The pilgrim has found the perfect perch to see the full scope and length of the parade of allegories at the top of the Mount Purgatory in the garden of Eden.

After the griffin and its chariot come seven merry women and seven more somber men. They are complex allegories that have inspired much debate.

More than that, they are also an atemporal moment, something outside of chronological time, the way revelation most often happens.

Join me, Mark Scarbrough, as we look more closely at the end of the (first half of the) apocalyptic parade our pilgrim witnesses from across the river Lethe.

If you'd like to help with the many costs of this podcast, please consider a very small monthly stipend or a one-time gift, using this PayPal link right here.

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

[01:13] My English translation of PURGATORIO, Canto XXIX, Lines 121 - 154. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website: markscarbrough.com.

[04:34] The three theological virtues (or colors)--which cause a rereading of previous moments in the great parade.

[09:02] The four cardinal or philosophical virtues, clothed in purple, a deep, imperial red.

[12:00] The seven men who end the parade as seen through the now standard (or consensus) interpretation: the latter books of the New Testament.

[16:06] Alternate interpretations: the allegories as a parade of revelation, rather than strictly the books of the Bible.

[20:38] The metapoetics of living, walking books.

[21:24] The temporal anomaly of the grand parade.

[24:11] Rereading the entire parade: PURGATORIO, Canto XXIX, lines 43 - 154.

The parade goes on to include a Roman, two-wheeled, victory chariot between the four animals. It's a brilliant moment, a chariot better than even famous Roman conquerors got, pulled by a griffin, a legendary two-natured creature . . . yet with a curious moment of emptiness right in all of the victory.

Join me, Mark Scarbrough, as we continue deeper into the allegory of the parade of revelation at the top of Mount Purgatory.

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

[01:32] My English translation of PURGATORIO, Canto XXIX, lines 106 - 120. If you'd like to read along or continue the conversation about this passage with me, please find its entry on my website, markscarbrough.com.

[03:13] The changing nature of allegory at the top of Mount Purgatory.

[09:38] The poetics of the passage: extreme concision and more of Guido Cavalcanti's pastoral poetry.

[13:26] Roman military history in the passage: Scipio the Younger and Caesar Augustus.

[17:41] Roman (or Ovidian) mythology in the passage: Phaëthon and the sun's chariot.

[21:39] The griffin: ancient, medieval, and allegorical (but of what?).

[27:20] The great aporia: the chariot is empty!

[28:51] Rereading the passage: PURGATORIO, Canto XXIX, lines 106 - 120.

The parade goes on, now that the pilgrim, Dante, is in a good spot to see it.

After the twenty-four lords in white come four animals with green fronds as crowns. They are like the Cherubim in both the prophecies of Ezekiel and in the Apocalypse of St. John (or the book of Revelation).

Except not really. Or sort of. Well, the poet doesn't have time to explain. Go read the text yourself. And especially the one that doesn't quite agree with what I saw.

Join me, Mark Scarbrough, as we find Dante's irony alive and well, even during the grand parade of divine revelation.

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

[01:20] My English translation of PURGATORIO, Canto XXIX, Lines 88 - 105. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.

[02:56] The naturalistic, lush landscape à la Guido Cavalcanti's pastoral poem.

[04:49] The constellations, Argus, and the peacock.

[06:35] The four "animals" from Ezekiel and the Apocalypse of St. John (or the New Testament book of Revelation).

[09:19] Allegorical interpretations of the four animals.

[11:19] "Unmoored" allegories in COMEDY: here and with the three beasts in INFERNO, Canto I.

[14:02] Dante, the Biblical text, and questions of its inerrancy.

[16:25] The direct address tot he reader, perhaps a wild bit of Dantean irony even here in the divine parade.

[21:34] Rereading the passage: PURGATORIO, Canto XXIX, lines 88 - 105.

The parade goes on! Our pilgrim, Dante, turns back from Virgil's amazement and finds more of the parade coming toward him . . . at least, he does so after he's reprimanded by the lady who stands across Lethe.

In this passage, the poet's craft heightens to reveal gorgeous poetry that comes from the apocalyptic tradition but far exceeds its beauty with both the Easter eggs Dante puts in the text and the ways the poetry itself enhances the wonder of the parade at hand.

Join me, Mark Scarbrough, as we work through our second passage on the parade of revelation in the Garden of Eden at the top of Mount Purgatory.

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

[01:19] My English translation of PURGATORIO, Canto XXIX, lines 58 - 87. If you'd like to read along or continue the conversation with me, please find the entry for this podcast episode on my website, markscarbrough.com.

[04:09] The tradition of apocalyptic literature and Dante's use of it.

[08:44] Biblical references in this part of the apocalyptic parade.

[13:54] Contemporary cultural references in the parade.

[16:01] Surprises: Dante's changes to Biblical imagery, his Easter eggs to his own text, and his idiosyncratic word choices.

[20:07] Possible allegorical interpretations for the twenty-four lords (or elders) and the distance of ten paces between the lights.

[25:20] The poetry of the parade: colorful brushwork and gorgeous (if incomplete) reflections in Lethe.

[28:43] More on emergent revelation.

