The Whole World Is On Fire: PURGATORIO, Canto XXVII, Lines 1 - 18

Our pilgrim has come to an impasse: the flames of lust. There's no way forward except to step into them. He must finally feel the sufferings that he has witnessed over the course of COMEDY to this point.This suffering comes after a discussion of the craft of poetry, after a unifying vision of the world, and after Dante's own memories of both seeing people be burned alive as capital punishment and being sentenced to the same fate if he returns from exile.Join me, Mark Scarbrough, as we begin the first lines of the most important canto in PURGATORIO.Consider supporting this podcast by offering a one-time donation or a small monthly stipend using this PayPal link.Here are the segments for this episode of WALKING WITH DANTE:[01:53] My English translation of PURGATORIO, Canto XXVII, lines 1 - 18. If you'd like to read along or continue the conversation with me, please find this episode on my website, markscarbrough.com.[03:52] The unifying, globalizing view to begin this transitional canto.[08:36] The global, totalizing perspective v. the confusion of personal references in the passage.[11:52] The difficulties of handling multiple perspectives in narratives.[16:29] The global perspective v. Dante's personal memories and experience.[24:00] The beatitude in the passage: "Blessed are the pure in heart."[25:42] The beatitudes in all of PURGATORIO . . . and the missing one of the seven from the Gospel of Matthew.[28:26] Rereading the passage: PURGATORIO, Canto XXVII, lines 1 - 18.

As we pass Arnaut Daniel, the last penitent soul of Mount Purgatory, let's look back over the discussions of poetry and lust in the seventh (and even sixth) terrace of the mountain.Dante has laid out a fairly straightforward theory of poetry through his encounters with three poets. Are these in a logical progression? Are they causally linked, not just sequentially?Join me, Mark Scarbrough, for some final thoughts (at least for now) about poetry, lust, and how we humans make meaning.If you'd like to support this work, please consider donating through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:50] A progression of poets: Forese Donati, Bonagiunta Orbicciani, and Guido Guinizzelli.[07:20] Francesca was indeed an ambivalent figure in INFERNO--but not now, when we read through the gravitational lensing of COMEDY.[12:56] Simone Weil claims that the hope of religion (or for her, Christianity) is to turn violence into suffering, which can then be interpreted.

Guido Guinizzelli has pointed to another figure in the purifying flames of Purgatory's seventh terrace. And now he steps forward, one of the greatest troubadour poets, a model of high-brow poetry and a writer of the sort of lusty verses that led to Francesca's downfall.Arnaut Daniel breaks COMEDY in some ways. He speaks in (a version of) medieval Provençal. But he also gives the final triplicate rhyme by any penitent on the mountain--and these words sum up the action of poetry.Join me, Mark Scarbrough, as we explore the final words from any penitent in PURGATORIO.Support this work by using this PayPal link.Here are the segments for this episode of WALKING WITH DANTE:[01:32] My English translation of PURGATORIO, Canto XXVI, lines 136 - 148. If you'd like to read along or continue the conversation with me by dropping a comment on this episode, please find its entry on my website, markscarbrough.com.[02:56] Lines in Provençal--that is, French poetry, the very thing that was a catalyst for Francesca's fatal choice.[04:51] Ornate rhetoric that leads to one of the most renowned troubadour poets of the Middle Ages.[09:02] The possibility of complex irony in Arnaut's speech.[11:07] The final triplicate rhyme from any penitent in PURGATORIO: folly, power, sorrow.[14:42] Refining: the action of penance.[16:46] Rereading the passage: PURGATORIO, Canto XXVI, lines 136 - 148.

