Podcasts about Canto

Sintonía: "Bim Bom" - Charlie Byrd"Samba de Orfeu" - Luiz Bonfá; "Tristeza" - Baden Powell; "Só danço Samba" - Roberto Menescal; "Minha saudade" - Rosinha De Valencia; "Simple Samba" - Jim Hall; "Outra vez (Once Again)" - Stan Getz & Laurindo Almeida; "Canto de Ossanha" - Baden Powell; "Jackie, All" - George Benson; "Insensatez (How Insensitive)" - Wes Montgomery; "Meditaçao" - Joe Pass; "Coisa número um" - Bola Sete; "Corcovado (Quiet Nights)" - Gabor Szabo; "The Gentle Rain" - Joe Pass & Paulinho Da CostaTodas las músicas extraídas de la recopilación (1xCD) "Bossa Nova Guitar" (Verve, 2009)Todas las músicas compiladas por Arnaldo DeSouteiroEscuchar audio

Virgil has asked two questions: Why'd the mountain shake and why'd the shades all cry out with one voice?The unknown shade on the fifth terrace of Mount Purgatory begins his answer by referring to Aristotle's notions of change . . . and offers the surprising conclusion that some change is impossible about the three steps to the gate of Purgatory proper.And then he does something wilder: He begins to wrap the poetic imagery of Cantos XX and XXI back onto itself.Join me, Mark Scarbrough, as we explore this difficult passage, the first part of the unknown shade's answer.Here are the segments for this episode of WALKING WITH DANTE:[02:20] My English translation of the passage: PURGATORIO, Canto XXI, lines 40 - 57. If you'd like to read along or continue the conversation with me via a comment, please find the entry for this episode on my website, markscarbrough.com.[04:08] The mountain's meteorology and Aristotelian accidental change.[09:09] Two translation issues early in the passage.[12:45] Classical learning: Thaumus's daughter, Iris.[15:41] Stable feet v. wet feet . . . and the search for a contemplative space.[19:28] The refusal to answer "why?"[21:16] Rereading the passage: PURGATORIO, Canto XXI, lines 40 - 57.

Sermão ministrado pelo Rev. Luciano Vieira com base em 1 Samuel 2.1-10. Igreja Presbiteriana Redenção.

Programa #648 - Plan de Inmersiones 00,05'37” — Tenemos de compañero en la primera inmersión, la más profunda, a José Angel Sanz, Presidente de Océano Alfa, la asociación que fomenta el contacto con la naturaleza a través del buceo. Ya sabéis, Proyecto Pescares, Reservas Marinas Garantía de Futuro, Criterios para el Buceador Responsable, ¡Materia Reservada! aquí en la radio, y es, además, Vocal de Conservación Medioambiental y Patrimonial de la HDSES. Hablaremos de las Jornadas Internacionales de Buceo Histórico Cartagena 2025 - Memorial Centenario Eduard Admetlla. Ahí es nada. 00,26'46” — La segunda inmersión va ligada íntimamente a la primera, tendremos a Rubén Castrillo Galán, Vicepresidente de la Asociación Española de Historia del Buceo HDSES, y responsable de la Colección más importante de equipos de la Mítica marca Nemrod, con la denominación Nemrod Museum. 00,44'29” — Seguiremos nuestras sucesivas buceando con Mónica Alonso, activista comprometida y una gran divulgadora, con su espacio “Protejamos las maravillas del Mar”, una mirada siempre positiva y de esperanza hacia los océanos y sus habitantes. 01,07'49” — Seguiremos con “Proa al Viento”, con los sabios consejos de seguridad en el mar, que nos ofrece el Sargento Román Revilla, patrón del SEMAR. 01,27'35” — Nos sumergiremos en una nueva clase magistral de biología marina en “Buceo con Ciencia”, con la Dra. Mercedes Varela, Directora de Posidonia Ecosports como guía de excepción. Con las micro-secciones, Una historia en el Fondo del Mar, el repasito a los programas ya emitidos y las propuestas de AOLDE para que pases tu tiempo en superficie, nos daremos, una noche más por buceados. La foto de la semana es un auténtico “Canto del Lobo”, dos buceadores de la Armada equipados en configuración tek ‘sobrevuelan' un submarino posado en el fondo. ¡Qué! ¿Mola o no mola? yo creo que mola a tope. Nos da una idea de lo que veremos en los próximos días en el Memorial Centenario Eduard Admetlla, mejorando la técnica, afortunadamente, gracias a los buceadores que nos precedieron. Esta imagen es cortesía del gran Sergi Pérez de Rivemar. ¿Listos para el lío? Checamos a nuestro buddy, hacemos un Ok claro, y saltamos al agua. Sonaron en este programa: 00,00'09” — David Arkenston - Papillon - Sintonía 00,05'37” — Supersubmarina - ft. ALIS 00,26'46” — King Gizzard & The Lizard Wizard - Phantom Island 00,44'29” — Tremendo Pinkman - Traspasando Las Paredes 01,07'49” — Lita Ford - Shot of Poison 01,27'35” — Alex North - 2001 A Space Odyssey Theme song 01,44'19” — Avalon Jazz Band - La Mer (Beyond the Sea) 02,09'13” — G-5 - Badajoz (feat. El Canijo de Jerez, Tomasito, Kiko Veneno & Ratón) 02,12'37” — The Ossuary Wishing Well Lyric Video 02,17'35” — Hay Peores - Bajo El Mar (Cover de Under The Sea de La Sirenita) Sintonía

