] The complex meaning of Beatrice's changed position under the tree.[25:10] Dante's Roman hopes for heaven.[26:47] A flourish of the medieval high rhetorical style at the end of the passage.[28:53] Writing as awakening and return.[31:23] Rereading this passage: PURGATORIO, Canto XXXII, lines 70 - 108.
Transcribe →Asleep In Eden: PURGATORIO, Canto XXXII, Lines 49 - 69
Mar 100:26:34Tap to summarizeThe griffin pulls the chariot or cart up to the denuded tree--the "widowed" tree--and the tree regenerates into a color reminiscent of other moments in PURGATORIO. But which one exactly?We're descending into the murk of mystery with new songs that can't be defined, with allegories that are becoming increasingly opaque, and even with classical references that seem somehow out of place in the overall arch of the glorious parade.Join me, Mark Scarbrough, as we begin to approach the strange and incomprehensible mysteries that lie at the end of the second canticle of COMEDY.To support this work, consider a one-time donation or a small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:24] My English translation of PURGATORIO, Canto XXXII, Lines 49 - 69. If you'd like to read along or continue the conversation with me with a comment on this episode, please find its entry on my website, markscarbrough.com.[03:32] A correction perhaps: "Adam" may have been a murmured reassessment of the misogyny in the text.[04:55] The pole, the chariot, and the tree: complicated translation problems.[07:15] The pole as the cross or perhaps the ties of good human governance.[11:49] The changing seasons as the tree regenerates.[13:26] The ambiguous symbolism of purple.[15:41] The unknown new song, a further mystery in the passage.[18:48] A tense and perhaps off-pitch reference to Ovid.[22:27] A knock against representative art before the apocalyptic vision just ahead.[24:18] Rereading the text: PURGATORIO, Canto XXXII, lines 49 - 69.
Transcribe →Games Of Interpretation In Eden: PURGATORIO, Canto XXXII, Lines 28 - 48
Feb 2500:28:11Tap to summarizeThe griffin rolls his chariot up to the foot of a denuded tree as Beatrice descends out of her ride. The symbolism (the allegories, in fact) become increasingly murky, difficult to parse, especially when the griffin says his one and only line in COMEDY.Dante's Garden of Eden is a place where the games of interpretation kick into high gear. Nothing is what it seems . . . yet what it is is a matter of much debate.Join me, Mark Scarbrough, as we work through this increasingly complex passage on our way to the final apocalyptic vision of PURGATORIO.To help support this work with a one-time donation or a very small on-going stipend, please consider using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:04] My English translation of PURGATORIO, Canto XXXII, Lines 28 - 48. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:04] Statius, both physically and thematically in the passage.[05:55] Adam and Eve, with notes toward the theological fall of mankind.[09:19] The stripped tree in the Garden of Eden . . . but which tree?[14:49] The griffin, becoming a more difficult allegory with his one and only line in COMEDY.[21:06] Beatrice and her (complex) descent from the chariot/cart.[25:57] Rereading the passage: PURGATORIO, Canto XXXII, lines 28 - 48.
Transcribe →Sound The Retreat In Eden: PURGATORIO, Canto XXXII, Lines 1 - 27
Feb 2200:33:32Tap to summarizeFace to face with Beatrice, the pilgrim Dante is ready for more revelation. Problem is, even after Lethe he's still doing things wrong and must be corrected by the women around the griffin's chariot.But what is he doing wrong? And why does the entire parade of revelation go into retreat? What indeed does that griffin symbolize? And how did we get from the intensely personal experience of Dante's confession and contrition to this much more global view of the allegories on the march?Join me, Mark Scarbrough, as we begin to walk slowly through one of the most complex cantos (and certainly the longest canto) in all of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:17] My English translation of PURGATORIO, Canto XXXII, Lines 1 - 27. If you'd like to read along or continue the conversation with me about this canto, please find the entry for this podcast episode on my website, markscarbrough.com.[03:31] A brief introduction to PURGATORIO, Canto XXXII.[05:19] Notes for the first nine lines (or three tercets) of the canto.[10:40] Dante's forgotten failings and Beatrice's on-going attraction.[12:04] Dante's intense gaze . . . but for or at what?[16:23] Beatrice and the problem of the "lesser thing" of revelation.[21:28] The parade of revelation (or of the church militant) in retreat with its "precious cargo."[25:01] The griffin's feathers, which prompt further questions about the griffin's allegorical meaning.[28:08] Bridging the personal and the universal.[31:04] Rereading the passage: PURGATORIO, Canto XXXII, lines 1- 27.
