So with mental love, (assuming this is a trait unique to people?) when an individual applies this passion too much or too little to a positive object, or to an evil one at all, it is then that (at least Dante) defines humans as working against God. Mental love falls in line as "classicly human" here with regard to Dante's prior writings, in that while natural love is pure only humans could take it and make it into something sinful (mental love)

I feel like this concept of envisioning a whole theme, and it's parts seperately is silimar to Canto 8 of Paradisio, where in line 16 Dante demonstrates a similar skill set.

Again with the significance of time here. The voice stresses the parties need to hurry, as it grows dark even in the presence of a mass of hot, bright flames.

More parent-child symbolism! the symbolism seems to be occuring with increasing magnitude as we approach virgil's departure.

I realize we talked about this in class, but i think it's rather significant (especially since it is not the first time virgil has done soemthing like this) that while Virgil technically doesnt lie, Dante will still feel pain. It is, as Prof. pointed out, similar to the incident with the trees and the sodomites in Inferno.

Just curious on this part - when Dante refers to "ours" who exactly is that encompassing. As far as i know he is the only living being present in Purgatory, so it is quite significant that this god's angel would sing with a voice that has more life than dante's own living one.

I believe here is another reference to how time affects purgatory, specifically with relevance to inferno. Where in Hell time was eternal, punishments last forever and thus no one is ever in a hurry to get anywhere, it seems (and rightly so) that speed is of the importance here in Purgatory. People wish their time here to be short, they cannot travel after dark etc. So it makes sense that Virgil would stress the relevance of time here.

A few things on this verse; first it is curious that Virgil notes the threshold is forbidden to no one. I suppose that everyone has the capacity to arrive at these gates, but those who dont go to hell (i.e to purgatory) in theory should never arrive at these gates. so while virgil's statement is true, it is in relevency false. Also it is curious that the red river (of blood) is more agressive than the flames that fall from the sky. In terms of punishment here (in this portion of hell) , the water is worse than fire.

What would the rains typically soften here? the earth? and if so what other references are there in this chapter that would make this statement relevant

Consistent bird metaphors; Starling, Crane, Dove... all types of birds are mentioned in the chapter detailing the sins of love. Perhaps because birds often mate for life, a symbolism of love, but are free of the earthly ties which humans retain.

Regarding the subject of those condemned by lust, Dante is presented as sympathetic to their plight. Perhaps it is because this is early on in his exposition of hell. Earlier when Virgil is introducing the damned for their sins, many of them are described as acting out of "love" not lust - perhaps the root of Dante's sympathy as he defines this sin as acting wrongly out of love, and is sorrowful for such. Late Virgil says that Dante may appeal to them for the love while impels them - as lovers often only have ears and eyes for love and as Beatrice was prompted to speak and seek help for Dante by love.