So he (Lord Caitanya )went back to His spiritual master, and he said, "Did you give me the right mantra? Because when I chant this, I go crazy." And the spiritual master said, "Very good, very good, very good." And there in the purport, Prabhupāda said, "A spiritual master isn't interested in donations or any material facility. What he wants to see is that the disciple gets the freedom of Kṛṣṇa consciousness and gets a taste for chanting Hare Kṛṣṇa." Prabhupāda—the first time I had the fortune of sitting in his presence, it was in 1973 in San Francisco, a kid from the suburbs. Here's a paramahaṁsa. I went in with a group, got whisked in, sat down, and when the devotees read Prabhupāda the saṅkīrtana results for the day, he looked right at us, and he said, "You must also read my books. I've not written them just for selling. I've written them for you to read, become pure devotees, and go back to Godhead." That's what Prabhupāda wanted. He says so in his books. So he wanted us to read his books. And after that time, I felt full permission to read Prabhupāda's books as much as possible, and I still do, and it's the mainstay of our movement—that is the sound vibration, that is the books. Prabhupāda's books are the primal vibration of ISKCON, and taking full advantage of that vibration by going deeply within them, reading them regularly, reading all of them completely, all the way through as many times as possible in his lifetime—that gives one this internal spiritual strength, and one can understand exactly what Kṛṣṇa wants, what Prabhupāda wanted, hearing from his purports. He said, "Everything I had to say, I said in my books, so please read them carefully and discuss them." He said in his final purports before he left the world that if there's ever any difference or problems, he said, "Sit together and read Śrīmad-Bhāgavatam, and you could work it out." So that's what he wanted us to be internally, to be deeply in love with the Bhāgavatam. And that's not hard to do because it's so beautiful. The Bhāgavatam solves all the problems. Kṛṣṇa mentions in the Bhagavad-gītā vīta-rāga-bhaya-krodhāḥ—there are these three main stumbling blocks in the material world: rāga, bhaya, krodha. By reading through the whole Bhāgavatam, there's a way in which the Bhāgavatam helps us overcome all of the psychological anomalies that hold us back from giving our full heart to Kṛṣṇa. And that's what Kṛṣṇa wants. That's what Prabhupāda wants. That's what any Vaiṣṇava wants. They want to see everybody happy. And a Vaiṣṇava knows you can't be happy unless you're with Kṛṣṇa. I mentioned in a class this morning, I just read in the 11th Canto of the Bhāgavatam that the emptiness that people feel in the material world because they're not in contact with Kṛṣṇa is worse than death and hell. The pain of struggling through life and then dying and going to hell is not as great as the emptiness that one feels by not being connected to Kṛṣṇa. And you can directly connect to Kṛṣṇa by reading the Śrīmad-Bhāgavatam, because that's the sound incarnation of Kṛṣṇa. So that's what Prabhupāda wanted. He wanted us to take advantage of what he painstakingly presented for us. ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------

In this Fanbase Feature, The Fanbase Weekly co-host Bryant Dillon and special guests David M. Booher (Eisner Award and GLAAD nominated writer - Ghostbusters: Back in Town, Canto, Killer Queens) and Jay Sherer (writer - No Vacancy, Death of a Bounty Hunter, Timeslingers, co-host of The Story Geeks podcast) participate in a thorough discussion regarding Sin City (2005) in light of the feature film's 20th anniversary, with topics including the film's impact on the comic book film proliferation of today, analysis of its unapologetic loyalty to the source material, discussion on what defines noir as a genre, and more. (Beware: SPOILERS for Sin City abound in this panel discussion!)

The unknown shade has been gobsmacked by the fact that escapees from hell may be climbing Mount Purgatory.Virgil explains that the pilgrim is still very much alive. To do so, Virgil uses classical, not Christian, imagery. And Virgil presses for an answer as to "why" the mountain just shook and "why" all the souls sang out with one voice.Join me, Mark Scarbrough, as we explore Virgil's curious answer to the unknown shades questions on the fifth terrace of Purgatory, among the avaricious.Here are the segments for this episode of WALKING WITH DANTE:[01:43] My English translation of the passage: PURGATORIO, Canto XXI, lines 22 - 39. If you'd like to read along or continue the conversation with me, please find the entry and comment section for this particular episode on my website: markscarbrough.com.[03:49] Doctor Virgil explains the symbols on the pilgrim Dante's forehead . . . or does he?[08:15] Virgil offers the firm assurance of the pilgrim Dante's redemption.[10:37] Virgil uses classical imagery to explain life and death.[14:32] Was Virgil fished out of all of hell or just Limbo?[17:23] Virgil focuses on the "why?"[20:42] The thread and the thirst wrap the poetry in the canto.[22:40] Rereading the passage: PURGATORIO, Canto XXI, lines 22 - 39.