[31:47] Rereading PURGATORIO, Canto XXIX, lines 58 - 87.

As the pilgrim, his poets, and the beautiful lady continue to stand beside Lethe, they see the approaching parade of the apocalypse, which is an example of emergent revelation, the truth coming in slowly and even deceptively.

Our poet has set up a poetic space that leaves even Virgil speechless as we witness the first of the parade of multiple, open-ended meanings proliferate in the Garden of Eden.

Join me, Mark Scarbrough, as we catch our first glimpse of Dante's answer to St. John's Apocalypse.

If you'd like to help underwrite the many fees associated with this podcast, please consider a one-time donation or a very small monthly stipend, using this PayPal link right here.

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

[01:16] My English translation of PURGATORIO, Canto XXIX, Lines 31 - 57. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.

[04:00] The emergent revelation of the images and sounds.

[09:00] The process of perception (and understanding).

[14:12] Multiplying meanings in the apocalyptic parade.

[20:27] The creation of space for the poetic imagery.

[23:11] The second invocation of PURGATORIO.

[26:50] The questions of poetic craft in this vision.

[28:23] Virgil in the apocalypse.

[31:10] Rereading the passage: PURGATORIO, Canto XXIX, lines 31 - 57.

Our pilgrim, Dante, and the beautiful lady across Lethe walk on for a bit before the stream bends and the pilgrim ends up facing the right way to see the first flash of light that will signal the great apocalyptic parade in Eden.

The opening of PURGATORIO, Canto XXIX, brings us back to the pastoral world of Guido Cavalcanti's poem before launching us into allegory, theology, morality, and even misogyny.

If you'd like to help underwrite the many fees for this podcast, please consider a one-time donation or a small monthly stipend using this PayPal link right here.

Join me, Mark Scarbrough, as we find ourselves at the front of the great parade in Eden.

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

[01:27] My English translation of PURGATORIO, Canto XXIX, Lines 1 - 30. If you'd like to read along or continue the conversation by dropping a comment, please find the entry for this episode on my website, markscarbrough.com.

[04:07] An introduction to PURGATORIO, Canto XXIX.

[06:59] The only canto in COMEDY that begins with a derivative of the word "canto."

[08:24] More references to Guido Calvalcanti's pastoral poem.

[11:44] A psalm retrofitted to become a beatitude, moving us from the classical world to divine revelation.

[14:31] The symbolism (and allegory?) of their paces and the stream's bend.

[18:00] Sight and hearing as the basis but not nearly enough, as with Guido Cavalcanti's poem.

[19:02] The lady's reaction ("brother") and the pilgrim's reaction (a lack of fear).

[21:45] The misogyny from the initial flash of light.

[28:59] Rereading the passage: PURGATORIO, Canto XXIX, lines 1 - 30.

The beautiful lady winds up her discourse with a corollary that combines both revelation and reason to offer a fulcrum to COMEDY as a whole: The classical world dreamed of Eden.

Redemption is a cul-de-sac, returning us to our primal state while also offering us a way to remain readers of the classical world's poetry.

Join me, Mark Scarbrough, as we explore the end of the lady's discourse, the longest speech by a woman yet in COMEDY.

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

[01:15] My English translation of PURGATORIO, Canto XXVIII, lines 134 - 148. If you'd like to read along or drop a comment on this episode to continue the conversation, please find the entry for this episode on my website: markscarbrough.com.

[02:55] Revelation and reason as coequals in scholastic theology.

[06:52] The Golden Age and the Garden of Eden as overlapping spaces and the cul-de-sac of revelation.

[09:14] The pilgrim (and indeed, the poem) in the cul-de-sac with the classical poets on one side and the beautiful lady on the other.

[12:27] The longest speech by a woman yet in COMEDY.

[16:57] Rereading this passage: PURGATORIO, Canto XXVIII, lines 134 - 148.

The lady across the stream continues her answer to the pilgrim Dante's question about the breeze and the water. In this case, she explains the ecology of Eden, offers an understanding of global botany, and finally layers the meaning thick over the rivers of Eden, one of which is the poet's utter invention.

The landscape itself is becoming allegorical, moral, theological, even anagogical, all while remaining true to its pastoral form (and roots).

Join me, Mark Scarbrough, as we delve deeper into the lady's capacious answers and the poet's ever-widening imagination.

If you'd like the help defray the many costs and fees associated with this website, please consider a one-time donation or a small monthly stipend through this PayPal link right here.

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

[01:31] My English translation of PURGATORIO, Canto XXVIII, lines 109 - 133. If you'd like to read along or continue the conversation with me, please find the entry for this episode on my website, markscarbrough.com.

[04:09] The botany of both Eden and our own world.

[07:28] The ecology of Eden: abundance.

[11:05] The hydrology of Eden.

[14:03] The strange placement of Lethe in Dante's afterlife.

[17:15] The poet's reimagination of Eden, including an unprecedented river.

[20:23] The vertical layering of meaning onto the pastoral form.

[23:09] The inevitable logical faults of an imagined landscape.

[25:48] Rereading the passage: PURGATORIO, Canto XXVIII, lines 109 - 133.