Walking With Dante12 Loka 2022

They Make Me So Mad That I Could Just Kill My Family: Inferno, Canto XXXII, Lines 40 - 69

We've come to the first subset of the last circle of INFERNO, the pit of hell, an ice sheet that start with Caïna, which holds those who've offed family members, mostly for land or money. These guys are frozen solid to their necks, the heads bent down to let their tears spill onto the ice.

They're a nasty lot, although one of the damned can't help but speak up. He proves both a snitch and strangely reticent. A poor storyteller, really, who just wants to get back to his misery.

Join me, Mark Scarbrough, as we look at a pack of traitors who've killed family members for land or money (or power) in this nightmarish subset of hell which is actually controlled by the shadow of another sinner, someone far above us in the circles of INFERNO.

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

[01:40] My English translation of the passage: INFERNO, Canto XXXII, lines 40 - 69. If you want to read along, print it off, or drop a comment, please go to my website, markscarbrough.com.

[04:26] Disorientation (and focus) as one of the thematics of the ninth circle of hell.

[08:49] A frozen, infernal parody of a brotherly kiss of affection (or maybe even the liturgical kiss of peace).

[13:42] Dante's strange (and perhaps unnecessary?) interest in the damned, expressed by their physicality.

[16:50] The traitor's question invokes a larger one about how Dante the poet and/or the pilgrim is mirrored here.

[20:15] The last fifteen lines of this passage--first, a quick reading with the details filled in.

[23:34] Caïna: unpacking the name of the first subcircle of the ninth circle.

[25:47] Unpacking the characters in this passage: Alessandro and Napoleone degli Alberti, Modred, Focaccia (or Vanni dei Cancellieri), Sassol Mascheroni, Camicione de' Pazzi, and Carlino de' Pazzi.

[35:01] Reasons for the (mostly) obsessive regionalism of this passage: the locale and time (mostly) in which Dante lived.

[40:33] Francesca's control of this passage from way up above in Canto V.

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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...

23 Elo 21min

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 t...

19 Elo 28min

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...

16 Elo 25min

Of Natural Instincts and Their Natural Ends: PARADISO, Canto I, Lines 115 - 142

Beatrice continues in her discourse about our natural instincts, making the bold claim that they can lead us to our natural ends . . . which are the good, not the catastrophic bad.Her Scholastic theol...

12 Elo 23min

Sailing Across the Great Sea of "To Be": PARADISO, Canto I, Lines 94 - 114

Beatrice has answered Dante's first doubt, but he has another. He can't quite understand how he, maybe in his body, can make his way across the universe.She doesn't have a quick answer. Instead, she h...

9 Elo 25min

Returning Home Through the Music of the Spheres: PARADISO, Canto I, Lines 61 - 93

Our pilgrim finds everything doubled in brightness . . . because he's begun to fly up to the heavens, although he doesn't know it at first.He's too busy figuring out all that light . . . and listening...

5 Elo 37min

Staring at the Sun: PARADISO, Canto I, Lines 37 - 60

The plot gets underway in PARADISO.Our pilgrim Dante turns to Beatrice . . . who is paying him no attention. She's staring at the sun.So he does the same! He hasn't even left earth, yet the miraculous...

2 Elo 36min

A Polyvocal Passage With All Its Dissonances: PARADISO, Canto I, Lines 13 - 36

Our poet moves from his scholastic and even (medieval) scientific opening of PARADISO into his invocation . . . to Apollo?This passage has often embarrassed Dante scholars who feel the need to excuse ...

29 Heinä 41min