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1==================================================== DEVOCIÓN MATUTINA PARA MENORES 2025“PALABRITAS DE CORAZÓN”Narrado por: Tatania DanielaDesde: Juliaca, PerúUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church ===================|| www.drministries.org ||===================16 de AbrilEl cumpleaños de Mariana«Todo lo que has hecho por mí, Señor, ¡me emociona! Canto de alegría por todo lo que has hecho». Salmo 92:4.La mamá de Mariana quería hacer algo simple para el cumpleaños de su hija. Invitó a una familia vecina y reservó el salón de fiestas del edificio para celebrar con ellos los siete años de Mariana.Ese día, acomodó las mesas y adornó con globos amarillos; colocó la torta de cumpleaños y los demás dulces de la fiesta. ¡Qué sorpresa se llevó cuando se abrió la puerta del salón y varios vecinos comenzaron a entrar con regalos, sonriendo y deseando un «feliz cumpleaños» a Mariana!-Gracias por haberme invitado -dijo Pedro, el niño que vivía en el octavo piso.-¡Felicitaciones, Mariana! -dijo la pequeña Julia, y salió corriendo para agarrar un globo.Mariana, en su simplicidad infantil, ¡había llamado a casi todos los vecinos! La mamá se empezó a preocupar. El plan era que fuera un festejo muy sencillo. Las personas se dieron cuenta. Primero, se avergonzaron un poco por no haber confirmado con la mamá, pero pronto trajeron panes, frutas y jugo. Aun sin planificación, la fiesta fue un éxito, porque había lo más importante: unidad, ayuda y amistad. Los niños corrieron toda la tarde. Solo se detuvieron para observar la puesta del sol, que fue amarilla como los globos de la fiesta de Mariana.Mi oración: Señor, ayúdame a valorar los momentos simples de la vida y a ser un niño simple. 

Making up her mind not to submit to the advances of Ravana even on pain of death, when menaced by the ogresses, and indulging in speculation as to why Sri Rama was not turning up to rescue her, Sita wails in various ways.Recitation: 00:00 - 08:24Translation: 08:29 - 19:16

Risen from sleep, an ogress Trijata by name, speaks to her companions intimidating Sita, of a dream she saw only a few minutes before revealing the triumph of Sri Rama and the discomfiture of Ravana, and stops them from molesting Sita. Pressed by the, she relates the dream to them and also speaks of the omens portending the triumph of Sita.recitation: 00:00 - 09:37Translation: 09:41 - 21:38

The moment Sita, who was unable to bear the reproaches and threats of the ogresses, endeavours after waiting a good deal to strangle herself to death with the cord used for tying her hair, a propitious omen, never seen before, appears on her person.Recitation: 00:00 - 04:43Translation: 04:48 - 11:15

The omens described. Concluding them to be auspicious, from the thrill that ran through her body at their sight, Sita experiences great joy.Recitation: 00:00 - 02:15Translation: 02:18 - 05:27

Weighing the pros and cons of comforting Sita or remaining mum, now that he had come to know everything about Sita at first hand, Hanuman decides upon the former course at the psychological moment.Recitation: 00:00 - 07:54Translation: 07:55 - 17:54

Transported with joy to hear the story commencing from the birth of Sri Rama and ending with Hanuman's espying Sita, narrated in a human tongue by Hanuman, remaining perched on the Shimshapa tree and casting her eyes all round, Sita catches sight of Hanuman sitting on a bough of the same Shimshapa tree beneath which she stood. Recitation: 00:00 - 03:43Translation: 03:46 - 09:36

Imagining Hanuman to have been seen in a dream, though actually perceived by her, and believing the sight of a monkey in a dream to be ominous, Sita becomes anxious about the welfare of Sri Rama and others. Then concluding him on other grounds to have been seen in her waking hours, she prays to Brahma and other gods that the statement of Hanuman may come out to be true.Recitation: 00:00 - 03:14Translation: 03:17 - 08:07

durée : 01:28:22 - Lisette Oropesa, reine du bel canto - par : Aurélie Moreau - Lisette Oropesa triomphe sur les plus grandes scènes grâce à son timbre tout en rondeur et des suraigus lumineux : la soprano est aujourd'hui l'interprète idéale du bel canto, et elle s'impose aussi dans Verdi ou dans le répertoire français.

There is an interim period in devotional service when we begin. This unfolds in the story, because we'll notice and other people have asked, and ācāryas have answered, how is it that Ajāmila chanted "Nārāyaṇa," but it seemed that he went on with a sinful life? He was chanting "Nārāyaṇa" a lot. "This is Nārāyaṇa. Come eat. Nārāyaṇa. Please come sleep. Nārāyaṇa, Nārāyaṇa, Nārāyaṇa." And in that case, Viśvanātha Cakravartī Ṭhākura, or in the commentary for this chapter, explains (as does Prabhupāda, obviously) that once he had chanted "Nārāyaṇa," then, although he went on with the momentum of his sinful life, it was like a snake with no teeth. Although the snake seems to be biting again and again like that, there's no effect. There's no poison that comes from it. The interim period of devotional service, when one begins devotional service in earnest, of course, one has to cross over anartha-nivṛtti. And as Kṛṣṇa Himself explains to Uddhava in the 11th Canto of the Śrīmad-Bhāgavatam (SB/11/20/27-28): jāta-śraddho mat-kathāsu nirviṇṇaḥ sarva-karmasu veda duḥkhātmakān kāmān parityāge 'py anīśvaraḥ tato bhajeta māṁ prītaḥ śraddhālur dṛḍha-niścayaḥ juṣamāṇaś ca tān kāmān duḥkhodarkāṁś ca garhayan This interim period, He says, is when jāta-śraddho mat-kathāsu—your faith in the process is awakened of hearing that will kill all sinful reactions, and one will progress on devotional service. nirviṇṇaḥ sarva-karmasu—the person also becomes aware that he's disgusted with his tendency to engage in material activities. 'Veda duḥkhātmakān kāmān'—because he knows that engagement in sense gratification leads to misery. But 'parityāge 'py anīśvaraḥ'—parityāga means to give something up, and īśvara means supreme controller, obviously, but it also means the power to do something. He's in this position: he knows what it leads to, but still he doesn't have the power to give it up. So then Kṛṣṇa says that one should go on with the process and know that anyone who's engaged in devotional service is very dear to Him. And gradually, by the strength of the process, when one comes to full strength in devotional service, duḥkhodarkāṁś ca garhayan—and He said, garhayan means you should have a little regret, but not too much. If you become obsessed with how unqualified you are, and then you say that "I'm permanently unqualified," that's illegal, because the power of devotional service is so great that anyone can become purified if you just stick to the process. And He said 'garhayan'—you can take just a little bit of that, like when you use asafoetida (hing). If you use any more, if you can use enough that you can see it, that's too much. It has to be microscopic; otherwise, you'll kill the preparation. So similarly, we should have a little bit of remorse for the fact that we're not at that level. (excerpt from the discussion) https://vedabase.io/en/library/sb/6/1/ ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------

