Walking With Dante

In the last episode, we talked through some of the "superficial" factors in the grand apocalyptic vision in Eden: its structure, some diction cues, even a few rifts or cracks in its flow.In this episode, let's turn to the much thornier issue of what it all means. A consensus has developed over the seven hundred years of commentary. That reading (or interpretation) now dominates the Anglo-American, rationalist outlooks on the vision.But might there be more? And might that reading be prone to mistakes or gaffes it cannot accommodate?Join me, Mark Scarbrough, for the second of two episodes on the complicated vision of the apocalypse that ends PURGATORIO, Canto XXXII.To support this work, consider underwriting its many fees with a one-time donation or a small monthly stipend. You can do so at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:38] Once again, my English translation of PURGATORIO, Canto XXXII, lines 109 - 160. 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.[05:28] The now-standard interpretation of the vision as a sweet of Christian church history up until Dante's day and the so-called "Avignon captivity" of the papacy.[13:10] Questions and problems that arise in the standard interpretation. These may show us that the vision is more layered than a rationalist interpretation would consider.[16:28] Two external sources that may impinge on this vision: the prophecy of Daniel 7:7 and the visionary writings of the Radical Franciscans.[19:27] My reading of the vision as the collapse of good governance following the departure of the proper balance of church and state.[21:47] Two final questions: 1) Does Dante cause the collapse of the vision? And 2) should the vision be interpreted in such a rational, one-for-one way?

Dante is now ready for the final apocalyptic vision of PURGATORIO . . . and in the last place we might expect it: in that bastion of innocence and purity, the Garden of Eden.In seven vignettes, Dante witnesses some chaotic and catastrophic collapse of the chariot and even one of the original trees of Eden.But all is not lost. Beatrice is on the scene. And Dante himself participates in this vision, seemingly instigating a new ending to what had become a disaster.Join me, Mark Scarbrough, for the first of two episodes on the grand apocalypse of Eden in PURGATORIO, Canto XXXII.To support this work, please consider a small monthly stipend or a one-time gift to help cover the many fees associated with this podcast. You can donate at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:37] My English translation of PURGATORIO, Canto XXXII, Lines 109 - 180. 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.[05:28] Thoughts on the almost surreal strangeness of the vision as it moves from the natural world to the monstrous.[08:59] The structure of the vision: seven vignettes--five in six-line segments; the first and last scenes, longer.[18:34] Echoes in the vision to other moments in COMEDY: eagles, a vixen, dragons, a prostitute, and giants.[23:12] Biblical echoes from the Apocalypse of St. John at the end of Dante's vision.[25:03] Two outside actors who enter the vision and fundamentally change it.

Before we continue with Beatrice (and even the young woman who tends the Garden of Eden), let's stop and talk all too briefly about the roles and available places for women in Dante's day, the high middle ages.Although we can't hope to cover this subject in depth, we might be able to see some of its reflections in COMEDY so far, as well as in the complex and even contradictory characterization of Beatrice in COMEDY.Join me, Mark Scarbrough, as we take an all too quick side quest into the question of women in the high middle ages.To help support this podcast by underwriting its many fees, please consider a small monthly stipend or a one-time donation using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:40] The largest grouping of women in COMEDY does not bode well for Dante . . . except a women who lies ahead of us.[06:01] The various roles and positions women could hold in the middle ages, at least according to a tract/book written in Dante's lifetime.[09:48] The damning problem: Women cannot be citizens.[13:31] The church's role in the growing restrictions on women . . . and the ways they subverted those religious restrictions.[17:50] Beatrice's role v. the Virgin's growing veneration.