Transcribe →A Read-Through Of PURGATORIO, Cantos XXXII - XXXIII
Feb 1800:21:11Tap to summarizeAs we've done across the second canticle of Dante's masterpiece, COMEDY, we're taking some time to read through the final two cantos of PURGATORIO, XXXII and XXXIII.I'll read my rough English translation of the cantos. I'll finesse these more when we take the cantos apart passage by passage.For now, just sit back and listen to the narrative sweep of the final two cantos of PURGATORIO, truly the climax of the canticle.[01:43] A read-through of my loose translation of PURGATORIO, Cantos XXXII and XXIII.
Transcribe →The Revelation Of Beatrice's Hidden, Second Beauty: PURGATORIO, Canto XXXI, Lines 127 - 145
Feb 1500:25:07Tap to summarizeWe finally come to the face-to-face meeting of Beatrice and Dante. We've waited for this moment since INFERNO, Canto II, when Beatrice first stepped into COMEDY.Neither Dante nor Beatrice speak at their close meeting. Instead, the women around the chariot beg Beatrice to reveal her second, hidden beauty: her mouth.Join me, Mark Scarbrough, as we explore the complex symbolism in this passage. We'll also take on its textual difficulties: a Biblical allusion that has been muddled in commentary, a lost word that's hard to translate, and a question of quotation marks in a medieval manuscript.To support this work, consider a one-time donation or a small monthly stipend by using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:26] My English translation of PURGATORIO, Canto XXXI, lines 127 - 145. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:11] Textual problems in the first six lines (XXXI: 127 - 132)--a muddled Biblical reference, a moral question of virtues, and a word that's hard to translate.[07:49] Beatrice's turning and the coming revelation of her mouth.[10:57] A difficult conclusion to Canto XXXI: Who says these complicated lines that use the informal "you"?[16:59] Forgetting and remembering your former works to create something new.[23:10] Rereading the passage: PURGATORIO, Canto XXXI, lines 127 - 145.
Transcribe →Beatrice And The Griffin: PURGATORIO, Canto XXXI, Lines 112 - 126
Feb 1100:21:25Tap to summarizeDante has now crossed Lethe and is ready to face Beatrice head on. She has moved to get ready for this eye-to-eye conversation. She's positioned nearer the griffin, a complicated symbol that may have more than one interpretation.Join me, Mark Scarbrough, as we explore both Beatrice (particularly her emerald eyes) and this dual-natured beast that seems to become more difficult to interpret with its every move in the poem.To support this podcast, consider a one-time donation or a small monthly stipend through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:19] My English translation of PURGATORIO, Canto XXXI, Lines 112 - 126. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[02:44] Beatrice has moved . . . but where?[05:09] With her emerald eyes, Beatrice and Dante finally escape the Francesca episode.[09:15] Dante is the Orpheus who can look into the eyes of his Eurydice.[10:49] Here are at least two additional interpretations for the griffin.[13:58] Beatrice's eyes are the methodology of revelation (and mystery).[16:41] The passage drops the first hint about Jesus' transfiguration.[18:50] Reflection is transfiguring, as in the craft of poetry.[19:34] Rereading the passage: PURGATORIO, Canto XXXI, lines 112 - 126.
Transcribe →