Dante has found his poetic father, Guido Guinizzelli, burning in the fires of lust on the final terrace of Mount Purgatory. Our pilgrim-poet has praised his poetic father for the sweet art that will last.Then Guinizzelli takes the discussion further, morphing that sweetness into truth, offering a metaphysical meaning to a physical sensation. He then proceeds to speak exactly in this sort of poetry, which our poet Dante picks up and uses to conclude this fascinating conversation.Join me, Mark Scarbrough, as we work through this second and final conversation about the nature of the new poetry and Dante's synthesis of traditions into COMEDY.Please support this work with 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:[01:28] My English translation of PURGATORIO, Canto XXVI, lines 115 - 135. 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.[05:00] Corporeal and airy manifestations of the body.[07:55] Girard de Borneil, having been praised, now dismissed.[10:25] High and low poetry v. Dante's synthesis.[12:29] Unpacking too-tight lines about poetry.[15:00] The sweet morphed into the truth.[19:44] Dante's possible hesitation over his own poetic fame and his wild invocation to the truth of it.[23:53] Guinizzelli's validation and expansion into metaphoric space.[28:01] The ending of the conversation: a great example of the sweet new style.[29:50] Rereading the passage: PURGATORIO, Canto XXVI, lines 115 - 135.

Guido Guinizzelli has named himself and our pilgrim, Dante, is aghast.He gets lost in a classical simile that almost loses its sense, only to finally find his love for this poetic father and express himself in the straightfoward, new style from which his own poetry was born.Join me, Mark Scarbrough, as we work through another complicated but ultimately satisfying passage on the seventh terrace of Mount Purgatory among the lustful penitents.Support this podcast by offering 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:[01:22] My English translation of PURGATORIO, Canto XXVI, lines 94 - 114. If you'd like to read along or drop a comment to continue the conversation, please find this episode's entry on my website, markscarbrough.com.[03:21] Guido Guinizzelli substituted a philosophical ideal for feudal love.[07:06] A ridiculously complex simile in the midst of a discussion of the sweet new style.[11:18] Dante finds a father, perhaps one of the goals of COMEDY.[13:06] The pilgrim backs off from homoeroticism with feudal pledges.[15:50] Guinizzelli gets Dante's footprint that even Lethe won't wash away.[17:24] Poetry may ironically offer a hint of its immortality in its materiality.[21:47] Rereading PURGATORIO, Canto XXVI, lines 94 - 114.

We finally come to know who has been our spokesperson for the lustful penitents: Guido Guinizzelli, perhaps the most important Italian poet working before Dante.Guinizzelli explains who the penitents are by using two classical allusions and even making up words to describe their sin, in the ways that poets always manipulate and even invent language.This passage is a shocking example of Dante's changing notion of homosexuality. Join me, Mark Scarbrough, as we work through its rather high, ornate rhetoric to discover that in fact there's more fusion that just marriage, than two become one. In fact, our poet is fusing his poetry with Guinizzelli's.Consider underwriting the many fees for this podcast with a one-time donation or a very small monthly stipend by using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:52] My English translation of PURGATORIO, Canto XXVI, lines 67 - 93. If you'd like to read along or continue the conversation with me, please find the comment section for this episode on my website, markscarbrough.com.[04:10] Why are the mountaineer penitents gawking? What makes them feel rough and rugged?[07:28] The pilgrim Dante receives a beatitude from another poet in the borderland that is Purgatory itself.[09:14] Julius Caesar is slurred as "Queen."[13:20] Heterosexuality is the fusion of male and female: "And the two shall become one."[17:04] Guido Guinizzelli identifies himself, although he's been in the words of this passage all along.[21:26] Rereading the passage: PURGATORIO, Canto XXVI, lines 67 - 93.

We've seen the two crowds of the lustful on the seventh terrace of Mount Purgatory and we clearly identified them in the last passage (and on the last episode of this podcast).But Dante the pilgrim didn't know who they were. He's stuck, confused. He then seeks to break out his manuscript and rule his paper to find his way into the shocking revelation that love in the body can exist in more than one form.Join me, Mark Scarbrough, as we look at this small passage on the seventh terrace, sandwiched between the two big revelations and before the last major discussion of poetry on Mount Purgatory.Please help underwrite the many fees of this podcast with 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: [01:51] My English translation of PURGATORIO, Canto XXVI, lines 49 - 66. If you'd like to read along or continue the conversation with me by dropping a comment on this episode, please find its entry on my website, markscarbrough.com.[04:34] Reading and interpreting through the passage for its metaphoric, rhetorical, and thematic knots.[14:58] One question from the passage: Why is the body so crucial to this discussion?[17:03] A second question: What about this passage brings up the mechanics of writing?[19:29] Rereading the passage: PURGATORIO, Canto XXVI, lines 49 - 66.