Nettled by the censure uttered by Sita, Ravana allows her a time-limit of two months to revise her decision and threatens her with death if she does not listen to reason. Restored to confidence by the glances of Ravana's consorts, however, Sita condemns him once more. Leaving instructions with ogresses of terrible and ugly aspect to bring her to reason by recourse to intimidation and persuasion, Ravana thereupon leaves the presence of Sita along with his womenfolk.Recitation: 00:00 - 07:59Translation : 08:04 - 18:56

Extolling Ravana, Ekajaata and other ogresses posted in the Ashoka grove coax her to accept his proposal.Recitation: 00:00 - 03:42Translation: 03:45 - 07:54

Citing the examples of Shachi, Arundhati and other devoted wives, even though threatened by the ogresses, Sita with a stout heart boldly proclaims her resolve not to submit to anyone else other than her own husband even on the pain of death. Hanuman silently watches her being menaced by the ogresses by means of harsh words and show of weapons, and weeping.Recitation: 00:00 - 08:06Translation: 08:11 - 17:55

Unable to endure the threats of the ogresses and calling aloud to Sri Rama and others, Sita bursts into a wail.Recitation: 00: 00 - 03:34Translation: 03:39 - 07:48

SHOSTAKOVICH: Sinfonía nº 2 en Si Mayor, "Octubre, Dedicatoria Sinfónica" (20.59). Orq. Fil. de Londres. Dir.: B. Haitink. Suite de jazz nº 1 (8.13). Orq. de Filadelfia. Dir.: M. Jansons. 7 Canciones, Op. 127 (selec.) (nº 1 La canción de Ofelia, nº 2 Hamayun, el pájaro profeta, nº 3 Estábamos juntos) (9.32). E. Semenchuk (mez.), Trio Wanderer.Escuchar audio

Dante is left wondering why the mountain has shaken when an even deeper mystery occurs: a shade appears seemingly out of nowhere and behind our pilgrim and Virgil.This shade offers a Christian greeting, Virgil returns it in a darker way, and then this shade assume he's looking at two damned shades, escaped from hell.Join me, Mark Scarbrough, as we look at this most curious passage that begins one of the most fascinating cantos in all of Dante's COMEDY.If you'd like to help underwrite this podcast, please 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:[01:54] My English translation of the passage: PURGATORIO, Canto XXI, lines 1 - 21. If you'd like to read along or offer more commentary, please find the entry for this podcast episode on my website, markscarbrough.com.[04:43] Introductory material for Canto XXI.[07:26] Hesitation, the desire to know, and Aristotle.[10:46] The Samaritan woman and a shift in the nature of thirst.[13:35] Haste and liminal spaces.[15:15] Vendetta, justice, and human compassion.[17:33] The road to Emmaus and the resurrection.[21:26] The sudden appearance of a shade.[25:14] Christian greetings, darkened by Virgil.[28:40] A transfer of "what?" from Dante the pilgrim to this shade.[30:27] This shade, Virgil, and Dante together.[31:54] A rereading of the passage: PURGATORIO, Canto XXI, lines 1 - 21.

It comes from the root word viśeṣa, which means specific or special. It's a name of Kṛṣṇa, indicating that His creation is unique in every aspect, and that means that there's no one particle that's the same as another. There's no one relationship that Kṛṣṇa has, as Brahmā mentions in his prayers, in the 14th chapter, of the 10th Canto, that it's multifaceted, or unlimitedly faceted, his relationships with living beings—they're all unique. So it means "unique Kṛṣṇa's unique nature and His unique creation." It's also a name of Lord Balarāma, found in the Balarāma-sahasranāma, where it says He is the knower of Vaiśeṣika philosophy. And it's also an atheistic philosophy by Kaṇāda. In that philosophy, the word viśeṣa, or the root word viśeṣa, indicates his philosophy of how the universe works—their unique particles that, as I alluded to before, they have different properties, and when they mix in the combinations and permutations, they form, the different forms in the world appear from that process. And if you consider my name to be Vaiśeṣika Dāsa, and I would serve those who are illusioned by that philosophy by giving them Prabhupāda's books, that's a service that I would like to offer to the Vaiśeṣikas. ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualexperience #spiritualpurposeoflife #spiritualquestions #spiritualquestionsanswered #trendingspiritualtopics #fanthespark #spiritualpowerofmeditation #spiritualgrowthlessons #secretsofspirituality #spiritualteachersonyoutube #spiritualhabits #spiritualclarity #bhagavadgita #srimadbhagavatam #spiritualbeings #kttvg #keepthetranscendentalvibrationgoing #spiritualpurpose

Roberto Moro y Jorge del Canto repasan los valores de Ferrovial, Supermicro, BBVA, Hermes, General Electric, Repsol, IAG o Unicaja

