Walking With Dante

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.

Beatrice begins her destruction of Dante's explanation for moon spots by taking apart his notion of dense and rare spots on the lunar surface . . . with a dizzying display of mixed metaphors.
Her argument lofts to the highest visible heaven, the eighth sphere; then falls back into scholastic reasoning; and offering both experimental and poetic rationales for why he's wrong.
Join me, Mark Scarbrough, as we explore the first part of Beatrice's explanation for moon spots, predicated on the bass line of the incarnation.
Here are the segments for this episode of WALKING WITH DANTE:
[01:20] My English translation of PARADISO, Canto II, Lines 64 - 84. If you'd like to read along or continue the conversation about this passage, find its entry at my website, markscarbrough.com.
[03:27] Paraphrasing this difficult passage in Beatrice's argument about moon spots.
[04:46] Lofting the argument to the eighth heaven, the highest part of visible creation (from Dante's perspective).
[08:15] Offering diversity as complexity beyond a simple continuum for an answer.
[12:31] Moving into experimental (or experiential) proofs for her argument (and implicitly for an understanding of the incarnation of Jesus).
[15:13] Inspiring a dizzying vertigo through mixed metaphors to state the negative of her argument.
[18:41] Rereading the passage: PARADISO, Canto II, lines 64 - 84.

Now that our pilgrim Dante is standing in the moon, he has a fundamental question: Why are there spots on the moon?
And he thinks he knows the answer, right out of natural philosophy. They're caused by rare and dense material in the moon.
He's asking a question for which he knows the answer, trying to play teacher's pet. But Beatrice is having none of it. She's ready to show him how he's not as smart as he thinks he is.
Join me, Mark Scarbrough, as we begin our descent into some of the most complicated material in all of COMEDY.
Here are the segments for this episode of WALKING WITH DANTE:
[01:14] My English translation of PARADISO, Canto II, Lines 46 - 63. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.
[02:57] Two small thematic details: the uses of the word "body" and Beatrice's watery metaphor of "submerged."
[06:02] Two of three explanations for moon spots in this canto: 1) the folkloric myth and 2) the natural philosophy deduction.
[07:57] Folklore: Cain and his thorns in the moon.
[09:21] Natural philosophy: rare and dense materials (and how they reflect light).
[12:54] The distance Beatrice puts between her arguments (to come) and 1) sensory input and 2) reason . . . and thereby Virgil.
[17:07] Diversity and a pluralistic world.
[19:07] Rereading the passage: PARADISO, Canto II, lines 46 - 63.

After Dante's warning to his readers (or perhaps some of his readers), we return to the plot, ascending through the heavens to arrive at the moon . . . or really, in the moon.
Dante and Beatrice find themselves inside this translucent pearl in the heavens.
And in so doing, Dante proves the incarnation really happened . . . at least, if you accept that his journey really happened.
Join me, Mark Scarbrough, as we explore the first of several complex passages in the second canto of PARADISO.
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Here are the segments for this episode of WALKING WITH DANTE:
[01:11] My English translation of PARADISO, Canto I, lines 19 - 45. If you'd like to read along or continue the conversation with me, find the entry for this episode on my website, markscarbrough.com.
[03:12] Backgrounds: A brief history of "natural philosophy" in Dante's day.
[07:29] Backgrounds: The incarnation, of the prime methods of redemption for Dante.
[10:10] A thought experiment: the universe as a diaphanous, aesthetic object.
[12:20] The journey into the universe . . . or mystery (without spoilers).
[14:16] Hysteron proteron: the rhetorical flourish of PARADISO and the ultimate structure of COMEDY.
[17:16] Lots of joinings here and in Canto I, all anticipating the incarnation.
[18:37] The complex symbolism of the moon as a pearl.
[21:27] The incarnation in the foreground of the narrative.
[24:17] Dante's journey as proof of the incarnation.
[26:37] Rereading the passage: PARADISO, Canto II, lines 19 - 45.

Our poet steps out of the shadows with an important message: "Go home."
Because PARADISO is hard. Because we might get lost. Because we're not prepared.
The stark address to all readers--or perhaps to a much more limited set of specialty readers--that opens Canto II is one of the most unusual moments in COMEDY. When does an author ever warn his readers to stay away?
Join me, Mark Scarbrough, as we attempt to find a way survive with the other Argonauts as our Jason begins to plow his own field.
Consider supporting 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:
[01:04] My English translation of PARADISO, Canto II, lines 1 - 18. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.
[02:41] Introductory remarks: Don't skip this canto but don't be too optimistic.
[05:10] The rhetoric of the new: PARADISO is not Virgil, not Statius, not the Apocalypse of St John, not PURGATORIO, not INFERNO, and not the CONVIVIO.
[10:08] The bread of angels: the Eucharist, theological study, or something less well defined?
[12:11] Jason, the Argonauts, and the rewriting of Ovid's METAMORPHOSIS.
[15:25] An address to any reader or an address to a more limited audience, like fellow poets?
[19:41] The grace of partial understanding with metonymies.
[23:19] Rereading the passage: PARADISO, Canto II, lines 1 - 18.