Dante wakes back up from his unexpected sleep to find that the grand parade is heading off into the forest (or maybe the skies). He's in a panic that Beatrice has left, too, although the young woman of Eden comforts him and shows her now humble place under the renewed tree.Meanwhile, we readers are equally panicked . . . or at least de-centered, as we try to make sense of complicated similes and oblique symbolic meanings. COMEDY is getting more complex by the line. It's a game of interpretation we've been preparing to play since INFERNO, Canto I.Join me, Mark Scarbrough, as we look at the passage just before the giant apocalyptic vision of PURGATORIO, Canto XXXII.To underwrite the many fees for this work, consider 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:[01:21] My English translation of PURGATORIO, Canto XXXII, Lines 70 - 108. 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.[04:53] Four (or maybe five) interwoven Biblical references in the opening twelve lines of this passage (or the opening four tercets).[13:25] The interweaving of textuality to de-center the reader by pushing meaning further into mystery.[15:52] Dante's awakening to panic and then obeisance.[19:43] The complex meaning of Beatrice's changed position under the tree.[25:10] Dante's Roman hopes for heaven.[26:47] A flourish of the medieval high rhetorical style at the end of the passage.[28:53] Writing as awakening and return.[31:23] Rereading this passage: PURGATORIO, Canto XXXII, lines 70 - 108.

The griffin pulls the chariot or cart up to the denuded tree--the "widowed" tree--and the tree regenerates into a color reminiscent of other moments in PURGATORIO. But which one exactly?We're descending into the murk of mystery with new songs that can't be defined, with allegories that are becoming increasingly opaque, and even with classical references that seem somehow out of place in the overall arch of the glorious parade.Join me, Mark Scarbrough, as we begin to approach the strange and incomprehensible mysteries that lie at the end of the second canticle of COMEDY.To support this work, consider 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:[01:24] My English translation of PURGATORIO, Canto XXXII, Lines 49 - 69. If you'd like to read along or continue the conversation with me with a comment on this episode, please find its entry on my website, markscarbrough.com.[03:32] A correction perhaps: "Adam" may have been a murmured reassessment of the misogyny in the text.[04:55] The pole, the chariot, and the tree: complicated translation problems.[07:15] The pole as the cross or perhaps the ties of good human governance.[11:49] The changing seasons as the tree regenerates.[13:26] The ambiguous symbolism of purple.[15:41] The unknown new song, a further mystery in the passage.[18:48] A tense and perhaps off-pitch reference to Ovid.[22:27] A knock against representative art before the apocalyptic vision just ahead.[24:18] Rereading the text: PURGATORIO, Canto XXXII, lines 49 - 69.

The griffin rolls his chariot up to the foot of a denuded tree as Beatrice descends out of her ride. The symbolism (the allegories, in fact) become increasingly murky, difficult to parse, especially when the griffin says his one and only line in COMEDY.Dante's Garden of Eden is a place where the games of interpretation kick into high gear. Nothing is what it seems . . . yet what it is is a matter of much debate.Join me, Mark Scarbrough, as we work through this increasingly complex passage on our way to the final apocalyptic vision of PURGATORIO.To help support this work with a one-time donation or a very small on-going stipend, please consider using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:04] My English translation of PURGATORIO, Canto XXXII, Lines 28 - 48. 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.[03:04] Statius, both physically and thematically in the passage.[05:55] Adam and Eve, with notes toward the theological fall of mankind.[09:19] The stripped tree in the Garden of Eden . . . but which tree?[14:49] The griffin, becoming a more difficult allegory with his one and only line in COMEDY.[21:06] Beatrice and her (complex) descent from the chariot/cart.[25:57] Rereading the passage: PURGATORIO, Canto XXXII, lines 28 - 48.