Our pilgrim, Dante, may have opened his mouth to answer how he got to where he is in his corporeal body, but he's interrupted by something completely unexpected: a group of people, moving the opposite direction of everyone else on Mount Purgatory. He's witnessing the moment when love moves the fence. These are the homosexuals on the doorstep of heaven.Join me, Mark Scarbrough, as I work through the passage that was the inception of this entire podcast and is the best illustration of my thesis that love remakes the world.To support this podcast and underwrite its many fees, please consider a one-time donation or small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:38] My English translation of PURGATORIO, Canto XXVI, lines 25 - 48. If you'd like to read along or drop a comment to continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.[03:32] The passage is an interruption of people (à la Cavalcante with Farinata) and of tenses: It moves consistently into the narrative present tense.[05:22] The passage begins with an emphasis on identification and novelty.[06:34] Moving to the left, rather than the right, the new penitents reenact a moment of Christian fellowship and of Francesca's downfall. [09:48] The first revolutionary simile: ants who nuzzle each other.[12:25] The penitents cry out to explain who they are.[15:34] The second revolutionary simile: cranes who migrate in opposite directions.[18:08] Dante may rewrite Jeremiah's prophecy.[20:04] Dante definitely reclassifies homosexuality--which may offer even more explosive implications than he intends.[25:28] Rereading the passage: PURGATORIO, Canto XXVI, lines 25 - 48.

The pilgrim, Dante, Virgil, and Statius walk on the narrow ledge between the flames of lust and the drop into the abyss. The penitents in the flames notice that the pilgrim's body makes the flames of lust more colorful . . . the work of any medieval poet in the troubadour tradition when it comes to love!Join me, Mark Scarbrough, as we encounter the first penitents in the flames of lust.To support this podcast with a one-time donation or a small monthly stipend, please use this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[02:26] My English translation of PURGATORIO, Canto XXVI, lines 1 - 24. If you'd like to read along or drop a comment on this passage to continue the conversation with me, please find its entry on my website, markscarbrough.com.[04:17] Three comments on PURGATORIO, Canto XXVI as a whole: It provides the poet open space for much discussion, it is part of a larger mirroring with the three upper circles of INFERNO, and it is in direct conversation with both INFERNO, Canto XXVI, and INFERNO, Canto V.[07:34] Virgil's offers only one line in this canto just before a bit of time-telling in the passage.[11:50] The pilgrim doesn't have a "sham" or "fictitious" body on the terrace of lust.[16:46] Near the flames of lust, we get a hint of the poet's expansive geographical knowledge.[22:30] The passage may already be about the craft of poetry.[25:24] Rereading the passage: PURGATORIO, Canto XXVI, lines 1 - 24.

Dante, Statius, and Virgil arrive on the seventh terrace of Mount Purgatory filled with the flames of lust.The pilgrim must make his precarious way between those burning fires and the abyss just to his right, a narrow path that may give us a clue to the poet's own fears of lust.This passage is a grab-bag of ideas, hymns, references, and emotions. Join me, Mark Scarbrough, as we explore it more fully.Please support this podcast with a one-time donation or a very small monthly stipend using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:23] My English translation of the passage: PURGATORIO, Canto XXV, lines 109 - 139. If you'd like to read along or continue the conversation with me by dropping a comment on this episode, please find its entry on my website, markscarbrough.com.[03:55] Three curiosities: a double meaning at line 109, the flaming geography, and the parallels in INFERNO, Canto XXV.[08:13] Three surprising moments in the passage: a bit of humor, a glancing reference to an Aristotelean mean, and a direction connection with our poet.[12:21] A hymn for chastity and a reference to Shadrach, Mishach, and Abednego from Daniel 3.[16:56] Three examples of chastity . . . except the third seems smudged or inaccurate.[23:08] Penance as a medieval medical remedy.[24:19] PURGATORIO, the most human canto, about human development and art, all connected to nature.[26:21] Rereading the passage: PURGATORIO, Canto XXV, lines 109 - 139.