Mapping the Uncharted at the Beginning of the Age of Discovery: INFERNO, Canto XI, Lines 16 - 27
Walking With Dante7 Huhti 2021

Mapping the Uncharted at the Beginning of the Age of Discovery: INFERNO, Canto XI, Lines 16 - 27

Settled in the shade of the tomb for a heretic pope, Dante hears Virgil's first take on the nature of lowest hell: malice, injury, the heart of evil itself, all bound up with force and fraud.

Mappamundi? No! Mappa-inferno! Virgil's geography of hell will take up most of this canto and provide us with an unparalleled glimpse into the poet's thinking about the nature of evil.

Or is it "just" a glimpse into Virgil's thinking?

Join me, Mark Scarbrough, as we rest with the pilgrim and listen to his guide explain the road ahead.

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

[00:55] My English translation of INFERNO: Canto XI, lines 16 - 27. If you'd like to read along, drop a comment to continue the conversation, or find a guide for deeper study, please find the entry for this episode on my website, markscarbrough.com.

[03:10] What is the significance of Canto XI? Might there by medieval numerology underneath the number of the canto?

[05:06] An explication of the passage, line by line, with particularly emphasis on two words: "injustice" and "malice," the keys to understanding the lowest parts of hell (or the worst of human behavior).

[12:41] One larger question from this passage: How do you recover the texts that meant so much to you in an earlier part of your life?

[17:43] A second question: Why does Virgil feel the need to map hell for the pilgrim (and us)?

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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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