Face to face with Beatrice, the pilgrim Dante is ready for more revelation. Problem is, even after Lethe he's still doing things wrong and must be corrected by the women around the griffin's chariot.But what is he doing wrong? And why does the entire parade of revelation go into retreat? What indeed does that griffin symbolize? And how did we get from the intensely personal experience of Dante's confession and contrition to this much more global view of the allegories on the march?Join me, Mark Scarbrough, as we begin to walk slowly through one of the most complex cantos (and certainly the longest canto) in all of COMEDY.Here are the segments for this episode of WALKING WITH DANTE:[01:17] My English translation of PURGATORIO, Canto XXXII, Lines 1 - 27. If you'd like to read along or continue the conversation with me about this canto, please find the entry for this podcast episode on my website, markscarbrough.com.[03:31] A brief introduction to PURGATORIO, Canto XXXII.[05:19] Notes for the first nine lines (or three tercets) of the canto.[10:40] Dante's forgotten failings and Beatrice's on-going attraction.[12:04] Dante's intense gaze . . . but for or at what?[16:23] Beatrice and the problem of the "lesser thing" of revelation.[21:28] The parade of revelation (or of the church militant) in retreat with its "precious cargo."[25:01] The griffin's feathers, which prompt further questions about the griffin's allegorical meaning.[28:08] Bridging the personal and the universal.[31:04] Rereading the passage: PURGATORIO, Canto XXXII, lines 1- 27.

As we've done across the second canticle of Dante's masterpiece, COMEDY, we're taking some time to read through the final two cantos of PURGATORIO, XXXII and XXXIII.I'll read my rough English translation of the cantos. I'll finesse these more when we take the cantos apart passage by passage.For now, just sit back and listen to the narrative sweep of the final two cantos of PURGATORIO, truly the climax of the canticle.[01:43] A read-through of my loose translation of PURGATORIO, Cantos XXXII and XXIII.

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 beauty: her mouth.Join me, Mark Scarbrough, as we explore the complex symbolism in this passage. We'll also take on its textual difficulties: a Biblical allusion that has been muddled in commentary, a lost word that's hard to translate, and a question of quotation marks in a medieval manuscript.To support this work, consider a one-time donation or a small monthly stipend by using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:26] My English translation of PURGATORIO, Canto XXXI, lines 127 - 145. 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.[03:11] Textual problems in the first six lines (XXXI: 127 - 132)--a muddled Biblical reference, a moral question of virtues, and a word that's hard to translate.[07:49] Beatrice's turning and the coming revelation of her mouth.[10:57] A difficult conclusion to Canto XXXI: Who says these complicated lines that use the informal "you"?[16:59] Forgetting and remembering your former works to create something new.[23:10] Rereading the passage: PURGATORIO, Canto XXXI, lines 127 - 145.

Dante has now crossed Lethe and is ready to face Beatrice head on. She has moved to get ready for this eye-to-eye conversation. She's positioned nearer the griffin, a complicated symbol that may have more than one interpretation.Join me, Mark Scarbrough, as we explore both Beatrice (particularly her emerald eyes) and this dual-natured beast that seems to become more difficult to interpret with its every move in the poem.To support this podcast, 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:[01:19] My English translation of PURGATORIO, Canto XXXI, Lines 112 - 126. 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.[02:44] Beatrice has moved . . . but where?[05:09] With her emerald eyes, Beatrice and Dante finally escape the Francesca episode.[09:15] Dante is the Orpheus who can look into the eyes of his Eurydice.[10:49] Here are at least two additional interpretations for the griffin.[13:58] Beatrice's eyes are the methodology of revelation (and mystery).[16:41] The passage drops the first hint about Jesus' transfiguration.[18:50] Reflection is transfiguring, as in the craft of poetry.[19:34] Rereading the passage: PURGATORIO, Canto XXXI, lines 112 - 126.