Podcast de Mercado Abierto

Podcast de Mercado Abierto

Roberto Moro y Jorge del Canto repasan los valores de Ferrovial, Supermicro, BBVA, Hermes, General Electric, Repsol, IAG o Unicaja

Dante the pilgrim and Virgil have seemingly moved off even as Hugh Capet was still speaking. They're picking their way among the avaricious when they're stopped by an earthquake that rattles Mount Purgatory.Dante is afraid. Virgil may even be afraid. But he tells the pilgrim to "fear not," much as those angels tell the shepherds at the birth of Jesus.Join me, Mark Scarbrough, as we work our way through the end of PURGATORIO, Canto XX: a return to the plot with lots of portents for what's ahead.Here are the segments for this episode of WALKING WITH DANTE:[01:33] My English translation of the passage: PURGATORIO, Canto XX, lines 124 - 151. If you'd like to read along or drop a comment to continue the conversation, please find the entry for this episode on my website, markscarbrough.com.[04:13] A return to the plot--or to the "now" (which may be what avarice cannot understand).[09:49] The third earthquake of COMEDY.[12:11] Two references to birth with this earthquake.[15:44] Virgil's "fear not" when he doesn't seem fearless.[16:56] The pilgrim's possibly faulty memory.[20:29] INFERNO XX vs. PURGATORIO XX.[24:27] Rereading the passage: PURGATORIO, Canto XX, lines 124 - 151.

Admiring the virtue and propitious bodily marks etc. of Sita, Hanuman grieves at the thought of that lady, for whose sake Khara, Varadha and other ogres were killed, having been reduced to such a sad plight.Recitation: 00:00 - 05:55Translation: 05:59 - 13:57

His eyes filled with joy on beholding Sita surrounded by hideous and deformed faces while the moon was at the meridian, Hanuman mentally bows to Sri Rama and Lakshmana and remains hidden behind the boughs of the Shimshapa tree.Recitation: 00:00 - 05:49Translation: 05:55 - 14:02

Seeking to cajole Sita by means of coaxing words, Ravana implores her to accept him.Recitation: 00:00 - 06:15Translation: 06:19 - 14:27

Finding himself unable, as it were, to depict the mental state of Sita, who got withered up and began to shudder at the sight of Ravana, the poet tries to portray her with the help of similes. Arrived in her presence, Ravana tries to win her.recitation: 00:00 - 04:03Translation: 04:08 - 09:17

Perceiving Ravana surrounded by hundreds of young women and approaching Sita towards the close of night, swayed by passion as he was, Hanuman, who was perched on the top of the Shimshapa tree, silently comes down in order to scan the figure of Ravana and hides himself in the boughs in order to avoid observation.Recitation: 00:00 - 05:40Translation: 05:44 - 13:30

Coming out of the aerial car, Pushpak ,and not finding Sita even on searching for her on all sides, Hanuman concludes her to have been killed. Believing that her untraceability, no matter whether it is reported to Sri Rama or not, may lead to disastrous consequences, Hanuman decides not to return to the mainland. Meanwhile, as he contemplates fasting till death or suicide or the killing of Ravana, he catches sight of a grove which he does not remember to have seen before, and before proceeding to explore it mentally invokes the succour of Rishis and gods for success in his undertaking. Recitation: 00:00 - 12:00Translation: 12:05 - 29:54

Leaping down to the enclosure of the Ashoka grove and watching the loveliness of the grove from the top of the wall, Hanuman enters the grove and leaping from tree to tree in the course of his search for Sita, catches sight of an Ashoka tree. Espying a stream running beside it and expecting that Sita might turn up on the bank of the stream to say her Sandhya prayers, he takes up his position on that Ashoka tree, hiding himself behind its leafy boughs.Recitation: 00: 00 - 09:05Translation: 09:09 - 20:21

Casting his eyes all round while remaining perched on the top of that Shimshapa tree, Hanuman catches sight of Sita in a temple and recognises her by virtue of her characteristics and age.Recitation: 00:00 - 09:17Translation: 09:21 - 22:26

Placing a blade of grass between herself and Ravana in order to avoid direct contact with a man of evil intentions and expostulating with him by showing him the right path, Sita praises Sri Rama and, impressing on Ravana the consequences of the latter befriending or antagonising Sri Rama, advises Ravana to make friends with Sri Rama through self-surrender.Recitation: 00:00 - 05:58Translation: 06:04 - 14:25

====================================================SUSCRIBETEhttps://www.youtube.com/channel/UCNpffyr-7_zP1x1lS89ByaQ?sub_confirmation=1==================================================== DEVOCIÓN MATUTINA PARA MENORES 2025“PALABRITAS DE CORAZÓN”Narrado por: Tatania DanielaDesde: Juliaca, PerúUna cortesía de DR'Ministries y Canaan Seventh-Day Adventist Church ===================|| www.drministries.org ||===================08 de AbrilClub de aventuras«Todo lo has hecho por mí, Señor, ¡me emociona! Canto de alegría por todo lo que has hecho». Salmo 92:4.¿Conoces el Club de Aventureros? ¡Ese club es muy especial! Está formado por niños y adultos que aman a Jesús y quieren ayudar a las personas a conocer más acerca de su amor.Hay campamentos, pícnic, lectura de la Biblia, canciones, amistades y mucho entusiasmo. Observo mientras los aventureros se preparan para entrar al colectivo que llevará al club de campamento. Cada niño lleva su mochila y la sonrisa más enorme que te puedes imaginar. En las dos horas de viaje por la ruta, cantan y juegan con rimas. Es fácil ver en sus rostros lo que están sintiendo. La alegría se siente desde lejos; el corazón salta fuerte, animado.¿Cuándo fue la última vez que sentiste entusiasmo por alguna cosa? ¿Sabías que Dios se pone feliz cuando hablamos con él? ¡Síiiii! Según la Biblia, el cielo hace una fiesta entusiasta cada vez que una persona toma la decisión correcta, de estar cada día más cerca de Jesús.Mi oración: Querido Dios, quiero una vida entusiasta de amor y victorias, siguiendo tu camino. 

