Walking With Dante

At long last, the first soul--or "shade"--steps forward in Paradise. She's Piccarda Donati, a figure we've already encountered once (maybe even twice) in COMEDY.
Dante flatters her to speak and she begins, not with herself, but with some theology and thoughts on her placement in the heavens.
Along the way, her speech takes on some dark spots of ambiguity, about like the moon with its rare and dense material.
Join me, Mark Scarbrough, as we begin our time with the first soul in Paradise.
Here are the segments for this episode of WALKING WITH DANTE:
[01:04] My English translation of PARADISO, Canto III, Lines 34 - 57. If you'd like to read along or drop a comment on this episode, please find its entry on my website, markscarbrough.com.
[03:12] Introducing Piccarda Donati, a nun forced to violate her vows.
[09:11] Finding Piccarda Donati elsewhere in COMEDY, particularly at PURGATORIO XXIII and XXIV, in the speech of her brother, Forese, among the gluttons.
[12:19] Also finding Piccarda Donati in Francesca from INFERNO V.
[18:00] Finding darkness (or ambiguity) in Piccarda--moon spots, as it were.
[22:51] Playing games with vows, voids, and volition (or the will).
[26:37] Rereading PARADISO, Canto III, lines 34 - 87.

Dante is about to meet the first souls in Paradise, emerging from the liquid light of the moon.
The poetry is lush and sensuous. The metaphors are complex and compounded. And Beatrice is a bit chilly, full of Latinisms and a condescending smile.
It's a marvelous banquet for the senses, here in this first sphere, where the souls seems to emerge as reflections in the diaphanous lunar realm.
Join me, Mark Scarbrough, as we see our first redeemed souls in heaven--and discover that Paradise is not as bright or as clear as we might expect.
Here are the segments for this episode of WALKING WITH DANTE:
[01:13] My English translation of PARADISO, Canto III, Lines 1 - 33. If you'd like to read along or drop a comment on this episode to continue the conversation, please find its entry on my website, markscarbrough.com.
[03:53] The lush, even sensual poetics of the moon.
[09:14] Deeper, even dark complexities within the lush poetry.
[11:53] Beatrice, not an allegory, but a real woman, and an honored spokesperson for truth.
[15:30] Dante as Narcissus . . . or not.
[20:20] Getting stuck on the marginalia, so much so that you can't make out the text.
[23:48] Truth as an approximation, not a delineation.
[25:56] Rereading the passage: PARADISO, Canto III, Lines 1 - 33.

Beatrice concludes her explanation for moon spots by veering away from them specifically to talk about the nature of the universe.
Blessed movers turn the spheres. Or perhaps inhabit them. Or are bound to them. Or maybe even give them life.
Her argument may veer into heresy as Dante brings his universe alive . . . maybe literally.
Join me, Mark Scarbrough, as we explore this dense and abstruse conclusion to Beatrice's first major discourse in PARADISO.
To support this podcast, 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:
[01:20] My English translation of PARADISO, Canto II, Lines 127 - 148. If you'd like to read along or continue the conversation by dropping a comment about this episode, please find its entry on my website: markscarbrough.com.
[04:26] A paraphrase of this difficult passage.
[06:14] Beatrice's central questions: How do the spheres of the heavens move and how do they disperse their influence?
[13:03] Light as the vehicle for stellar or heavenly influence.
[14:26] Heresy, angels, spheres, souls, and bodies: Is the universe at least partly alive?
[20:36] Beatrice's incomplete discourse: How do some spheres have more than one nature and how are any dark spots dark?
[23:08] The bigger implication: Dark and light parts of people . . . and maybe of the blessed.
[24:47] Rereading the passage: PARADISO, Canto II, lines 127 - 148.

Beatrice now launches into the true explanation for moon spots, found not in folklore, not in natural philosophy, but in metaphysics.
Her explanation pushes her to disclose the parts of the universe we could never see, then lets her discuss diversity as a function of the light falling from the stars through the planets to us.
A gorgeously poetic passage, it also raises many more questions than it answers . . . . questions that will trouble PARADISO for cantos to come.
Join me, Mark Scarbrough, as we begin the discovery of Dante's ultimate explanation for moon spots. They're not physical. They're metaphysical.
Here are the segments for this episode of WALKING WITH DANTE:
[01:45] My English translation of PARADISO, Canto II, Lines 106 - 126. If you'd like to read along or drop a comment on this episode to continue the conversation, find its entry on my website, markscarbrough.com.
[04:10] An overview of the three explanations for moon spots and of the structure of this passage.
[06:27] Beatrice's metaphysical explanation for moon spots.
[16:32] Dante's fully aligned (and thus broken) cosmos.
[19:05] Two astrological implications from Beatrice's metaphysics.
[22:41] Beatrice's metaphors in the passage.
[26:37] Rereading PARADISO, Canto II, lines 106 - 126.

Beatrice continues in her scientific and Scholastic explanation for moon spots by taking apart a secondary argument . . . and proposing an optical experiment.
She voices an objection Dante might have: perhaps there are dense bits behind the rare bits that reflect light as darker spots because those denser bits are farther off.
To prove him wrong (although he hasn't said a thing), she asks him to set up an experiment with three mirrors.
Problem is, he doesn't need three mirrors for this experiment. But he does need three if he wants to show that the universe is based on a trinitarian concept of God.
Join me, Mark Scarbrough, as we look at one of the more surprising moments in PARADISO: the call for scientific experimentation (perhaps to prove a theological point).
Here are the segments for this episode of WALKING WITH DANTE:
[01:13] My English translation of PARADISO, Canto II, Lines 85 - 105. To read along or to continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.
[03:25] The basic structure of the passage: Beatrice's secondary explanation (or objection), then her experimental refutation of that explanation.
[05:29] Medieval optical theory and its limits.
[08:36] The limits of Beatrice's proposed experiment--and why they may not matter since the point may be theology, not optical theory or cosmology.
[17:23] Four possiblereasons this long discussion of moon spots lands here in COMEDY.
[23:41] Rereading the passage: PARADISO, Canto II, lines 85 - 105.