Dante wakes up in the arms of the young woman who first welcomed him to the Garden of Eden. She's dragging him through Lethe before she forcefully pushes him underwater.This scene is deeply symbolic and allegorical . . . although it raises many more questions than it answers. In fact, it seems to want to leave many things open-ended, a cue that Dante wants us in the poem, working on solutions to the many puzzles he has set.Join me, Mark Scarbrough, as we see the pilgrim Dante cleansed and ready to dance with the seven virtues around Beatrice's chariot.To support this work, consider a one-time donation or a small monthly stipend. You can make either contribution at this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:29] My English translation of PURGATORIO, Canto XXXI, Lines 91 - 111. 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.[03:43] Two notes on the first nine lines: the heart and the shuttle.[06:33] Is this a baptism?[09:46] Three questions that surround the Latin line from the Psalms.[13:43] Why is the dunking so forceful?[15:45] What sign do the four women make over Dante?[17:41] The seven women fill in the details from PURGATORIO, Cantos I and VIII.[19:56] The four women are linked to the classical world; the three women, to the contemplative life.[22:43] Does everything happen to Statius, too? And to other penitent souls?[26:23] How do you express the inexpressible?[28:28] Must our poet forget the CONVIVIO in Lethe?[29:39] Rereading the passage: PURGATORIO, Canto XXXI, lines 91 - 111.

Beatrice has finished her case against the pilgim Dante. All that's left is for him to find his way beyond confession and into confession . . . which he does with a major crack-up that leads him to faint for the third time in COMEDY.Before he collapses, the poem begins a series of inversions or reversals that both increase the ironic valences of the passage and give its reader an almost vertigo-inducing sense of Dante's emotional landscape.A difficult passage in the Garden of Eden, here Beatrice accomplishes what she came for. Join me, Mark Scarbrough, as we explore the slow build-up to the final moment of contrition . . . which mimics the moment when Dante gives way in front of Francesca, back in INFERNO's circle of lust.Here are the segments for this episode of WALKING WITH DANTE:[01:20] My English translation of PURGATORIO, Canto XXXI, Lines 64 - 90. 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.[04:15] Dante, from boy to man.[07:26] Recognition, the key to the passage, to contrition, and a possible node of irony.[10:38] The "unbearded" oak and the final crack-up.[13:49] Iarbas and Dido v. Dante and the new Dido.[16:28] Beatrice's venom.[17:27] Dante's beard.[20:00] The angels' departure?[21:16] The meaning of the beast's two natures.[23:53] Glossing the end of the passage: lines 82 - 90.[27:57] Francesca and her physical seduction v. Beatrice and her physical-theological seduction.[33:01] Rereading the passage: PURGATORIO, Canto XXXI, lines 64 - 90.

Beatrice continues to lead Dante toward contrition, pointing out both the purposes of her body (or corpse) and the ways he has failed to followed her lofty beauty.She finishes her second salvo at the pilgrim with a rhetorical flourish, showing the reader (and Dante) that she is a master of rhetoric, someone who commands a high, elevated style of poetry--that is, a fusion of the literal and the metaphoric that will become increasingly necessary to describe the PARADISO experience.Join me, Mark Scarbrough, as we look at the conclusion of Beatrice's second run at the pilgrim Dante and find the ways that she is directing both him and his poetry.To support the work of this podcast with a small monthly stipend or a one-time gift, please visit this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:09] My English translation of PURGATORIO, Canto XXXI, Lines 49 - 63. 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.[03:19] Glossing the full passage: "beauty" three times, high rhetorical style, low vulgar vocabulary, and an aphoristic ending.[13:15] Rereading Beatrice's second salvo at Dante: PURGATORIO, Canto XXXI, lines 22 - 63.[15:22] The uneasy but crucial balance between allegorical/metaphorical language and literal/realistic language.[18:57] Beatrice: negative space made flesh.[23:38] Renegotiating COMEDY v. intending these revelations all along.[28:06] High rhetorical style in Dante's vernacular mouth.