Having failed to discover Sita even after searching for her in the picture gallery and other places, Hanuman suspects that she might have been disposed of by Ravana and, thus meeting with frustration, falls into the quagmire of despair. On second thought, however, he deprecates despair as harmful and, falling back upon self-reliance, resumes the search. But, failing to find her even on searching for her all round, he becomes despondent again.Recitation: 00:00 - 04:58Translation: 05:03 - 11:50

Neste episódio especial falamos com Francisco Mangas, investigador do Centro de Investigação Transdisciplinar Cultura, Espaço e Memória da Universidade do Porto, sobre a história da comunidade Cigana em Portugal, no período moderno. Tentamos perceber qual a sua origem, quando chegou, porque foi discriminada e qual o seu papel na sociedade do seu tempo. Sugestões de leitura: 1. Carlos Santos Sousa - Os Maias. Retrato Sociológico de uma Família Cigana Portuguesa (1827-1957). Editora Mundos Sociais, 2013.2. Otto Rosenberg - A Lente de Aumento. Os Ciganos no Holocausto. Âncora Editora, 2001.3. Francisco Mangas - A Outra Minoria. Uma história dos Ciganos portugueses durante a Época Moderna. Tese de doutoramento apresentada à FLUP, 2024. Disponível online: https://repositorio-aberto.up.pt/handle/10216/159228-----Obrigado aos patronos do podcast:André Silva, Bruno Ricardo Neves Figueira, Cláudio Batista, Isabel Yglesias de Oliveira, Joana Figueira, NBisme, Oliver Doerfler;Alessandro Averchi, Alexandre Carvalho, Carlos Castro, Daniel Murta, David Fernandes, Domingos Ferreira, É Manel, Francisco, Hugo Picciochi, João Cancela, João Carreiro, João Pedro Tuna Moura Guedes, Jorge Filipe, Luís André Agostinho, Luisa Meireles, Patrícia Gomes, Pedro Almada, Pedro Alves, Pedro Ferreira, Rui Roque, Tiago Pereira, Vera Costa;Adriana Vazão, Alfredo Gameiro, Ana Gonçalves, Ana Sofia Agostinho, André Abrantes, André Chambel, André Silva, António Farelo, Beatriz Oliveira, Bruno Luis, Carlos Afonso, Carlos Ribeiro, Carlos Ribeiro, Catarina Ferreira, Diogo Camoes, Diogo Freitas, Fábio Videira Santos, Francisco Fernandes, Gn, Hugo Palma, Hugo Vieira, Igor Silva, João Barbosa, João Canto, João Carlos Braga Simões, João Diamantino, João Félix, João Ferreira, Joel José Ginga, José Santos, Luis Colaço, Miguel Brito, Miguel Gama, Miguel Gonçalves Tomé, Miguel Oliveira, Miguel Salgado, Nuno Carvalho, Nuno Esteves, Nuno Silva, Paulo Silva, Pedro, Pedro Cardoso, Pedro Oliveira, Pedro Simões, Peter, Ricardo Pinho, Ricardo Santos, Rúben Marques Freitas, Rui Curado Silva, Rui Rodrigues, Simão, Simão Ribeiro, Sofia Silva, Thomas Ferreira, Tiago Matias, Tiago Sequeira, Tomás Matos Pires, Vitor Couto, Zé Teixeira.-----Ouve e gosta do podcast?Se quiser apoiar o Falando de História, contribuindo para a sua manutenção, pode fazê-lo via Patreon: https://patreon.com/falandodehistoria-----Música: “Five Armies” e “Magic Escape Room” de Kevin MacLeod (incompetech.com); Licensed under Creative Commons: By Attribution 4.0 License, ⁠http://creativecommons.org/licenses/by/4.0⁠Edição de Marco António.

Hugh Capet has spent a long time answering the pilgrim Dante's first question: who were you? He now turns to the pilgrim's second question: why did I only hear your voice on this terrace?In doing so, Hugh begins to sing antiphonally . . . or at least, he begins to list off those who have been done in by avarice, the quickest and tightest list of figures in PURGATORIO.Why is this list so full of figures yet so curt in its style? And why does Hugh seem to come to the end of his speech so abruptly?Join me, Mark Scarbrough, as we try to answer these and other questions at the conclusions of Hugh Capet's monumental monologue.If you'd like to make a contribution to underwrite the many fees for this podcast, you can do so as either a one-time donation or through a small monthly stipend. To do either, please go to this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:31] My English translation of the passage: PURGATORIO, Canto XX, lines 97 - 123. If you'd like to read along or continue the conversation with me, please find this episode among those for WALKING WITH DANTE on my website, markscarbrough.com.[04:01] Hugh's abrupt transition from one answer to his second.[08:46] Our questions about glossing and polyphony.[12:29] Hugh Capet's brief list of the tragic figures of avarice.[22:18] Spurred to what? Your own choice?[26:26] Two rationales for the shortness of these lines about the greedy figures.[30:11] Rereading the passage: PURGATORIO, Canto XX, lines 97 - 123.

