Damning Lust, Then Confusing It With Love: INFERNO, Canto V, Lines 52 - 87
Walking With Dante13 Joulu 2020

Damning Lust, Then Confusing It With Love: INFERNO, Canto V, Lines 52 - 87

The pilgrim, Dante, has just asked his guide who is tossed in lust's whirlwind.

Virgil answers with a list of the "greats" out on the wind: figures from antiquity, the Trojan War, and even medieval romance.

In so doing, Virgil redefines lust into something socially disruptive.

Then both he and the pilgrim (plus maybe our poet in the background) make a crucial mistake: They confuse love and lust.

Join me, Mark Scarbrough, as we stop to gawk at the great figures of lust in hell.

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Here are the segments of this episode of WALKING WITH DANTE:

[01:43] My English translation of INFERNO, Canto V, lines 52 - 87. If you'd like to see my translation, find a deeper study guide, or continue the conversation with me by dropping a comment about this episode, go to my website, markscarbrough.com.

[06:24] The structure of Virgil's catalogue of historical figures on the wind.

[07:10] Picking out those on the wind and the "novelle" about them: four women, three men; three involved with incest, four with civic unrest. Plus, the shocking movement from an orthodox definition of lust to the invocation of love, the greatest Christian virtue.

[27:41] The pilgrim's request: Can I talk to the two who are so light on the wind?

[29:48] Irony invades the passage. It tints its rhetorical structure and invades the simile: doves, a traditional symbol for the third person of the Trinity.

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Jaksot(509)

The Expanding Community of Women in the Moon: PARADISO, Canto III, Lines 109 - 130

The Expanding Community of Women in the Moon: PARADISO, Canto III, Lines 109 - 130

Piccarda Donati doesn’t stop her monologue with the cryptic line about her life after the convent. She turns to another figure in the lunar landscape: Constance I of Sicily, the Holy Roman Empress and...

23 Syys 23min

The Violent yet Elliptical End to Piccarda Donati's Story: PARADISO, Canto III, Lines 88 - 108

The Violent yet Elliptical End to Piccarda Donati's Story: PARADISO, Canto III, Lines 88 - 108

Piccarda Donati finally answers the question about who she is. She's given her name but not much else about her. In twelve lines (or four tercets) she brings her personal story to its violent yet elli...

20 Syys 27min

Piccarda Donati's Apotheosis of the Will: PARADISO, Canto III, Lines 58 - 87

Piccarda Donati's Apotheosis of the Will: PARADISO, Canto III, Lines 58 - 87

Piccarda has confessed to her more humble place in the heavens. Our pilgrim Dante then wants to know if she wants more.Her answer leads her to an apotheosis of the will. Everything in the universe is ...

16 Syys 30min

The First Soul in Paradise, Piccarda Donati: PARADISO, Canto III, Lines 34 - 57

The First Soul in Paradise, Piccarda Donati: PARADISO, Canto III, Lines 34 - 57

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 beg...

13 Syys 29min

Catching Feelings in the Sensual Sphere of the Moon: PARADISO, Canto III, Lines 1 - 33

Catching Feelings in the Sensual Sphere of the Moon: PARADISO, Canto III, Lines 1 - 33

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, ...

9 Syys 28min

The Souls of the Universe: PARADISO, Canto II, Lines 127 - 148

The Souls of the Universe: PARADISO, Canto II, Lines 127 - 148

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...

6 Syys 27min

The Diversity of Being in a Universe of Light: PARADISO, Canto II, Lines 106 - 126

The Diversity of Being in a Universe of Light: PARADISO, Canto II, Lines 106 - 126

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...

2 Syys 28min

Testing Theology With Optics: PARADISO, Canto II, Lines 85 - 105

Testing Theology With Optics: PARADISO, Canto II, Lines 85 - 105

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: ...

30 Elo 26min

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