Ever since INFERNO, Canto I, we've never fully understood why Dante woke up lost in that dark wood.Now, in the Garden of Eden, Beatrice brings him to the point where he can voice what he did wrong. He can finally offer his confession.It was all about her all along. And maybe about what he wrote. And maybe about another woman who caught his eye. Or maybe all of it at once.Join me, Mark Scarbrough, as we explore the moment in PURGATORIO in which Beatrice finally brings the pilgrim to his full confession.If you'd like to support this podcast, consider a small monthly stipend or a one-time donation, using this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:12] My English translation of PURGATORIO, Canto XXXI, Lines 22 - 48. If you'd like to read along or continue the conversation with me, please find this episode's entry on my website, markscarbrough.com.[03:16] An easy outline of this passage.[04:27] Recasting Dante's faults into metaphoric language.[09:18] Dante's confession.[12:40] Beatrice and the formal form of "you."[14:34] Her acceptance of Dante's confession, leading him to contrition.[18:15] Beatrice: allegory v. realism.[23:15] Rereading the passage: PURGATORIO, Canto XXXI, lines 22 - 48.

Wailing, Dante comes in for Beatrice's impatience. He hasn't responded yet to her charges, so she turns the spear point of her words on him.He cracks . . . and in doing so, loses language, words, the very things that are the heart of his craft.Canto XXXI opens with an intensely emotional scene, meant to bring the pilgrim right to the brink of his ability to handle things . . . about like what happened with Francesca in INFERNO, Canto V.Join me, Mark Scarbrough, as we explore the second canto of PURGATORIO that is centered on the pilgim Dante's interiority . . . and his craft as a poet.Here are the segments for this episode of WALKING WITH DANTE:[01:49] My English translation of PURGATORIO, Canto XXX, Lines 1 - 21. 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.[03:36] Prefatory remarks on PURGATORIO, Canto XXXI.[07:02] A node of Dantean irony in a very serious canto.[10:14] Confession, the first step to forgiveness for Dante (but not for the church).[15:49] The master poet and the failure of his language.[24:29] Dante, the cracked crossbow.[28:15] The return of Francesca.[30:34] Rereading PURGATORIO, Canto XXXI, lines 1 - 21.

Beatrice finishes her first indictment of Dante by showing him the fit subject matter for his abundant talent: her and the damned.She accuses him of chasing after false images, then of discounting her own inspiration in dreams. She ends with her final hope: to descend to the doorway of the dead and get the pilgrim started across the known universe.Join me, Mark Scarbrough, as we explore the final lines of PURGATORIO, Canto XXX: Beatrice's first indictment of Dante.Here are the segments for this episode of WALKING WITH DANTE:[01:25] My English translation of the passage: PURGATORIO, Canto XXX, Lines 127 - 145. If you'd like to read along or continue the discussion with me, please find the entry for this episode on my website, markscarbrough.com.[03:16] In praise of Beatrice's elevated rhetoric.[05:20] The erotic tension between Beatrice and Dante.[07:59] First callback in the passage: to either the Siren in PURGATORIO XIX or to the second woman in the VITA NUOVA.[10:22] Second callback: to either Beatrice's eyes or her appearance in a dream toward the end of the VITA NUOVA.[13:43] Third callback: to Limbo (and Virgil).[15:37] Dante's search for the subject matter that will fit his talent.[16:47] Four levels of interpretation for Beatrice's first indictment: literal, moral, allegorical, and anagogical.[21:31] When was Dante supposed to purse these failings on the mountain?[23:27] Rereading the passage: PURGATORIO, Canto XXX, lines 127 - 145.

Beatrice is now fully in charge . . . so much so that she can even tell the angels in the chariot with her what they can't understand.She launches into her first indictment of the pilgrim, Dante. Here, she claims that he hasn't fulfilled his talent.He hasn't? With so much of COMEDY behind us?And what if then the point of this journey? Is it poetic craft or personal redemption?Join me, Mark Scarbrough, as we comb through the first of Beatrice's condemnations of Dante's many failings that have led him to the top of Mount Purgatory.If you'd like to help support this podcast with a one-time donation or a small monthly stipend, please consider donating what you can through this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:41] My English translation of PURGATORIO, Canto XXX, Lines 100 - 126. If you'd like to read along or continue the conversation with me, please find its entry on my website, markscarbrough.com.[04:23] What can the angels in the chariot not know?[08:13] What germinates from heaven, far above the seeds that blow out of the Garden of Eden?[11:15] What was Dante supposed to have done?[15:19] What good was this journey across the known universe?[18:40] How do you stay open to the grace you get but perhaps don't expect?[20:02] Rereading the passage: PURGATORIO, Canto XXX, lines 100 - 126.