This is a great privilege to have specific knowledge of the entryway into The Lord's heart, as mentioned by Śrīla Rūpa Gosvāmī in the book Laghu-bhāgavatāmṛta, that there are two means by which one's liṅga-śarīra, or subtle material body that holds one to the material world, is destroyed, and one can attain one's spiritual form. The first is by chanting Kṛṣṇa's names, and the second is by seeing Kṛṣṇa's beauty. And there's a way in which Lord Caitanya Mahāprabhu describes nāmākārī bahudhā nija-sarva-śaktis, that The Lord's Names have His full potencies, which includes His beautiful form. In the teachings of Bhaktivinoda Ṭhākura, through the Harināma-cintāmaṇi, we find that the Lord has primary (mukhya) names and secondary (gauṇa) names. Primary names have to do with the creation of the world. In the description of the creation of the world, concentration is more about the living entity who's dependent on the Lord as Paramātmā to supply all needs. But beyond the material creation is The Lord's realm of līlā, where He Himself is interacting with His bhaktas. The names that relate to the Lord beyond the material creation, says Bhaktivinoda Ṭhākura, are called primary names, and these names are especially potent. By chanting these names, then one becomes aware of the full charm and beauty of Kṛṣṇa, and by that means one's heart is attracted away from the material world, and all the anarthas are destroyed within the heart, as mentioned in the 11th Canto of the Bhāgavatam, Second Chapter and 55th verse, which is the last verse in the chapter, the perfection of one's devotional service is mentioned: visṛjati hṛdayaṁ na yasya sākṣād dharir avaśābhihito 'py aghaugha-nāśaḥ praṇaya-rasanayā dhṛtāṅghri-padmaḥ sa bhavati bhāgavata-pradhāna uktaḥ It is said ukta pradhāna bhakta—the highest level of devotional service is achieved by one who chants The Holy Name of The Lord with love. Praṇaya means love. Rasanayā means ropes. Dhṛtāṅghri-padmaḥ means that one's able to tie Kṛṣṇa's lotus feet by chanting with love. https://vedabase.io/en/library/sb/11/2/55/ ------------------------------------------------------------ To connect with His Grace Vaiśeṣika Dāsa, please visit https://www.fanthespark.com/next-steps/ask-vaisesika-dasa/ ------------------------------------------------------------ Add to your wisdom literature collection: https://iskconsv.com/book-store/ https://www.bbtacademic.com/books/ https://thefourquestionsbook.com/ ------------------------------------------------------------ Join us live on Facebook: https://www.facebook.com/FanTheSpark/ Podcasts: https://podcasts.apple.com/us/podcast/sound-bhakti/id1132423868 For the latest videos, subscribe https://www.youtube.com/@FanTheSpark For the latest in SoundCloud: https://soundcloud.com/fan-the-spark ------------------------------------------------------------ #makejapagreatagain #mantra #mantrameditation #chantharekrishnaandbehappy #vaisesikaprabhu #vaisesikadasa #vaisesikaprabhulectures #spirituality #bhaktiyoga #krishna #spiritualpurposeoflife #krishnaspirituality #spiritualusachannel #whybhaktiisimportant #whyspiritualityisimportant #vaisesika #spiritualconnection #thepowerofspiritualstudy #selfrealization #spirituallectures #spiritualstudy #spiritualexperience #spiritualpurposeoflife #spiritualquestions #spiritualquestionsanswered #trendingspiritualtopics #fanthespark #spiritualpowerofmeditation #spiritualgrowthlessons #secretsofspirituality #spiritualteachersonyoutube #spiritualhabits #spiritualclarity #bhagavadgita #srimadbhagavatam #spiritualbeings #kttvg #keepthetranscendentalvibrationgoing #spiritualpurpose

Hanuman catches sight of Ravana reposing on the excellent couch decked with various ornaments, himself adorned with jewels of every description. Preceiving Mandodari graced with bright jewels and lying asleep on a wonderful couch not far from her husband in the midst of dancing girls lying in a disorderly state with diverse musical instruments clasped to their bosom, and taking her to be Sita, Hanuman gets enraptured and exhibits his joy through various simian gestures such as kissing the end of his tail.Recitation: 00: 00 - 08:58Translation: 09:02 - 21:52

Leaping up the Pushpaka in the course of his quest for Sita in the palace of Ravana, Hanuman gazes from that vantage-ground on the hosts of women lying asleep in the women's apartments in diverse states.Recitation: 00:00 - 12:47Translation: 12:50 - 30:00

Rushing by recourse to reason the thought that the lady whom he had seen was Sita, Hanuman searches for Sita once more in the gynaeceum as well as in the banqueting hall and sees there a number of women lying in various states, as well as drinking vessels. He is seized with fear of having incurred the sin of gazing on others' wives; but the thought that he had looked on them with a lust-free mind eases his conscience.Recitation: 00:00 - 08:36Translation: 08:40 - 19:54

La función del tributo musical a Venezuela "Te canto a mi manera" fue clave para ayudar a un grupo de cantantes venezolanos en Melbourne a procesar el duelo migratorio. Partiendo de una canción compuesta por el músico profesional, Dagny Yznaga, el proyecto ha permitido a los participantes expresar sus sentimientos sobre la pérdida cultural que han experimentado. Dagny Yznaga-Gaerste, Cristina Alford e Ileana Contreras comparten la historia de esta iniciativa artística que fue completada en poco más de una semana.

