In this lecture, Professor Mazzotta examines Paradise XVIII-XIX and XXI-XXII. In Paradise XVIII, Dante enters the Heaven of Jupiter, where the souls of righteous rulers assume the form of an eagle, the emblem of the Roman Empire. The Eagle’s outcry against the wickedness of Christian kings leads Dante to probe the boundaries of divine justice by looking beyond the confines of Christian Europe.
This lecture focuses on the cantos of Cacciaguida (Paradise XV-XVII). The pilgrim’s encounter with his great-great grandfather brings to the fore the relationship between history, self and exile. Through his ancestor’s mythology of their native Florence, Dante is shown to move from one historiographic mode to another, from the grandeur of epic to the localism of medieval chronicles.
Professor Mazzotta continues his discussion of the Heaven of the Sun (Paradise X-IV), where the earthly disputes between the Franciscan and Dominican orders give way to mutual praise. The tribute St. Thomas pays to the founder of the Franciscan order (Paradise XI) is repaid by St. Bonaventure through his homage to St. Dominic (Paradise XII). The chiasmic structure of these cantos is reinforced by the presence of Nathan and Joachim of Flora, the counterweights to Solomon and Siger, among the second ring of sages. Special attention is then paid to the lives St.
This lecture deals with Paradise IV, VI and X. At the beginning of Paradise IV, the pilgrim raises two questions to which the remainder of the canto is devoted. The first concerns Piccarda (Paradise III) who was constrained to break her religious vows. The second concerns the arrangement of the souls within the stars. The common thread that emerges from Beatrice’s reply is the relationship between intellect and will.
Professor Mazzotta introduces students to Paradise. The Ptolemaic structure of Dante’s cosmos is described along with the arts and sciences associated with its spheres. Beatrice’s role as teacher in Dante’s cosmological journey is distinguished from that of her successor, St. Bernard of Clairvaux. An introduction to Dante’s third and final guide to the Beatific Vision helps situate the poetics of Paradise vis-à-vis the mystical tradition. Professor Mazzotta’s introduction to the canticle is followed by a close reading of the first canto.
This lecture deals with Dante’s representation of the Earthly Paradise at the summit of Mount Purgatory. The quest for freedom begun under the aegis of Cato in Purgatory I reaches its denouement at the threshold of Eden, where Virgil proclaims the freedom of the pilgrim’s will (Purgatory XXVII). Left with pleasure as his guide, the pilgrim nevertheless falls short of a second Adam in his encounter with Matelda.
Guest lecturer Professor David Lummus discusses Purgatory XXIV-XXVI. On the terraces of gluttony and lust, the pilgrim’s encounters with masters of the Italian love lyric give rise to the Comedy’s most sustained treatment of poetics. Through Dante’s older contemporary Bonagiunta (Purgatory XXIV), the pilgrim distinguishes the poetic style of his youth from that of the courtly love tradition pursued by his interlocutor.
Midterm Exam covers the first half of the course.
This lecture deals primarily with Purgatory XIX, XXI and XXII. The ambiguity of the imagination discussed in the preceding lecture as the selfsame path to intellectual discovery and disengagement is explored in expressly poetic terms. While the pilgrim’s dream of the siren in Purgatory XIX warns of the death-dealing power of aesthetics, the encounter between Statius and Virgil in the cantos that follow points to its life-giving potential by casting poetry as a means of conversion.
In this lecture, Professor Mazzotta moves from the terrace of pride (Purgatory X-XII) to the terrace of wrath (PurgatoryXVI-XVII). The relationship between art and pride, introduced in the previous lecture in the context of Canto X, is pursued along theological lines in the cantos immediately following. The “ludic theology” Dante embraces in these cantos resurfaces on the terrace of wrath, where Marco Lombardo’s speech on the traditional problem of divine foreknowledge and human freedom highlights the playfulness of God’s creation.