Beatrice has offered her first condemnation of Dante, just as his salve and mentor, Virgil, has left the scene. He's stuck across Lethe with the ice sheet encasing his heart. Even the angels surrounding Beatrice in the chariot seem dumbfounded by her vitriol and offer the pilgrim a psalm of consolation . . . which finally makes the ice that has surrounded his heart melt. He ends up wailing.Join me, Mark Scarbrough, as we explore this brilliant passage about interiority from the very top of Mount Purgatorio in the Garden of Eden.Here are the segments for this episode of WALKING WITH DANTE:[01:34] My English translation of PURGATORIO, Canto XXX, Lines 79 - 99. If you'd like to read along or drop a comment on this episode, please find its entry on my website: markscarbrough.com.[03:53] One textual reference in the passage: Psalm 30/31: 1 - 8.[07:46] A second textual reference in the passage: Augustine's CONFESSIONS, Book VIII.[09:07] One metaphoric rearrangement in the passage: Beatrice as mother and Dante as son.[11:55] A second metaphoric rearrangement: the melting ice inside of Dante.[19:28] Allegory as art.[22:30] Rereading the passage: PURGATORIO, Canto XXX, lines 79 - 99.

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 defies our expectations, about as revelation should.Join me, Mark Scarbrough, for the moment that Beatrice takes center stage in Dante's masterwork, COMEDY.If you'd like to help underwrite 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:[01:33] My English translation of PURGATORIO, Canto XXX, Lines 55 - 78. If you'd like to read along or drop a comment about this episode, please find its entry on my website: markscarbrough.com.[04:41] The pilgrim finally named: Dante.[09:03] The crux dilemma of orthodoxy: purity versus human feeling.[13:44] Beatrice's ship, plus other ships in COMEDY.[15:29] Beatrice, the admiral.[17:34] Dante's difficulty in naming himself.[20:20] Beatrice, Minerva, and our (or the pilgrim's?) expectations.[23:42] Beatrice's curious blasphemy and questions.[27:09] Dante as a rejuvenated Narcissus.[30:32] Rereading the passage: PURGATORIO, Canto XXX, lines 55 - 78.

The parade of revelation has stopped and everything holds its breath for what comes next.She's veiled, behind scattered flowers. But Beatrice arrives, in the place of Jesus Christ, her second coming, her advent in the victory chariot.And as she arrives, Virgil disappears from COMEDY. (Statius, too, even if he's still standing next to the pilgrim.) This moment is perhaps the climax of the poem as we have understood it up until now. From here on, everything changes. We have moved out of time and into a world beyond human reason. It's a cause for rejoicing but also for great sadness.Here are the segments for this episode of WALKING WITH DANTE:[01:13] My English translation of PURGATORIO, Canto XXX, Lines 22 - 54. If you'd like to read along or drop a comment about this episode, please find its entry on my website, markscarbrough.com.[04:14] Word choices in the passage that reflect its thematic and emotional space.[07:04] The Vita Nuova as foundational to Beatrice's appearance.[12:00] Beatrice's colors and the parade of revelation.[13:39] Christological confusions with Beatrice.[16:48] Gender confusions during her arrival.[19:10] The pilgrim's imagined dialogue with a (mis)quote from The Aeneid.[23:03] The sad, quiet disappearance of Virgil and the pilgrim's pronounced, loud interiority.[29:02] The silent, almost unnoticed departure of Statius from the poem.[31:06] The cleansing of the pilgrim as a bookend for the work of PURGATORIO.[32:39] Rereading the passage: PURGATORIO, Canto XXX, lines 22 - 54