As Hugh Capet winds up to the heights of his monologue, he comes to a most shocking climax: that moment when the French monarchy is so bad that it makes even the corrupt papacy look good.We've come to the very center of Dante's beef with the French crown, voiced by this legendary monarch about his own descendants, particularly Philip IV (or Philip the Fair). It's a tale so dire that even papal corruption is forgotten!Join me, Mark Scarbrough, as we explore the narrative climax of Hugh Capet's monologue on the fifth terrace of avarice in PURGATORIO.If you'd like to help underwrite the fees of this podcast, whether with a one-time donation or a very small monthly stipend, please consider doing so with this PayPal link right here.Here are the segments for this episode of WALKING WITH DANTE:[01:14] My English translation of the passage: PURGATORIO, Canto XX, lines 82 - 96. If you'd like to read along or continue the conversation with me about this episode, please find its slot on my website, markscarbrough.com.[03:06] Identifying the players in the passage: Philip IV (or the Fair) of France and Pope Boniface VIII.[07:48] Tracing the political history behind this passage.[15:41] Admitting the shock of Dante's defending Pope Boniface VIII.[18:42] Talking in code as a survival strategy.[22:54] Querying whether evil actions can be inherited (since virtuous ones can't be).[25:11] Rereading the passage: PURGATORIO, Canto XX, lines 82 - 96.

Seducers, Flatterers, Sorcerers, and more! Dcn. Harrison Garlick is joined by Noah Tyler, CFO of the Classic Learning Test, and Gabriel Blanchard, a staff writer for CLT, to discuss the first part of the 8th Circle: Simple Fraud (Cantos 18-25).Check out thegreatbookspodcast.com for more information.Check out our written GUIDE to Dante's Inferno: 80+ Questions and Answer.FROM THE GUIDE:53. What happens in the Eighth Circle of Hell: Simple Fraud (Canto 18)The Eighth Circle of Hell holds the souls of those King Minos found guilty of simple fraud and is composed of “ten stone ravines called Malebolge (Evil Pockets), and across each bolgia is an arching bridge.”[1] Each of the ten bolgias (pits, ditches, pockets, etc.) is filled with souls guilty of a different species of simple fraud: (1) panders and seducers (2) flatters (3) simoniacs (4) sorcerers (5) barrators (6) hypocrites (7) thieves (8) deceivers (9) sowers of discord and (10) falsifiers. Each bolgia in Malebolgia exhibits a different contrapasso.54. What happens in the first ditch (Canto 18)?After leaving Geryon, the Pilgrim observes the souls in the first ditch. Here, “two files of naked souls walked on the bottom” with each line walking a different direction.[2] The Pilgrim also notes, “I saw horned devils with enormous whips lashing the backs of shades with cruel delight.”[3] The souls here are pimps or panders in one line and seducers in the other. Notably, Dante the Pilgrim sees Jason the Argonaut suffering amongst the seducers.[4] Notice, however, that these seducers are not those who fell into passion, like Francisca, but rather those who act with malice to deceive others. It is the malice of malevolent nature of these sins that distinguish them from the incontinent sins.55. What happens in the second ditch (Canto 18)?Leaving the first bolgia (ditch), the Pilgrim and Virgil come upon the souls of the flatters suffering in the second ditch. The Pilgrim observes, “Now we could hear the shades in the next pouch whimpering, making snorting grunting souls… from a steaming stench below, the banks were coated with a slimy mold that suck to them like glue, disgusting to behold and worse to smell.”[5] Here, grunting in a ditch of excrement, are the flatterers. The contrapasso of the second ditch invites a stark juxtaposition between the honeyed words of flattery and the sordid reality of their deception. The Pilgrim makes this quite evident in his observation of Thais: “that repulsive and disheveled tramp scratching herself with shitty fingernails, spreading her legs while squatting up and down.”[6] Repulsed by Thais, Virgil and the Pilgrim move on. It should be noted, however, that this flattery is a malicious flattery intended to deceive.56. How is flattery a worst sin than lust, murder, or suicide?

Hugh Capet continues the story of his family, bringing the saga of the French (or Frankish) crown into Dante's day with three of Hugh's most infamous descendants . . . at least as far as the poet is concerned.Our pilgrim gets treated to a grim recital of French misdeeds. And we catch our first whiff of antisemitism in COMEDY, just at the moment the actual French monarchy is expelling the Jews from French territory.Join me, Mark Scarbrough, as we explore this tough middle passage in Hugh Capet's rendition of the avaricious wrongs of the Frankish kingdom.If you'd like to help underwrite the many fees associated with this otherwise unsupported podcast, you can make a one-time donation or a small on-going contribution by using this PayPal link right here.Here are the segments for this episode of the podcast WALKING WITH DANTE:[01:43] My English translation of the passage: PURGATORIO, Canto XX, lines 61 - 81. If you'd like to read along or continue the conversation about this difficult passage with me and others, find the entry for this podcast episode on my website, markscarbrough.com.[04:07] The poetics in the passage: structure and rhyme.[07:51] The troubled disconnection and reconnection of Provence and France.[12:48] Hugh Capet's first malicious descendant: Charles I of Anjou (1226 - 1281).[19:10] The second miscreant among his issue: Charles of Valois (1270 - 1325).[22:56] The first instance of antisemitism in COMEDY.[29:37] Hugh Capet's third bad seed: Charles II of Anjou (1254 - 1309).[32:50] Rereading the passage: PURGATORIO, Canto XX, lines 61 - 81.