The Admiral Comes Into Her Ship: PURGATORIO, Canto XXX, Lines 55 - 78
We finally hear the first words from Beatrice's mouth. (We've heard her before but as told by Virgil in INFERNO, Canto II.) She is certainly not person we expected. She's the admiral controlling her ship.
She names the pilgrim, names herself, and gets very close to blasphemy in a passage that defie…
The Revelation Of Beatrice's Hidden, Second Beauty: PURGATORIO, Canto XXXI, Lines 127 - 145
We finally come to the face-to-face meeting of Beatrice and Dante. We've waited for this moment since INFERNO, Canto II, when Beatrice first stepped into COMEDY.
Neither Dante nor Beatrice speak at their close meeting. Instead, the women around the chariot beg Beatrice to reveal her second, hidden …
Dante's Theories Of Writing Across INFERNO and PURGATORIO
As one of three sum-up episode to conclude our time on Mount Purgatory, this one’s about Dante’s conception of what he’s doing when he’s writing, outlined in nine selected passages from INFERNO and PURGATORIO.
We’ve moved far enough into the poem that we can see the ways the poet has changed, hedge…
Go Home: PARADISO, Canto II, Lines 1 - 18
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 momen…
Incarnated in the Moon: PARADISO, Canto II, Lines 19 - 45
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 incarnat…
Of Moon Spots and Virgil: PARADISO, Canto II, Lines 46 - 63
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…
Mixed Metaphors and the Limits of Human Senses: PARADISO, Canto II, Lines 64 - 84
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 reason…
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: perhaps there are dense bits behind the rare bits that reflect light as darker spots because those…
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 could never see, then lets her discuss diversity as a function of the light falling from the star…
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 to them. Or maybe even give them life.
Her argument may veer into heresy as Dante brings his univ…
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